“Panther Alumni Week (PAW) connects students with alumni through class presentations, industry panels and networking events. PAW promotes the building of relationships, which leads to networking, internships, mentoring and career opportunities. Each year, we invite alumni to campus to engage with our students on campus by offering real world insight and valuable career advice. PAW is scheduled for the week of February 3-7, 2020 and will take place on campus and online.” https://paw.fiu.edu
These following three events are in conjunction with the classes of Professor John William Bailly of the FIU Honors College. If you are an FIU alumnus and can join us for the Friday potluck, please register at https://paw.fiu.edu .
WHAT: HEARTS Event: Developers Survey, Eddie Arroyo: Talk on Art and Community Activism WHEN: Wednesday, February 5, 2020 | 12:00pm – 2:00pm WHERE: SASC 100
As part of this year’s PAW Week activities, HEARTS is proud to invite you to the renowned artist and FIU Alumnus Eddie Arroyoevent, Developers Survey, a talk on Art and Community Activism.In his work, Arroyo examines the development and transformation of Little Haiti. The talk is hosted by Professor John Bailly’s Art Society Conflict and Miami in Miami classes.
Eddie Arroyo (Miami, 1976) received his BFA in Painting from Florida International University in 2001. His work was included in the Whitney Biennial 2019, which he withdrew from in solidarity with other artists seceding from participation of the exhibition. Arroyo has presented his paintings depicting gentrification at group exhibitions throughout South Florida. In 2018, he was the recipient of the 2018 South Florida Cultural Consortium Visual and Media Artists Fellowship, and has been profiled in publications including The New York Times, The Wall Street Journal, New York Post, ID Magazine, Boston Globe, PBS NewsHour, and The Miami Herald. His work is held in the permanent collection of the Whitney Museum of American Art.
WHAT: PAW Study Abroad Chat and Potluck with Corey Ryan WHEN: Friday, February 7, 2020 | 12:00pm – 2:00pm WHERE: RDB 1100, College of Law BONUS: Potluck!* *See instructions below
Honors College alumnus Corey Ryan is currently working at the Office of Study Abroad as an Academic Advisor, primarily with outgoing FIU students interested in the International Student Exchange (ISE) program. He is also the main advisor for the Gilman and Boren Scholarships. Corey is a Miami native who attended FIU for both his undergraduate and graduate studies, graduating from the Honors College and receiving his Bachelor of Arts in English and Master of Arts in Linguistics. During college, he studied abroad for a summer in France and post-graduation worked as Professor Bailly’s Study Abroad Program Assistant for four summers in Italy, Spain, and France. The envy of many students…
“Find out about alumni experiences abroad, and meet fellow future travelers. Since it is a potluck, please bring a dish somewhat related to the country you are going. It would be very much appreciated!” Luli Szeinblum Senior Coordinator of Study Abroad and Arts Programs https://honors.fiu.edu/studyabroad/
RSVP REQUIRED: SPOTS ARE LIMITED!! WHAT: Deering Estate Beach Cleanup with Vanessa Trujillo & Nicole Patrick WHEN: Saturday, February 8, 2020 | 10:00am – 3:00pm WHERE: Deering Estate BONUS: Kayak!! RSVP REQUIRED: SPOTS ARE LIMITED!!
FIU Honors College student, Nicole Patrick, works with Dr. Vanessa Trujillo to organize beach cleanups of Chicken Key in Biscyane Bay. On this special PAW cleanup, FIU students and alumni will kayak, swim, and picnic together in beautiful Biscayne Bay. Chicken Key is part of the Deering Estate, and this event is part of the Deering Estate Artist-in-Residence Fellowship of Professor John William Bailly.
“Dr. Vanessa Trujillo ’17 received her PhD in Biology with a specialty in nonnative freshwater fish. Currently, Dr. Trujillo researches developing programs to conserve the natural legacy of South Florida, and leads the effort to expand the Deering Estate field station. “Find a mentor that is working in the field of your interest. Explore the world! Read on a topic you like. Take summer courses at your local college. These experiences can then provide a pipeline of opportunities,” said Trujillo. – Krysten Brenlla
Hello, everyone! My name is Nicole Patrick. In three words, I would describe myself as organized, kind, and determined. I am a senior at Florida International University and its Honors College studying Hospitality & Tourism Management with a combined Bachelor’s and Master’s degree in the subject. During my time at FIU, I have been able to take part in many opportunities, such as being a student leader in Panther Camp, Honors College, and Campus Tours, volunteering and coordinating a spring break service trip to Puerto Rico with Alternative Breaks, studying abroad with Hospitality at Sea, and gaining professional experience with the South Beach Wine and Food Festival. My passions in life include volunteering and traveling, specifically eco-tourism, sustainability, and culture-immersive experiences. I aspire to make the world a better place by giving my time, energy, and dedication to the environment and the people that live in it. More information about me and my journey in this class can be found on my Instagram page.
Driving is one of my least favorite activities. It requires 100% concentration. You must calculate how long it will take you to arrive. It has unpreventable side effects like getting nudged between two semi-trucks, receiving the occasional bird finger because someone was not having a good day, slamming on your brakes because someone thinks it’s okay to go five miles below the speed limit in the left lane, and the worst side effect of all: being in a stand-still not once, but twice a day. Once in the morning and again in the evening. No matter where I decide to go in Miami, I will run into at least one of the above things.
