Clay and Brush: The Ceramic Art of China: The Lowe's new exhibit is a penetrating historical survey of the development of Chinese ceramics from the Neolithic period to the 21st Century. The sweeping exhibition, which unfolds chronologically, includes more than 190 objects and is divided into three sections: pottery, stoneware, and porcelain. Many works — part of the Lowe's 1115-piece Chinese ceramic collection — are making their public debut in the show, which has been in the planning stages since 1975. It includes seminal examples from the Song (960-1279) and Qing (1644-1911) dynasties and conveys the evolution of the ceramic art form in China, effectively addressing the development of the clay body, stylistic differences, and decorative elements such as the use of paint, incising, carving, appliqué, and glaze. — Carlos Suarez De Jesus Through September 2. Lowe Art Museum, University of Miami, 1301 Stanford Dr., Coral Gables; 305-284-3535, www.lowemuseum.org.
2007 Cintas Fellowship Finalists: The show features the work of Alexandre Arrechea, María Martínez-Cañas, Gean Moreno, Wilfredo Prieto, and Leyden Rodriguez-Casanova, the five finalists for the $15,000 Cintas visual arts fellowship for 2007. Martínez-Cañas is the standout amid a lot of inconsistent work and shoddy presentation. The artist, who snagged a Cintas fellowship in 1988, is represented by a 14 black-and-white photo-based series, Adaptation, in which she reworked photographs from the personal collection of the late José Gómez-Sicre, a Cuban critic and curator at the Museum of Modern Art of Latin America in Washington, D.C. In them she erases the artworks of a 1940s de Stijl exhibit at a museum in the Netherlands that prominently featured the works of Piet Mondrian, reworking them to depict people standing in the now-empty museum. — Carlos Suarez De Jesus Through September 16. Frost Art Museum, Florida International University, SW 107th Avenue and Eighth Street, Miami; 305-348-2890, www.frostartmuseum.org.
Tamayo: A Modern Icon Reinterpreted: This probing autopsy of Rufino Tamayo's work and life marks his first major U.S. exhibition in nearly 30 years and features close to 100 paintings culled from private and institutional collections from across the globe. The show offers an incisive look at what made the controversial Mexican master tick. Exploring 70 years of Tamayo's prolific career, the traveling exhibition is less a retrospective than a re-examination of the artist's oeuvre and enduring impact. It begins with a small group of works from the Twenties in which Tamayo first dabbled with early French Modernism. The exhibit jumps to an expansive survey of his iconic mature works from the Forties and Fifties, during which he developed his unique style of figurative abstraction. Observing signature works from his mature period, created in New York during the Forties, one is struck by Tamayo's arresting ability to dynamically portray the gamut of human emotion with profoundly universal appeal. — Carlos Suarez De Jesus Through September 23. Miami Art Museum, 101 W. Flagler St., Miami; 305-375-3000, www.miamiartmuseum.org.
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