By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
Anne Chu: This exhibition begins with a wide tabletop full of short human figures based on funerary guardians from China's T'ang Dynasty. Carved roughly from wood, the figures are then painted with casein in a style that seems to draw from Impressionist watercolors. Indeed Chu's nearby watercolor studies, executed with admirable economy and freshness, clearly informed the carved works. Despite the references to historical art sources, Chu's work has its own distinct personality. The stars of this show are her life-size marionettes, which dominate with their sizable physical and psychological presence. Many of them could be made to work, given a team of strong puppeteers at a high elevation. Chu's watercolor studies for them reflect the best traditions of both the Eastern and Western worlds. This dual-worldly existence that seems to transcend time animates her work with a courageous energy -- energy which makes this exhibit a tour de force. -- Franklin Einspruch Through July 3. Museum of Contemporary Art, 770 NE 125th St., North Miami; 305-893-6211.
The Artist's Studio: Paintings, Photographs, and Sculptures by Joe Fig: Fig's miniature constructions of artists' studios encourage voyeurism. Viewers are invited to peek inside the cloistered areas where artists struggle with creativity in isolation, a kind of sacred atelier immune to the outside art world. Fig manages to respect his real-life subjects by crafting delicate and tremendously detailed compositions that don't necessarily infringe on the artists' privacy. Rather they celebrate their talent and the setting in which they create most of their work. Glance into painter Chuck Close's studio, which, like Close's work, is realistic down to the smallest detail (there are even specific art magazines scattered across his desk). In Jackson Pollock's Long Island sanctum we see the artist pondering one of his action paintings laid out on the floor. -- Omar Sommereyns Through July 11. Bass Museum of Art, 2121 Park Ave., Miami Beach; 305-673-7530.
The Art of Aggression: This timely and thoughtful exhibition refracts contemporary political art through a prism of global terrorism and conflict. Several artists journey to the heart of their work via detached, analytical paths reminiscent of the increasingly complex machinations that characterize global warfare today. Dominic McGill's The Zapruder Covert Waltz is an elaborate drawing that graphs the myriad theories surrounding the assassination of John F. Kennedy. Mark Lombardi's lyrical drawings play connect-the-dots, forming lacy constellations that link business transactions in the military-industrial complex. Josh On and Futurefarmers, a San Francisco-based new-media cooperative, presents Antiwargame and They Rule. These interactive Web-based works spoof war video games, inviting users to visualize the overlapping affiliations of corporate honchos who control the world's most powerful companies. The curators demonstrate that artists are the flies in the ointment of empire, the collective conscience and whistleblowers for the military and industrial powers that be, persistently knocking on the closed-door proceedings at the highest echelons of government and business. -- Michelle Weinberg Through July 1. The Moore Space. 4040 NE Second Ave., second floor, Miami; 305-438-1163.
Eyewall: San Antonio artist Nate Cassie showcases his paintings, a series of highly decorative works created using a palette of sorbet colors, with surfaces animated by crisscross lines that form dense grids. Scraped and sanded layers embody a translucent network of drips that alternately resist or desist gravity. Cassie's works are named after hurricanes that struck Florida and Texas during the boxing careers of Muhammad Ali and Rubin "Hurricane" Carter, thus establishing a rather macho subtext for his somewhat feminine paintings. In doing so the artist draws a parallel between man's inclination to violence within the acceptable parameters of sport -- in the boxing ring, a square -- and the destruction unfurled by a storm as it ravages the earth's surface -- on canvas, also a square. Also showing is "Dark Match," a series of video stills by Damian Rojo that explores the radical chic of boxing. -- Michelle Weinberg Through May 21. Ingalls & Associates, 125 NW 23rd St., Miami; 305-790-1797.
Good Titles from Bad Books: The Kevin Bruk Gallery, recently moved to a huge and handsome space in the heart of Wynwood, opened with a big two-exhibit splash. Among the many works (organized by Mathew Brannon) was Michael Phelan's Sunshine Daydream, suspended silver Mylar strips bunched together like plant tops; Carol Bove's What the Trees Said, an installation of an Eames shelf filled with books and objects (Nietzsche among them); Peter Coffin's Untitled (Orgy Photo, Diagram Colex), a clashing of magazines fun and serious; and a huge red banner by David Noonan. Liam Gillick added luster to the gallery floor with plenty of silvery glitter. The music touch was just right. -- Alfredo Triff Through June 11. Kevin Bruk Gallery, 2249 NW First Pl., Miami; 305-576-2000.
Robert Rauschenberg: Considered a central figure in late-twentieth-century art, Rauschenberg is also a long-time resident of Captiva Island, Florida. His recent work has begun to reflect distinctively local input: gators, punchy shadows, pink and green. His move to water-based media, inspired by safety and environmental concerns, forced his palette into a gentler range of intensity. This makes his new works more pleasant to look at than the saturated images he became known for, but the oomph has gone out of them as well. They're fun and lighthearted (the man is famous for being the same), but they seem to want for more resolution and gravitas. -- Franklin Einspruch Through July 3. Miami Art Museum, 101 W. Flagler St., Miami; 305-375-3000.