Riding public transportation is one of my favorite activities. It does not require 100% concentration. You do need to calculate how long it will take you to arrive. It has unpreventable side effects like getting to take a nap while you wait to arrive, initiating the occasional conversation with the passenger next to you, sitting in an air-conditioned metro car, and the best side effect of all: getting to relax because you are not driving.
Miami-Dade County’s public transit system is called the Miami Metrorail. It has a total of two routes: one that starts in Hialeah and one that starts in the Miami International Airport. Both routes end in Dadeland South. Having ridden metro systems before in places like New York City, Barcelona, and Madrid, I have seen my fair share of systems and have seen both positives and negatives in each one. For the Miami Metrorail, it was definitely one of the cleanest and simple.
Somethings that I did notice; however, were the speed of the system and the lack of passengers throughout the day. The amount of time spent at each stop varied. As in one stop, the car waited for about three minutes another waited one minute. I also had to wait almost 10 minutes at one stop for the car to arrive. In most metro systems, that is unacceptable. In those systems, the trains are constantly running and will stop for about one minute at each station.
Additionally, the U.S. Census Bureau states that Miami-Dade County has over 2.7 million residents. In a city this large, you would expect for the Miami Metrorail to be full, but that was not the case. It turns out that according to Miami Matters, from 2013-2017, only 5.2% of workers commuted by public transportation in Miami-Dade County. I believe this is because of the lack of accessibility to the Miami Metrorail to the entire county. Sadly, the system only runs on the eastern side of the county at the moment, which makes it nearly impossible for all residents of the county to utilize it on a frequent basis. With environmental concerns being of high importance in today’s society, I believe that the county should begin looking towards ways of improving the Miami Metrorail to decrease its carbon footprint and increase sustainability. As commuters, we must look at the side effects of both driving and riding public transportation.
The Vizcaya Museum and Gardens, located in the Coconut Grove neighborhood of Miami, exemplifies Miami. Each time I have visited, I am amazed by the Mediterranean style villa that was built for James Deering. Vizcaya magnifies the lavish Miami life-style we are known for. Sadly, that is not the truth for most Miamians with the median income of the city being $51,362. Given our expensive reputation, many individuals are known to give the façade wealth. Surprisingly, Vizcaya displays this unfortunate side of Miami through its marble pieces. There are a number of marble walls that are not marble, but are hand painted to look like marble. Since marble was too expensive at the time it was built in 1922, it was cheaper to give the perception of marble without the cost of the material.
Aside from the fake marble, Vizcaya and its gardens are filled with recurring objects and figures that link Miami to other cultures. Some of the “hidden Mickeys” are the ships, seahorses, dragons, and faces of bearded men. The ships and seahorses tie to the ocean. The dragons correlate to the story of the dragon-slayer Sant Jordi from Catalonia, which where James Deering had spent his time prior to building Vizcaya. The carved faces of men with beards can be found near the river entrance which reference to the many Roman river deities. You can find numerous styles of differing cultures in the estate, such as Baroque, Renaissance, and Mediterranean. Vizcaya represents the diversity of Miami with incorporating themes from all over the world, such as Christian paintings created by a Jewish artist and a replica of a Roman sculpture: The Thorn. Many would describe Miami as a melting pot: the point in which differentiating cultures blend.
Vizcaya’s irony is how, with incorporating other identities
and being as extravagant as possible, it perfectly represents Miami with all of
positives and negatives.
Stepping into The Deering Estate is like stepping back in time. Once the group, led by the estate’s director Jennifer Tisthammer, passed the gate, we viewed a world foreign to urban Miami: nature. The lush ecosystem is filled with trees, plants, spiders, mosquitos, and butterflies all living in harmony. It is hard to believe there is a mountain in Miami, but The Deering Estate has it.
We hiked through mud, trees, and plants while dodging spiderwebs to make our way 24 feet above sea level in the Cutler Fossil Site. The remains of various animals, such as dire wolves, mammoths, saber tooth tigers, and giant sloths, remind us that we are just a small fragment in the long history of life on Earth. Specifically, you realize that there is more to Miami than the sun, beaches, cafecitos, and ventanitas. It has been a place of life for thousands of years.
Tequesta and paleo natives called Miami their home. They had established the Miami we know today. However, these people are nearly forgotten because of the limited information we know from them. There were families, tribes, groups of humans living here, but we do not know their names. We do not completely know their story. We do not know what they had looked like. These people have almost been forgotten by society.
However, The Deering Estate reminds us that we must not forget our past. Instead, we must step into our past to understand our future.
A big passion of mine is the environment and the maintenance of a safe place in which all living things can prosper. I have been involved in a number of cleanups in South Florida and Puerto Rico. Each one ceases to amaze me. This past week, I had the opportunity to help somewhere that only a small number of individuals have. With my classmates led by our Professor John Bailly, I cleaned up Chicken Key. Chicken Key is a small island off the coast of Miami Dade County in Biscayne Bay. As a class, we teamed up in pairs and paddled our way one mile from The Deering Estate to Chicken Key. As we got closer, the image of ropes, containers, and flipflops started to form. My partner, Juliana Pereira, worked together with Jose Ernesto to fill up an entire canoe. We made the effort to go into parts of the island that others avoided. I looked angered at our canoe overflowing with trash because we did this. Maybe not us specifically, but as a human race, we did this. And we continuously utilize single-use products. We purchase flip flops that we often loose. We have become so obsessed with materials that we often forget to walk outside.
