By Monica McGivern
By Travis Cohen
By Hannah Sentenac
By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
Ebgi: When I was sending out invitations for "Manifest Destiny," some people, especially men, were curious as to why I was curating a show based on gender. My response was: Why not? There was never a feminist movement in Miami like there was in New York or California -- and I don't particularly care if there is one or not. What bothered me when I lived in Miami and went to group shows -- where perhaps one or two of the artists were women -- was that no one else seemed to be bothered by this. I just thought that maybe there weren't as many women producing art, or if they were, they probably sucked. Of course when I began organizing "Manifest Destiny" and searched for women, I realized that there were so many more women with talent than I would have ever imagined.
How do you see your exhibit in the context of Art Miami?
Arias: I loved having the opening reception in conjunction to Art Miami's Design District party. Miami had a month to recover from all of the amazing Art Basel festivities, and Art Miami came soon after with a much broader market for Latin American art and its collectors. The attendance of visitors to the fair brought a new collector base to Miami and the Design District.
Ebgi: Honestly, I do not see "Manifest Destiny" in the context of Art Miami. Rather, I see the exhibition in the social context of Miami art.
Some have pointed out that "Manifest Destiny" is a xenophobic label. Why did you use it?
Ebgi: I know that historically Manifest Destiny has negative connotations, but I am utilizing the term in its most essential and idealistic definition: the inevitability of expansion. The female art community in Miami expanding and manifesting its destination within the context of the greater art community.