By John Thomason
By Kat Bein
By Carlos Suarez De Jesus
By Daniel Reskin
By Monique Jones
By Monique Jones
By Carlos Suarez De Jesus
By Ric Delgado
For complete up-to-date South Florida art listings, click on Culture on the navigation bar to the left, scroll down to the Listings Search and "Category" pulldown, then select "Art Galleries" or "Museums."
Anomalies: This exhibition showcases Chris Jahncke's mixed-media works on paper. Jahncke ranges from covering entire pieces in symbolic glyphs to manipulating the traditional relationship between figure-ground objects. Much of the art on display possesses a collaged, inflected surface, although some is overtly organized or too tame and consequently less effective. It might benefit from the freeform doodling present in some of Jahncke's previously exhibited works. -- Michelle Weinberg Through May 29. Ambrosino Gallery, 769 NE 125th St., North Miami; 305-891-5577. 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.
The Edge of Certainty: Michael Salter tweaks the language of commercial logos to produce a series of refined art products that offer visual commentary on mainstream name-branding. The freshness and must-have quality of stickers and decals provides the inspiration for much of Salter's work. His inkjet prints titled Moments Lacking Definition and Situations Unknown are produced in editions of three. Each portrays a generic setting with which the artist slyly tampers. Pleasantly proportioned suburban interiors and immaculate, vacant postindustrial landscapes are injected with humor, transforming then into visual gags. His life-size motorcycle constructed from polystyrene packing materials is hard to resist. -- Michelle Weinberg Through May 29. Ambrosino Gallery, 769 NE 125th St., North Miami; 305-891-5577.
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.
Hungry for You: Beatriz Monteavaro's show centers on the loving, amusing, yet gory adventures of wandering zombies. This chapter in the bizarre saga of her work depicts the travels of Monteavaro's heroes Adam Ant, Gary Numan, and Pablo Picasso as they journey to Paris in search of Bela Lugosi. The trio needs his help to finish off their archenemy Siouxsie Sioux. Although Lugosi is ready and willing, an accident -- at Space Mountain in Orlando, Florida -- causes a radioactive spill, the effects of which are felt in Paris, where the dead are suddenly resurrected. Monteavaro mixes Fifties sci-fi, zombie movies, grrrl-zine, electro-synth, Eighties glam, and a dash of comic master Bernard Bailey's vision. The result is gruesome, absurd, funny, and superb. Stop by Monteavaro's proto-feminist, throat-slashing series of drawings or her installation of a gore-machine that spurts slime onto innocent victims. -- Alfredo Triff Through May 28. Fredric Snitzer Gallery, 2247 NW First Pl., Miami; 305-448-8976.
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.