On Wednesday, October 24, 2019, our
class was able to fill nine canoes of trash. Unfortunately, we were not able to
collect everything. Each day, more trash piles on Chicken Key and all
As a society, we have to come
together, stop focusing on ourselves, and begin looking at the world around us.
As my one class did, so can others.
Wynwood as Text
“The Rise, Fall and Rise of a Neighborhood”
By Nicole Patrick of FIU at Wynwood, 10 November 2019
What drives social change? Well, to me it is the people who dare to question topics rarely discussed. It is those that act upon their words rather than speak. I have found that many times these individuals are artists. Many choose to stir away from the status quo, which only makes them more popular. Miami’s Wynwood has become the epicenter of contemporary art. Prior to its fame, Wynwood had gone through a rollercoaster of prosperity.
It was established in 1917 and was an
area filled with manufacturing plants and factories, such as Coca Cola and the
American Bakeries Companies. Also, factories began moving north, migrants
starting moving in. In the mid-1950s, Wynwood was referred to as “Little San
Juan” after the capital of Puerto Rico because the population was mainly Puerto
Rican. As a Puerto Rican, it makes me proud to know that my people made an
impact and had a place to call home in Miami. However, as the neighborhood
began declining, it became considered as a lower middle-class neighborhood and
it was no longer a place that families wanted to stay in. As rent rates in
other areas, such as Coconut Grove, began pushing out artists, they had to find
other areas to work.
This brought the South Florida Art Center out of Coconut Grove and into Wynwood. From there, the neighborhood has done a complete 360°. As I mentioned before, artists start social change. The artists’ movement to Wynwood completely changed the dynamic. Soon collectors began entering the area, such as Martin Margulies and Carlos and Rosa De La Cruz. These collectors look for pieces of cultural consequence. Something that causes you to ask questions and converse with others.
Personally, my biggest takeaway from
Wynwood Day is to do what you feel is right, not necessarily follow the status
quo, do not just talk about it. Do it. As the artists and migrants do. Soon the
rest will follow.
Located in the center of downtown
Miami right next to the Miami-Dade Public Main
Library, lies the HistoryMiami
Museum. If you are not looking for it, it is most likely you will miss it
in the mix of the large skyscrapers of downtown. Despite its difficulty to
find, HistoryMiami’s contents inside are something to note. The museum goes in
chronological order of Miami’s history—highlighting the start of life in the
area with Paleo-natives and the diverse flora and fauna that is difficult to visualize
in the South Florida ecosystem.
HistoryMiami’s mission is to “…safeguard
and share Miami stories to foster learning, inspire a sense of place, and
cultivate an engaged community” (About
the Museum). It most definitely accomplishes through displaying and sharing
stories that are not necessarily in classroom textbooks, such as forgotten
names of history like Black military leader Francisco Menendez
and Coconut Grove photographer Ralph
Munroe. As our informative and gracious guide Maria Moreno—HistoryMiami Educator—noted
on our tour, she and the museum believe that it is important to know both the positive
and negative aspects of our history. One of the negative pieces is that there was
an extreme and long history of segregation and discrimination that existed in
South Florida. As visitors sit inside the Buena Vista trolley car, they are
amazed by the technology and convenience that existed in the past; however, as
they look up, they are stunned by the original sign stating, “State Law White Passengers
Seat from Front.” At this moment when visitors realize that the segregation
that existed in the South during the 1900s was also occurring in Miami. Emotion
begins to fill the trolley as visitors imagine the discrimination that occurred
in the very seats they currently sit in. Moreno then began telling stories of black
and Hispanic Miamians during that time. Towards the end of the museum, there is
a sense of triumph and sacrifice that is felt as visitors listen to the stories
of immigrants who have risked their lives to reach Miami and change their lives
HistoryMiami leaves its visitors wanting more. As the museum continues to evolve its featured collections, I hope that they expand to give justice to all the important parts of Miami history in which it briefly mentions and does not have the physical space to display.
During one week, Miami changes from sun, sand, and shopping to art, ambiance, and awareness. Thousands of people flock to Miami every early December to attend Miami Art Week. During this time, there are hundreds of events that revolve around art. One of the notorious, well-known fairs is the UNTITLED, ART Miami Beach. This year, the fair had a focus on the environment, identity, tradition, modernization, and globalization. The works in the fair included all forms of mediums from all over the world.
The beauty of art is that it can bring awareness to a certain issue without telling but showing. Art conveys the emotion of the time, the issue, and the problem. The work of Faig Ahmed takes the traditional work of handmade woolen carpet and alters it. Ahmed, originally from Azerbaijan, examines how the world is changing and the transformation of perspective. As a society, we are continuously moving on to new trends. Ahmed’s work causes others to pause from whatever activity is taking place and focus their attention on the piece. Many times, we do not give a second thought to woven carpets that are typically found in our elders’ homes. It is a time of reflection, which is the point that changes the Miami perspective.
Miami Art Week causes a shift through conversation, so go out enjoy the culture, speak to others, and learn the stories.
