By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
Wish You Were Here, at the Wolfsonian, is a snappy show that peeks into Miami's glorified past as a tourist destination. Post cards, travel brochures, and other artifacts from the museum's collection of stylish ephemera illustrate how the snowbird's-eye-view of a burgeoning South Florida was shaped by advertising images and slogans. Featuring material from the Twenties to the Forties, "Wish You Were Here" evokes the golden days when enthusiastic tour operators and hotel owners lauded Miami and its beaches as the the "Sunshrine of America," the "Magic City," the "American Riviera," or even the "Vacationland of the World."
Neatly packed into the back corner of the Wolfsonian's seventh-floor gallery, the exhibition features a display of vintage color post cards. These include scenes of settlers in the Everglades trading fur with Miccosukee Indians, and renderings of Art Deco hotels. Elegant black-and-white photographs of the hotels, notable homes, and office buildings of the period hang on the wall. More unusual is a small assortment of matchbooks from area businesses that are delightful examples of a dying art form. Matchbooks from Miami Beach's Rumba Casino feature the requisite randy dancers, while a suave man in a Panama hat smokes a cigarette on a Burdines matchbook advertising "Palm Beach suits." A matchbook cover from the Five O'Clock Club on Collins Avenue and 22nd Street adorned with a Deco-design clock and the slogan "Drinks on the house at 5:00" is enough to stir up a desperate thirst for martinis.
Some examples of hotel souvenirs attest to the cachet once afforded a Miami vacation -- a colorful deck of Delano playing cards, a Biltmore tie clip. The epitome of tourist propaganda here is an undated Dade County promotional film that relentlessly pitches Miami as a visitors' paradise. Comparable to an infomercial, the film plays out a shopworn boy-meets-girl story with marvelous Miami as the setting. Vintage shots of locales like Parrot Jungle are riveting, but the promo becomes camp comedy when one of the characters pants over the "scenery" at poolside bathing suit fashion shows, lauds Miami's "good neighbors policy" (he obviously hasn't been driving on U.S. 1 lately), or raves about "the gay hotels of Miami Beach." About twenty minutes long, the film is part of a montage of old tourist promos and newsclips put together by the Louis Wolfson II Media History Center that plays continuously on a monitor in the gallery. The kitsch factor is high in these often corny segments, but the truth is the innocent Miami seen on-screen looks very inviting.
You'll probably be longing for a time gone by when you leave the Wolfsonian, and A Century of Architecture in Miami in the auditorium of the library's downtown main branch will stoke those feelings of nostalgia, while providing some reassurance that our collective civic memories live on in the city's remaining buildings. The show was conceived by the library's always conscientious curator Barbara Young, who makes a case for preservation in a display designed to "stimulate not only memories about the past but also serious concerns for the future" of local historic buildings.
Young and her crew started six months ago with a survey that asked resident architects, community activists, artists, and others to name the most significant buildings constructed in Greater Miami over the last century. The now-vacant Freedom Tower was the big winner with fifteen votes. The most popular buildings also included the Gusman Theater, the Dinner Key Terminal (now the Miami City Hall), the Spanish Monastery, and the Dade County Courthouse. Other entries ranged from an Art Deco gas station at Coral Way and Seventeenth Avenue to the Orange Bowl, the Miami International Airport Concourse A, and the new Museum of Contemporary Art in North Miami. Some selected buildings no longer exist -- Julia Tuttle's home, the original Roney Plaza Hotel and its extravagant gardens, the Coral Gables Coliseum, and others.
The theme of this show is a good one, as it succeeds in giving viewers a sense of Miami's architectural history while promoting preservation by documenting the wonderful structures that have criminally been lost to development. But the creative presentation of this modest exhibition also makes it a real pleasure to look at. The buildings are depicted in fine art photographs, drawings, and paintings. These include Steven Brooke's intense, romantic Ektacolor photo of the Gusman interior, Oscar Thomas's naive painting of Overtown's Lyric Theater depicting an elegant black couple standing outside, and Emilio Sanchez's drawing of a wooden house that is an example of the Bahamian vernacular style in Miami's black neighborhoods. On the back wall, Haydee, Sahara, and Michael Scull's 3-D construction shows Art Deco activist Barbara Capitman at the Cardozo Hotel, with the Glenn Miller orchestra playing in the background. These and other works, obviously labors of love, succeed in inspiring appreciation for Miami's eclectic architecture.