Hedge Funds and Arcade Games

An art walk after Art Basel is like being offering a KFC Double Down sandwich after Thanksgiving. We get it – you’re art-full. But we’re guessing you spent most last week traipsing around art fairs showing international artists. It’s time to support the local scene once again. In conjunction with the Basel frenzy, Miami's galleries are showing some of their most provocative shows of the year. Take a stroll and see for yourself at this weekend’s Second Saturday Art Walk, which starts at 7 p.m. Gallery I/D (2531 NW Second Ave., Miami) is showing an impressive group photo exhibit, “This Is American: Part 1,” until January 15. Juliana Beasley chronicles scenes from the last stop of the A train in New York. Nina Berman’s Hedge series offers glimpses into the cold world of Wall Street’s fund managers. Tim Hetherington, who shot for the documentary Restrepo, shows his poetic photo essay Sleeping Soldiers. Call 305-753-2881 or visit galleryid.com. Have you heard about the new professional class? They’re called entrepreneurial mathematicians. These number-crunchers and info-junkies are consumed with analyzing and organizing the 21st century’s deluge of data. Miami artist Nick Lobo, who tries to sculpt the invisible, confronts this trend in “Limestoned.” It’s on display at the Charest-Weinberg Gallery (250 NW 23rd Street, Space 408, Miami) until February 27. Call 305-292-0411 or visit charestweinberg.com. Don’t miss the Dorsch Gallery (151 NW 24th St., Miami), and its two intense exhibits. In “Orchestrated Gestures,” Clifton Childree presents three arcade games, each with its own film, scored by a lost or unfinished piece of music. The artist, who says he was attracted to great ideas that fizzled out, pays tribute to composers gone mad who suffered untimely deaths. In Arnold Meches’s “Weather Patterns and Paint,” the 87-year-old painter re-contextualizes classics by masters such as Rembrandt and Goya. Both are up until January 29. Call 305-576-1278 or visit dorschgallery.com
Sat., Dec. 11, 7 p.m., 2010
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Amanda McCorquodale

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