On a cold January morning, FIU Honors College students set out to the Southwest
edge of Miami-Dade County. We were about to do something we have never done
slogging. If you are wondering what that is, it is hiking through the differing
depths of the Everglades’ River of Grass. As
we drove inside the 1.5 million acre-large Everglades National Park, it was as
if we were being transported to another world. There were no buildings, lights,
or cell-service. We were truly in the wilderness of the 305.
Once we arrived at the slough
slogging area, Park Ranger Dylann Turffs handed us our sticks and guided us as
we took our first steps into the chilly water. Park Ranger Turffs explained how
vital the Everglades is to South Florida’s ecosystem. Everglades National Park
was founded “in 1947 to conserve the natural landscape and prevent further
degradation of its land, plants, and animals” (“History &
Culture”). Throughout the years, the Everglades has been used for different
purposes. Native Americans had lived and thrived off its landscape. Settlers
and farmers used it for agriculture and draining. Today, many groups and the
National Park Service work to conserve, preserve, and restore the Everglades. As
a class, we discussed mankind’s role in nature while trying to find how far is
too far. As Park Ranger Turffs enlightened to us, this question is something that
is debated about, and there is no definitive answer yet.
The more I walked in the River of
Grass, the less fear I had. I began to branch away from the class, finding new
pathways. Words can not do justice to how one feels inside the double dome of
the Everglades. It is as if you are in an underwater forest. You can stand
there and listen to the silence. Only hearing the birds as they fly overhead
and seeing the spotted garfish
as they swim by your feet. At a moment when we were about to end our slough
slogging adventure, a gust of wind came in and all of the cypress trees began
to sway as if saying goodbye to us. Slough slogging is a South Florida treasure
that South Floridians need to experience. This experience teaches visitors to
appreciate the little things like a breeze or a woodpecker.
When one imagines Miami, they picture South Beach. The area of South Beach is on the south side of the island of Miami Beach. It is known for its notable Art Deco architecture, proximity to the beach, and nightlife. The South Beach we know today is far from the unsettled farmland it was before 1870. In that year, the Lum brothers purchased 160 acres of Miami Beach to grow coconuts; however, this did not happen and in 1894, the land was given to a man called John Collins. He then purchased more land and discovered freshwater in the area.
At that time, visitors were coming to Miami Beach through ferry. Collins had the idea to build a bridge to connect the island of Miami Beach to the rest of Miami. In 1913, the construction began and soon later, as, with many projects, construction stopped due to a lack of money. That is when Carl G. Fisher gave $50,000 to complete the “Collins Bridge” and got 200 acres of beach land. Using his fortune, Fisher developed grand hotels and oceanfront estates on his property. During this developing time, none of the early beach developers sold to Blacks. Additionally, there was social discrimination against the Jewish population. Hotels and apartments had large signs that stated “Gentiles Only” to keep Jews out. Jews were only allowed in the southern area, which was developed by the Lummus brothers. In the 1920s, the land boom made Miami Beach into a place of the rich and elite. The hotels were always sold out. It did not last though, the hurricane of 1926 and the stock market crash in 1929 halted the Miami Beach boom.
On the other hand, this pause did create a benefit: “Restrictions on Jews began easing as developers became increasingly desperate for sales…” (The 100-Year Story). However, the same was not for Blacks. All hotel workers had to carry an I.D. card, but Blacks had a curfew that stated that they could not be outside in white neighborhoods after dark.
The market crash did not affect
Miami Beach for long. In the 1930s, hotels and apartments began popping up and
the signature Art Deco style forever changed Miami Beach. At this time, Miami
Beach was very popular with the Jewish community. Many chose to stay and retire
there, which is something Fisher could not have imagined.
In the 1960s, the island became a
retirement community for “snowbirds” to live the rest of their lives on the
beach. With prices going up, retirees no longer could afford the cost of Miami
Beach and began moving inland, which caused the island to become almost a ghost
Then in the late 1980s, Miami Beach rose again. This is due to many factors like the population show “Miami Vice” and the “cocaine cowboys” that ran the city. It turned into the tourist attraction it is today with hotels, restaurants, and nightclubs lining the streets. Miami Beach continues to transform as time goes by. After 105 years, it has lived many lifetimes. From being a very segregated town to becoming the center of LGBTQA+ inclusivity in the county, no one could have imagined the Miami Beach of today.
Fast forward to March 2020, our class spent our last in-person class volunteering at the Lotus House. Our day was filled with tasks, like cleaning, organizing, sanitizing, and serving meals. Due to the growing pandemic of COVID-19, the shelter is taking all precautions in ensuring the safety and health of its all the guests and employees. My particular role was to disinfect the children’s playroom and the dining room. I worked with my classmate, Hanna Sotolongo-Miranda, to efficiently and effectively sanitize the toys and structures inside the room. As we cleaned the books, the titles reminded us of our favorite books from when we were younger. I was amazed by the facilities and programs, such as the Thrift Chic Boutique that gives guests working retail experience in the thrift shop. Lotus House provides a safe, positive, and encouraging environment to help these women and children.
My classmates and I were glad to
assist the Lotus House team. We spoke and worked with many of the leaders who
work for the shelter. Something that stood out to me was that these women were
previously guests at the Lotus House. Each one of them has their own story of
triumph and perseverance. Thanks to the Lotus House, they are role models and leaders
that impact the guests because they were once in that position.
