By Carlos Suarez De Jesus
By Ric Delgado
By John Thomason
By Benjy Caplan
By Artburst Miami
He-Man Woman Haters Club: If you see only one show this season, don't miss the Boyz of Basel at Carol Jazzar's outdoor gallery. The title is aptly appropriated from The Little Rascals. It celebrates everlasting boyhood and features a variety of 2-D and 3-D media, including outdoor video projections, naughty drawings, kinetic sculptures, and live performances in the galleryside pool. Curator Hugo Montoya downplays individual contributions in order to punctuate the magic of the group. The collaborative treehouse installation is a highlight — to enter, the viewer must sign a release form and venture up a precarious wooden ladder. Inside, the fratlike clubhouse is filled with cheesy porn and blow-up sex dolls, childhood snapshots, Legos, and toy planes. At the core of the exhibition is an ice sculpture of a spread-eagled woman with a functional shot luge strategically placed between her legs. Despite its title, "He-Man Woman Haters Club" isn't misogynistic; rather it celebrates local solidarity and a Peter Pan-like resistance to growing up. — Steph Hurst Through February 2. Carol Jazzar Contemporary Art, 158 NW 91st St., Miami; 305-490-6906, www.cjazzart.com.
Live! Nude! $6 T-Bones!: Setting up shop in temporary digs following the fire that devastated his new gallery a dozen blocks north, Harold Golen features works by Mitch O'Connell, Kirsten Easthope, Derek Yaniger, and Ewik (Eric Rider). O'Connell's work has been featured in Newsweek, and his tattoo designs are a fixture on the walls of tattoo parlors worldwide. Easthope is known for glam pin-up paintings on vintage bowling pins, and her sultry femme fatales have graced everything from custom Fender guitars to Rocketbuster cowboy boots. Yaniger's hillbilly chic regularly pops up anywhere from Marvel Comics to the Cartoon Network, and Ewik has showcased his pieces through genre shows like Glamourcon, VAMP, and Comic Con. — Carlos Suarez De Jesus Through February 2. Harold Golen Gallery, 314 NW 24th St., Miami; 305-989-3359, www.haroldgolengallery.com.
This May Be the Last Time, I Don't Know: Christina Pettersson's solo debut features a series of graphite drawings on paper. The vast sheets of white paper contain blank negative space surrounding detailed renderings of lone concrete bricks, to scale and centered on the sheet. Both the renderings and their presentation are minimalist; the works are attached to the walls by clear pushpins. The empty space serves to isolate the subject, but the size seems a superfluous attempt to cover wall space. — Steph Hurst Through February 2. Spinello Gallery, 2294 NW Second Ave., Miami; 786-271-4223, www.spinellogallery.com.
CEM: Richard Höglund's solo debut, based on appropriated concepts from French polymath Paul Valéry, is dense and probing. There's much to chew on, and the layout is precise and well structured, featuring an abstract video screening, a chalkboard installation surrounded by pillars in the center of the space, and two stacks of 5000 Xerox drawings. Höglund's impressive collection reflects an intensely complex thought process and underlying accidental beauty. — Steph Hurst Through February 2. Gallery Diet, 174 NW 23rd St., Miami; 305-571-2288, www.gallerydiet.com.
Put You on a Pedestal: This group exhibition features new sculpture by Andrew Binder, Robin Griffiths, Dominique Labauvie, Bethany Pelle, and Ralph Provisero. Pelle steals the show with handmade ceramic vessels in the form of fetishized Fifties household appliances, each displayed on a pedestal above retro-inspired pastel patterns. Pelle's handiwork is impeccable, and the miniature appliances have functional uses; for instance, one can pull out the shelves of the tiny refrigerator. — Steph Hurst Through February 2. Dorsch Gallery, 151 NW 24th St., Miami; 305-576-1278, www.dorschgallery.com.
Burning Bridges: Consisting of large abstract expressionistic paintings and freestanding assemblage, Diego Singh's new work presents a drastic departure from his familiar illustrative style and limited color palette. At first glance, the vibrant neon colors and bold strokes are enticing, but upon examination, it's all unremarkable flatness and chaos. — Steph Hurst Through February 4. Fredric Snitzer Gallery, 2247 NW First Pl., Miami; 305-448-8976, www.snitzer.com.
ULAE 50th Anniversary Retrospective: Boasting an arresting array of prints by scores of big-name artists, including Jim Dine, Helen Frankenthaler, Jasper Johns, Robert Motherwell, Barnett Newman, Larry Rivers, James Rosenquist, and Robert Rauschenberg, the ULAE exhibit is a must-see show, as well as a historical primer on the innovations of printmaking at the atelier during the past half-century. — Carlos Suarez De Jesus Through February 9. Center for Visual Communication, 541 NW 27th St., Miami; 305-571-1415, www.visual.org.
Fortunate Objects: Selections from the Ella Fontanals-Cisneros Collection: The show features 59 works in a mind-boggling hodgepodge of media by artists ranging from Damien Hirst to Olafur Eliasson and José Antonio Hernández-Diez. It "proposes a playful, imaginative, curious, and unexpected approach to objects used in daily life," curator Cecilia Fajardo-Hill says. Eyeball whackers include Ai Weiwei's Forever Bicycle, a soaring sculpture concocted from 74 bicycles screwed together and arranged in a merry-go-roundlike circle. — Carlos Suarez De Jesus Through February 24. CiFo Art Space, 1018 N. Miami Ave., Miami; 305-455-3380, www.cifo.org.
French Kissin' in the USA: Named for the title of a hit 1986 Blondie tune, this show lassoes a posse of 19 contemporary French artists pegged "Generation Sampling," for hijacking images, forms, and signs from the virtual and visual dumping grounds, and marks the first U.S. foray by the bumper crop of emerging French talent. — Carlos Suarez De Jesus Through March 8. The Moore Space, 4040 NE Second Ave., Miami; 305-438-1163, www.themoorespace.org.