A Nicaraguan activist in Florida sells paintings by some of the Nicaraguan refugees who fled their country to Costa Rica. The profits are being used to pay for rent in safe houses, and to buy food, medicine and other basics.
Coral Gables selected Miami artist Jessy Nite and her Sun Stories temporary art installation of colored plexiglass letters that create sayings about the city as its Umbrella Sky follow-up on Giralda Plaza.
Entrepreneur Moishe Mana, who bought 45 properties along and abutting Miami’s Flagler Street, says he’s finally ready to act. His first move: an art and design university will move to the downtown district.
A new design studio at the University of Miami, designed by Arquitectonica, is named 2018 Building of the Year by readers of an architectural journal. The building is a shared workspace for architecture students and faculty.
After a long rocky patch, MOCA-North Miami is getting international acclaim under director Chana Budgazad Sheldon. Its current show, “AfriCobra: Messages to the People” has been accepted into the Venice Biennale.
The 35-year-old ArtCenter/South Florida is building a new $30 million facility in Miami’s Little River neighborhood and renaming the organization Oolite Arts. An international search will be conducted for an architect.
Coral Gables wants another art installation over Giralda Plaza like 2018’s Umbrella Sky selfie sensation. The city’s searching for an artist for a public art installation on the pedestrian promenade this summer.
A nasty leadership split at the struggling, publicly funded Cuban museum in Miami has exposed festering problems, including unpaid debts, a nepotism allegation and questions over its spending of taxpayer grants.
David Wolkowsky, the stylish developer who helped shape Key West, after his death donated several paintings by Tennessee Williams and sketches by Mario Sanchez to the Key West Arts and Historical Society.
As Art Basel descended upon Miami with an army of wealthy global art collectors, it’s useful to consider how the art market drives billions of dollars worth of economic activity not only locally, but around the world.
Arturo Rodríguez reemerges, much like Delacroix in the Salon of 1859: a 63-year-old painter with an impressive career, but who does not rest on his laurels, instead exploring and taking risks, all in the name of painting and its possibilities.