The Lotus House is the organization
that Miami needs. It can house 680 women and children annually. I am proud to
have given my time to Lotus House because it is making the change and
difference in numerous women’s and children’s lives in Miami.
Quarantine as Text
“A Quarantined Moment in History”
By Nicole Patrick of FIU in Quarantine, 18 March 2020
It is currently my fourth day being in quarantine at my home. It began on Tuesday, March 10, 2020. On that day, the FIU community was notified that all study abroad programs for Summer 2020 have been canceled. This decision affected me as I was scheduled to attend the Hospitality at Sea Europe program in late April, which takes place on a two-week cruise. The following day, FIU to remote learning until at least April 4th, this has recently changed to the end of the Spring 2020 semester. Also, all FIU employees are encouraged to work from home starting Monday, March 16th. This decision also affects me as I hold two jobs at the university. This has been a huge transition for me since I am typically at FIU every day for class or work.
Here we are, four days into quarantine due to COVID-19, also known as the coronavirus. The virus has spread almost worldwide since January when it surfaced in China. Since then, it has taken the world by storm and the media has nonstop coverage on it. This has caused a panic in society. To me, this situation reminds me of the Netflix film Bird Box. There is utter chaos in the people as they run from an invisible entity that controls people’s minds. I have only gone outside to walk my dog and buy groceries in Costco.
In public, you can see the paranoia in the customers’ faces. Many of them are wearing gloves and face masks to protect themselves. It honestly felt like Darwin’s natural selection as men and women entered the store to find their fruits, cleaning products, or toilet paper. You can see how people are panic buying due to the fear of the unknown.
I believe this chaos is occurring due
to the media and the unsanitary habits of society. As I mentioned earlier, the
media is constantly covering the story of the coronavirus. So much that it has
caused a panic in everyday people. A thought that surprises me is that
businesses and public accommodations have been making announcements that they
are disinfecting their entire facilities. Something that shocks me is that they
have not been doing this. Pandemic or no pandemic, all facilities must be
cleaned for public safety. Unfortunately, it is a common stereotype in society
to have a negative connotation associated with custodians and janitors. However,
this is one of the most vital positions in any business. Without a sanitary
environment, patrons will not want to visit.
Although I can not tell when this
pandemic will end, I hope that when it does, this causes a shift in safety
standards in terms of sanitation in businesses and public accommodations. We
are living in a moment in history.
During my time in Professor John W Bailly’s classes, I have visited the Deering Estate a countless number of times from touring the inside of the Stone House and hiking through the pine rock lands to exploring the Tequesta burial ground and cleaning Chicken Key. The Deering Estate provides a unique experience each time you visit.
I remember the first time I entered
the estate. I was in awe. I felt as if I was transported to somewhere else. The
Deering Estate is filled with diversity.
One of my favorite locations on the
property is the boat basin. It is found on the eastern side of the estate where
the land meets Biscayne Bay. The unique shape of the basin was completed
through exploding dynamite inside the limestone ground in 1918. Many times, one
can find marine life swimming inside, like manatees, fish, and rays. Sitting on
the edge by Biscayne Bay and the lined palm trees, I feel a sense of peace and
Another factor of the boat basin
that brings me joy is this is where we depart and return for the Chicken Key
cleanups. Every time I come to this spot; it reminds me of the number of times
we have gone to Chicken Key to collect marine debris. On our canoe ride back,
we have numerous bags of random items that wash up on the shores of the island.
I am very thankful to the Deering Estate for allowing us to come back each time
to clean up Chicken Key.
The Deering Estate provides a unique
experience to all, whether a Miami native or not. There is history, nature, architecture,
and environmentalism. I will be a lifelong visitor, canoeing back to the “lighthouse”
of lined palm trees and the home of manatees by the boat basin.
Shalenah Ivey is a recent graduate of Florida International University and its Honors College as of Spring 2019. While a student, she majored in Art History, minored in Spanish Language and Cultures, and completed a certificate in Film Studies. Her passions in life are art in its many forms, the written word, and the understanding and celebration of cultures from around the world. While also having experience in video art and film photography, it is with writing that Shalenah hopes to inspire, awaken, and reach those near and far. More information about her can be found at divineivy.wordpress.com.
PAMM AS TEXT Think Pinkby Shalenah Ivey at PAMM, 14 October 2018 Blue is my favorite color. It is as deep as it is endless and as mystifying as it is sincere. It has stained my soul. It has dyed my daydreams. Yet, I have been told by many that when they think of me, the color pink is never far away. Walking into PAMM’s newest exhibit I felt as if I was wading into an aura. Christo and Jeanne-Claude: Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83 | A Documentary Exhibition captured the entire process of the iconic Miami installation by married artists, Christo and Jeanne-Claude. Comprised of preliminary sketches, court documents, and other photographs, it brought to life the sheer complexity of the undertaking of the project. When I stepped into the exhibition, there was a black and white photograph of the artists strolling hand in hand upon the Biscayne shore. It was as expansive as it was intimate and I felt to be a part of that fleeting moment, invited within their world.
