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 Masters 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. Which side effect would you prefer?
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 (email@example.com) 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.