After more than 14 years in the Bal Harbour Shops, world-renowned Opera Gallery is settling into new digs in the second floor of Miami Design District’s Palm Court. The new, 1,500-square-foot space marks the 12th location for the Parisian-born gallery from founder and chairman Gilles Dyan, who also owns galleries in Singapore, Hong Kong, London, Geneva, Monaco and New York. It’s also the first big US move for the brand he’s hoping to bring to other big cities across the country, including Aspen.
Wondering how to get the jump on a silent art auction? Here’s some advice: go to a silent art auction preview. This is especially true with Locust Projects’ Annual Spring Fling auction, an absolute favorite on the local arts circuit. Curator extraordinaire Claire Breukel is turning the main event’s theme—a riff on Truman Capote’s 1966 Black and White Ball—on its head with the fundraiser exhibition titled Making It Grey. A selection of 29 works range from drawing and painting to photography, prints and sculpture, and explore the twilight where ideas, process and materials aren’t measured in absolutes. The Locust Projects silent art auction preview from April 1 to 7 is a golden opportunity to learn about the artists, examine their work in-person, and get a headstart on bidding.
Imagine for one moment that every social media post—every selfie—was your diaristic contribution to a sweeping post-pencil movement that, one day, would be exhibited by collectives and independent art houses of the future. Prior to the era of DIY-documentation, Jonas Mekas recorded brief moments in his life beginning as early as the 1940s. His distinct style and Bolex camera are some of the better-known signifiers of the prolific filmmaker, poet and artist, who, only five years earlier, had been taken by the Nazis from his home in Lithuania to a forced labor camp in Germany.
When Javon Jones took the stage at the New World Center during YoungArts Week this past January, the audience’s fixation on the young dancer and choreographer was immediate. Performing original choreography to “Eli, Eli,” (translation: “My God, My God”) composed by György Deák-Bárdos, Jones stepped onto the stage blinded by a heavy, draped burgundy fabric. As the music began, he walked forward, letting the fabric fall and locking eyes with the audience.