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
By the way, not all of Acosta's paintings follow a clean axial plan. There are more labyrinthine explorations, as in Traspatio(Behind the Patio), which shows a street portico hidden behind a row of cypress. Here Acosta perhaps exploits hide-and-seek as a metaphor for the pervasive behavior under totalitarian rule.
Smaller paintings are also included in the show, but they don't convey the richness and detail of the bigger ones. Acosta needs at least one-third of his canvases to produce his dramatic washed-gray skies. They don't look like southern skies but more like a northern, imagined place seen through the patina of black-and-white newsreels.
"Miami 60 Days" is a spontaneous exhibit by N.B. Dash and Kol Solthon in a provisional space at 90 NE 39th St. in the Design District. It contains Solthon's flat, bluish textile studies, Dash's charcoal drawings, and objects, photos, and video from both artists.
Dash's drawings on paper develop from a wiggle motif, which she repeats in all possible contours to achieve waves, paths, and other figurations. They're elegant, and have a Japanese flavor to them.
In addition to Solthon's fabrics (which may need a different setting), the artist presented photos of a sort of ritual dance in the nude, done on-site prior to the opening. On the floor we observe a print of Solthon's legs in lotus position, like a mandala.
Also included is a collection of personal objects from both artists, organized on two platforms. The arrangement is Zen-like in its clarity and distinctness; the mood is spiritual. I had problems with the cold, ashen lighting, but this likely was not the artists' choice.