Visual Arts

Can’t-miss artworks on display in July in South Florida

Lydia Okumura’s Untitled I, at Piero Atchugarry Gallery.
Lydia Okumura’s Untitled I, at Piero Atchugarry Gallery.

“Women Geometers,” Piero Atchugarry Gallery

If art lovers in Miami don’t know the importance that Latin America played in the development of geometric abstraction, they are woefully ignorant, as it is one of the most significant contributors to 20th century art. That women played such a large role, however, is not as well known. The new Atchugarry gallery is showcasing 12 pioneering female geometric abstract artists, from across the continent, who wove mathematics and philosophy into their unique visions in the genre. But these artists, including the great Venezuelan Gego and her famed kinetic line sculptures, should not be pigeonholed exclusively as feminist or Latin creators, as their work had a universal impact; through Sep. 14;

“WORD PLAY: Language as Medium” Bonnier Gallery

The gallery’s summer group show features six artists who use words, in various forms, as the basis of their work — exploring how language functions, how meaning is comprehended. Some of the pieces are narrative, others more abstract, incorporating full sentences and texts or breaking down language through visual optics, poetry and performance, through basic oils and canvas to video and computer generations. All of them, according to the gallery, “challenge the viewer to bring life and meaning to letters, punctuation and text.” Through July 20,

“Within Time,” Spinello Projects (photo of Agustina Woodgate and Eddie Arroyo, by Elliot Jimenez)

The much-loved and well-respected Spinello Projects has reopened in Allappattah, with a show of the only two locals in New York’s Whitney Biennial, Eddie Arroyo and Agustina Woodgate. Both were lauded for their Whitney contributions by the New York Times, The New Yorker and the Wall Street Journal. Here, Arroyo is showing paintings from his Developer's Survey series, a “conversation” between Miami and New York regarding the disparities of neighborhood prosperity in the current social economic moment. Woodgate is unveiling a new wall-clock sculpture, part of her National Time series. It references a master-slave relationship, where a single, digital master clock sends power signals to a series of analog “slave” clocks, commanding synchronized measure across an entire institution. Through July 31,

Eric-Paul Riege “Hólǫ́—it xistz,” ICA Miami

In his first solo museum outing, Riege grounds much of his sculptural work on Navajo philosophy and culture. His weavings — which use myth and storytelling to also honor a family lineage that includes generations of women weavers — hang from looms, creating “an immersive and charged space influenced by ceremonial sites and dwellings, such as the traditional hogan made of logs and mud,” according to the liner notes. (“Hólǫ́” means “to exist” in the Navajo language). Riege will wear a homemade piece of regalia during performances spread throughout the run of the exhibit. Through Nov. 24,

“A House Divided” by Billie Grace Lynn, Lowe Art Museum, University of Miami

In this quirky exhibit, UM associate professor Lynn taps into controversial topical issues with her 26-foot-tall hoodie and 18-foot kinetic obelisk modeled on the iconic Washington monument. The oversized, towering hoodie is a symbol of black men seen as the other, as a sometimes-menacing stereotype. Says Lynn, “creating a huge hoodie is not only a metaphor for the size of the problem, but also for the difficulty of being able to empathize with people of different backgrounds. This work is a part of the large reckoning and healing concerning racial injustice that our country is currently undergoing.” The obelisk is meant to provoke conversation about the state of political discourse and the fragility of our democracy. Through Sept. 15;