By John Thomason
By Benjy Caplan
By Artburst Miami
By Carlos Suarez De Jesus
By Daniel Reskin
i am the resurrection: Works by Daniel Arsham, Ian Cooper, Jay Heikes, and Rachel Howe circle cautiously around Goth culture and the spate of recent school shootings by teenagers. The works suggest the saturation of violence permeating contemporary life, and explore the twin afflictions of victimization and vengeance plaguing youth in the United States. Also examined here is the fact that some teens have turned to Satanism to redress their suffering or expand their fashion horizons. Rachel Howe's drawings on paper are penetrating. Daniel Arsham's renderings of pristine modernist high-rises are overwhelmed by inky, dreamy, cavelike settings. A snarky, hipsterish sensibility floats over the entire show, a perfect milieu for discourse on the banality of evil. -- MW Through June 11. Locust Projects, 105 NW 23rd St. 305-576-8570.
Love & Slavery in Miami: Willie Keddell is an artist who tills the fields of perception. The urban furrows of marginality are his seedbed of imagination. His work's soulful aesthetic is abundant with concrete decay, the graffiti of untrod spaces, and the plaintive lament of the dispossessed. With assistance from a crew of "at risk" teenage apprentices from the Troy Community Academy, Keddell has brought an artist's sensibility to the tangled history of two Miami landmarks -- the William English plantation slave house/Fort Dallas, and the Wagner homestead, now located in Lummus Park by the Miami River. "Love & Slavery in Miami" is a project exhibiting historical documentation and photography of the landmarks' pasts, as well as a performance piece based on the lives of the Wagner family. -- CSJ Ongoing. Tours every Thursday between 9:00 a.m. and 3:00 p.m.; Saturdays by appointment. Lummus Park, 404 NW Second St. 305-638-7008 (Keddell at Troy Community Academy).
Mariano Rodriguez: An Homage: Rodriguez, a Cuban painter whose works can be found in America's best museums, was a rebel and an autodidact. This retrospective (collected in America) provides a context in which to study how Latin America appropriated and morphed European aesthetics during the first half of the Twentieth Century. There's plenty of the early Picasso in Rodriguez, but who in America at the time didn't borrow from Picasso? The work is luscious in color and themes, reflective of an epoch before political discourses destroyed our innocence. The book Mariano 1912-1990 (available at the gallery) is an indispensable document. -- AT Through June 19. Cernuda Arte, 3155 Ponce de Leon Blvd., Coral Gables. 305-461-1050.