Thus, I fell into Surrounded Islands, immersed and captivated by the physicality of it all. So tangibly potent were the artifacts steeped in time. The finiteness of a date attached to a legal record. Hurried signatures and stamps. Pinks maps and pink papers and even pink tarps apart of the original installation. Inescapable was the hue and unforgettable its presence. The world, my world, was permeated with pink. I felt it without touching it. Surrounded by the vision of the artists on an island of my own.
I close my eyes and what radiates is pink.
DEERING AS TEXT Take Heed by Shalenah Ivey at Deering Estate, 04 November 2018 Primus Devine was the name of my great great great grandfather. He lived most of his life a slave in South Carolina. He tasted freedom perhaps a decade. We know almost nothing about him. Had I not had an insatiable curiosity at age 17, we may still not know his name. He is the farthest back my family (on my mother’s side) has been able to go in our ancestry. I have always clinged to the stories my grandmother has told me of her childhood growing up in 1950s South Carolina. Although her family was poor, her stories are rich with a boundless love. Exploring the Deering Estate and the untouched landscape that stretched beyond the house reminded me of my perpetual attachment to the past. The ways in which time cruelly escapes me. The ways in which the walls of an old building whisper stories. We adventured into a pure paradise. Then to that of a grave. We don’t even know their names. But their bones stay. The sky is still bleached blue. Papaya hangs from branches and rests on fallen trunks. Green but rotting. I think of the grave again. Have we failed them? Have we failed each other? Daggers and death still live on. The trees speak. The trees sing. The trees weep. Listen, Miami.
VIZCAYA AS TEXT Mary, did you know?byShalenah Ivey at Vizcaya Museum & Gardens, 10 November 2018 I think one never grows tired of visiting the Miami marvel known as Vizcaya Museum and Gardens. The muted clementine walls that wait outside. The way that archaic touches lining the street only hint at the grandness awaiting within. Walking the shadowy path amongst the forest on the way to the mansion. Hearing the sound of traffic die down within the breaths of the trees. Perhaps there is a transcendence or perhaps the allure of grandeur can simply overwhelm the senses. Gold and silk and ancient objects adorn the walls and spaces of Vizcaya. For James Deering, the estate’s owner, there was truly no limit. There is no other option but to be in awe of his creation. Yet, despite the many times I have been to Vizcaya, I have never noticed the statue of Mary that sits almost discreetly in the formal dining room. Her face is pained with sorrow. Her countenance concentrated with the softest of melancholy. What is it Mary? What has you so troubled? The word decadence embellishes my mind. Decay beyond what can decompose, beyond what can tarnish… Oh, but the sky is so blue across the bay. The manatee swims so near. What shines will rust and what stands will fall. Bacchus calls. The grapes will rot with tenderness. The waves will hum to you if you let them. A baby’s coffin is in the room with Mary. I wonder what she could say if she could speak.
UNTITLED AS TEXT Never, ever enough artbyShalenah Ivey at UNTITLED, 09 December 2018 I read this in Samuel L. Jackson’s voice. It made it all the more real, all the more crucial, all the more potent. Dreams are free, motherfucker. Unfortunately, I did not think to take a picture of the didactic. Yet, those words will stay with me. The Untitled Art fair was sincerely worth the last four years I failed to make it to Art Basel. I refuse to lament on the past, however, and I firmly believe everything happens in the time in which it is supposed to happen. Thus, I am only grateful I experienced what I did today. Not only what but when. When and also with who. The first steps into the Untitled fair were nothing short of captivating. My remaining steps proved to be increasingly special. The art curated was as cutting edge as it was promised to be. It is both inspiring and comforting to be surrounded by such talent and to know that people are in this world creating endlessly. Dreams are free, motherfucker! But for how long? What do I dream? I dream of Spain and of love and blue skies and of eternity and true happiness and of empty sun-glinted beaches. The color blue has permeated the day. My favorite color. Today, I asked, “How long does it take for the the sun to set on Jupiter?” I was told that I took the sun when I left.
MARGULIES AS TEXT Magnificent Margulies by Shalenah Ivey at Margulies Collection, 24 February 2019 I paused, perplexed in front of an iridescent sculpture. I stood, unsettled in the presence of concrete. I felt, touched by the bygone world of my grandmother in a single photo. Two young black boys carrying ice blocks, barefoot down a country road. These instances were just a fraction of my experiences at the Margulies Collection at the Warehouse. More than just a trip to the collection, our class had the privilege to experience a personal tour by Mr. Martin Margulies, owner of the institution. His smile was a spark. His demeanor was modest. There was a certainty in his hearty voice that drew me in, compelling me to listen attentively to his words throughout the afternoon. He asked us what is the value of beauty and what is it that makes something art. There were hundreds of millions of dollars worth of art surrounding us yet the tour with Mr. Margulies had the warmth of someone showing us their home. Each piece was purposeful and weighted in it space. Each room was a world of its own. A wonderfully weird diner scene, an image of Americana. The solitude of a New York bus rider. A space with infinite reflections, infinite realities. What does it mean when the depths of wonder know no bounds?
ICA AS TEXT Listen to the Beat by Shalenah Ivey ICA Miami, 22 March 2019 We musn’t forget that art is alive. That it is a force that moves and breathes like you and I. Sometimes it mourns and is imbued with grief. Other times, it gives birth to elated dreams. If we are still enough and if we are open enough, we can hear the beating of its heart. Art is the most special when it makes us hear our own. When it unifies us and seals as one, even if the moments are fast and few. At the Institute of Contemporary Art, Miami, I felt the works of art viewed by my class erase visages and barriers. Abstracted visions and the frivolity of reality slowly stripped away at us until all that showed was a naked and naive innocence of wonder. Larry Bell’s minimalist world took us to another plane. In blackness, our bodies were erased, but there was still touch and voice. A dimension of soul and sound. He prepared us by taking away our shadows. He made a figment of our reflections. We were baptized in a pool of vulnerability. The third floor of the ICA connected us to a woman’s world and we were pierced by the female gaze. Judy Chicago’s works reminded me of a rebirth. Our blood and bodies returned to us. The tactile and the red physicality of what it means to be alive. Emotions, glorious and ghastly. At the center of this all, the heart. Don’t try to escape its sound.
RUBELL AS TEXT Bite Me by Shalenah Ivey at Rubell Family Collection, 04 April 2019 Someone said to burn it down. Someone else said the piece was totally disturbing. Another simply wrote, “Perfection.” These are comments taken from the Rubell Collection’s Instagram post of Tschabalala Self’s Untitled (2017) mixed media canvas. I’m not sure if I love it or hate it. Perhaps it is both. Perhaps I love only her. But does it even matter? I see a woman in full possession of herself. The divinity of Venus. I see a crude caricature. An image steeped in a ugly history, an ugly present. I think of Sarah Baartman. A slave to her body while also having her humanity raped. I think of women in music videos, treated as nothing more than a prop. I think of the girls who twerk in front of the mirror, falling in love with themselves. What is this vessel of bone and fat and skin? The woman who is unashamed of her body is a dangerous weapon. The woman who revels in her own sublimity and her own imperfections. Whatever you think of her, our lady is a gun and a goddess. She is not for consumption and if you disagree, you can bite me.
DEERING AS TEXT For all that is Human by Shalenah Ivey at Deering Estate, 20 April 2019 Shell had the beauty of ivory in my hand. I was hushed then humbled by what it is and what it means to be human. When stepping into the Cutler Fossil site at the Deering Estate, my classmates and I were told to quiet ourselves. I did so and absorbed the spirit of where I stood; a place that was home to people ten thousand years ago. We were on sacred ground. Almost overwhelming was the action of imagining the souls of those who once lived here. I was the first to hold one of their tools. It was smooth and a portal to the breaths of a prehistoric people. I wish we could know their names, know their faces. Did they think of time? Was love their heaven? How did they say goodbye? I wonder if they felt sorrow. I wonder if they singed. I wonder when they looked up to the sky, if the clouds made them feel the same way as they do me? Gentle and transcended and filled with peace; in touch with all that is divine. I mark my memories with the clouds. If only, we could know theirs. These questions go unanswered, kept secret by the enigma of time. Yet, under a canopy of unending green, the knowledge that they lived is enough. Their presence is enough.
Rebecca Peterson of Vizcaya Museum and Gardens and John William Bailly are cohosting a Civic Dinner on Miami Transit Mobility for current and former FIU Honors College students. Come and share your experiences and thoughts on transportation in Miami. Thursday 01 November from 1-2 PM.
“The week of October 29 — November 2, the Miami-Dade TPO is hosting 50 Civic Dinners to discuss how to best increase transportation mobility options with residents and business leaders. Join an event exploring the current needs of public transportation users, the daily barriers to frequent ridership, and what it will require to develop and maintain a world-class transportation system.”
Vizcaya is providing complimentary admission and complimentary lunch. Vizcaya is also giving each participant 2 free tickets to one of their upcoming night events (including Gardens by Moonlight!).
All participants will receive:
1. Free admission to Vizcaya Museum & Gardens
2. Free lunch provided by Vizcaya
3. Two free tickets to a future Vizcaya Program event.
This event is organized by Civic Dinners for the Miami-Dade Transportation Planning Organization. This is your chance to help frame the future of Miami. Be a part of the Miami conversation.
Space is limited. You must request an invitation from Professor Bailly (firstname.lastname@example.org) and then RSVP on the Civic Dinners website.
OPENING RECEPTION ON THURSDAY, DECEMBER 7, FROM 18:00-21:00
FREE AND OPEN TO THE PUBLIC
MIAMI, FL (December 2017) LnS GALLERY continues its exhibition season with the grand opening of OOLITE, a collective exhibit that includes the work of an eclectic group of 12 artists working in South Florida, upon a foundation of oolite. The show features the work of John William Bailly, Jennifer Basile, Tim Buwalda, Robert DeYoung, Jessie Laino, Gabriela Noelle, William Osorio, Arturo Rodríguez, César Trasobares, Trek6, Tony Vazquez-Figueroa, Sinuhe Vega Negrin, and is accompanied by the LnS Journal with an insightful essay by CAROL DAMIAN, Ph.D.
As Dr. Carol Damian explains, “When presented with the idea of using oolite as the focus of an exhibition, each artist considered the stone from a different perspective related to their own memories and practice and to a new historical and ecological view of their surroundings that they may have taken for granted, but now merit artistic consideration. The shapes of the stones, oval and smooth, are the most basic units to appear in much of the work in the exhibition, especially as they are cemented into our familiar keystone or coral rock.”
“The story of oolite has become an artistic opportunity with results that celebrate the bedrock of Florida and the remarkable diversity of materials, artistic and structural, that have come together over the years. Miami is the epicenter of the most contemporary art scene in the state, and the construction boom that seems to last decades, will always be built upon oolite, beyond the foundations and onto the most recognizable features of buildings old and new,” adds Dr. Damian.
Oölitic limestone, also known as Coral Rock, is one of the most historic building materials native to our area. It has been used since the mid-19th century, in the form of architecture, sculptures and more, inspiring artists, architects and visionaries. Notable designs and structures in “oolite” include Merrick House, the Coconut Grove Women’s Club, Coral Gables City Hall, the Coral Gables Museum, Vizcaya, the Venetian Pool, Coral Castle Museum and Sculpture Garden, and Biscayne Bay Yacht Club to name a few.
“Considered a unique material, it is precisely its distinctive and artistic qualities that sparked our interest in this subject, and further offered inspiration for our artists, who embraced this thematic presentation with incredible passion and gusto,” say Luisa and Sergio. “Please join us as we embark on this encounter and exploration of Oolite.”
SPECIAL HOURS DURING ARTS WEEK
Tuesday, Thursday, Friday 9:00am-11:00am
ABOUT THE GALLERY
LnS is a new multi-use art space specializing in contemporary art with a focus on Miami-based artists. Guided by and named after the gallerist team of Luisa Lignarolo and Sergio Cernuda, partners in marriage and business, the space in anchored in a spirit of inclusive creativity attuned to the cultural pulse of South Florida. Located in Coconut Grove, within walking distance from the Coconut Grove Metrorail Station, the 5000-square foot space provides a showcase for unique forms of expression through curated, comprehensive catalogued exhibitions, site-installations and cultural gatherings.
The gallery and its team of specialists offer assistance in framing, conservation, display and art transportation services. In addition to expertise in secondary markets and established relationships with auction networks, Luisa and Sergio specialize in personalized art advisement, appraisals, and market analysis for individuals and businesses.
“10,000 Years of Miami” is in the Central Terminal Gallery in Miami International Airport. Travelers in Concourse D & E can access the gallery.
JW Bailly’s exhibition “10,000 Years of Miami” is in the Central Terminal Gallery just past the Concourse E security checkpoint. When traveling, the exhibition is accessible from Concourse D or E. See more images of the exhibition here.
“10,000 Years of Miami” at Miami International Airport
By Gendry Sherer, Director & Curator, Airport Fine Arts & Cultural Affairs
John William Bailly is a painter, printmaker and traveler whose work explores issues of origin, history, cultural and geographical identity. Most of the paintings on view here were first exhibited at The Charles Deering Estate where the artist conceived the work through academic and field research as an Artist-in-Residence. Located along the edge of Biscayne Bay in Miami-Dade, the Deering Estate is an environmental, archaeological and historic preserve that broadened the artist’s perception of Miami’s history. His travels and research throughout Europe and specifically at Palau Maricel in Sitges in Catalonia, Spain further led Bailly to examine our transatlantic, cultural and biological relationships between Europe and the Americas.
10,000 Years of Miami is the artist’s reflection on his journey of self-discovery, and his rediscovery of Miami’s rich and diverse history. It is our hope that this exhibition challenges the notion of what the popular perception of Miami is and its reality; that it engages us all in self-reflection and brings awareness of our interconnectedness.
“I AM MIAMI” by artist John William Bailly invites visitors to HistoryMiami to bring printed photos of themselves or others from Miami to collage onto the wall of the artwork. As the exhibition progresses the work will evolve to reflect not just the history of Miami, but also the memory of the visitors to the exhibition “MemoryLab 2017” at HistoryMiami Museum.
So, bring a photo of yourself, a loved one, or someone you feel is important and be a part of Miami history.
MemoryLab is a group exhibition, curated by Kevin Arrow and Barron Sherer of Obsolete Media Miami OMM. The exhibition runs from March 9 to April 16, 2017.
WHAT: Collage component of “I Am Miami” WHEN: Free Saturday, March 11, 2017, from 10:00-17:00. WHERE: HistoryMiami Museum, 101 West Flagler Street, Miami, FL COST: HistoryMiami Museum Free Saturday is free and open to public. FORMAT: Photos should be approximately 4 x 6 inches. Please cut off any blank paper surrounding printed images. If a photo is of sentimental value to you, please bring a copy of it.
HistoryMiami Museum, the Lynn and Louis Wolfson II Florida Moving Image Archives at Miami Dade College, and Obsolete Media Miami OMM are proud to partner on MemoryLab, a gallery-based “laboratory” for exploring the concept of memory. Using the collections of our three organizations, artists are creating new work for this innovative lab. Join HistoryMiami for drinks and appetizers as we open this can’t miss exhibition. #MemoryLab2017
The exhibition will be open to the public, March 9 through April 16, 2017.
Daily admission to MemoryLab is $10 for adults, $5 for children 6-12, $8 for students (with valid ID), and free for HistoryMiami members and children under 6.
Exhibition hours are Monday through Saturday, 10 a.m. to 5 p.m., and Sunday 12 to 5 p.m. MemoryLab is located at HistoryMiami Museum on 101 West Flagler Street in downtown Miami. Parking is available at the Cultural Center Parking Garage located at 50 NW 2nd Avenue.