Ten Best Art Galleries in Little Haiti

> Read the full Miami New Times Article here

“…in refusing to “dumb down” the work, Solomon has created a loyal following via a string of sophisticated exhibits where spectators are just as likely to see a series of highly conceptual, illustrative paintings as a set of visceral, material-driven sculptures. Decamping to Little Haiti has helped maintain the serious, creative vision of this forward-thinking space.

“Running through March and April are dual solo shows: “Whenever Forever” by Jennifer LeFort and “Revelatory Dérive” by Andrew Casto. LeFort’s innovative canvases bristle and glow with assertive neon hues, a space the artist says is “both pre-tech and post-virtual at once.” Casto’s alien sculptural forms mimic erosion and geological processes, but their unconventional coloring and warped compositions seek to invoke “the phenomenological ramifications of responsibilities and stress [that] shape us physically, mentally, and emotionally.”

Andrew Casto // Assemblage 80
2015, 5 x 7 x 11 inches, ceramic, luster

Jennifer Lefort // Without Conformity
2016, 84 x 60 inches, oil and spray paint on canvas

Material Catch featured in Wall Street International

Dominique Labauvie‘s Material Catch has been featured in the art section of Wall Street International.

>>Read the full article here

Material Catch is on view through March 4th, along with Michael Conrads’ Celebrating Opposites. 

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

Material Catch, Exhibition view

“An Inherent View of the World” by Juana Valdes to be acquired by the Perez art museum

We are thrilled to announce that Juana Valdes‘ “An Inherent View of the World” has been purchased by the Pérez Art Museum in Miami, FL. This installation was on exhibit at the gallery October 23–December 11, 2015. Please join us in congratulating Juana, and read more about her work below. Mindy Solomon Gallery will be featuring a solo exhibition of Juana’s work at Zona Maco in Mexico City, where she continues to explore the idea of object as metaphor for history and identity.


Multi-media installation artist Juana Valdes uses her training in Western post-modern philosophy, printmaking, photography, sculpture and ceramics to explore issues of transculturation, pigmentocracy, history and memory. In the past, Valdes worked with maps, ships and sailing motifs to investigate the complexities of identity in the face of shifting national/political borders as well as the history of human migration. More recently, Valdes began working with bone china porcelain, traditionally distinguished and valued for its whiteness and translucency and documented as an important commodity in the history of trade between Europe and Asia. By inserting pigments during fabrication into the clay and manipulating its chemical composition, Valdes created artworks which serve as metaphors for the mythology of whiteness in our society. In the current project on view, Valdes encourages us to ponder the history of global trade and colonialism by presenting a monumental installation of vintage china and domestic wares she has collected from antiques shops, flea markets and estate sales/auctions.


The business of selling and trading china has been intrinsically tied to European
overseas expeditions and transmigrations, and the first public company to issue
negotiable shares – and the model for many of today’s corporations – was a Dutch
trading company created in 1602 for selling china from Asia to European countries. The
Dutch East India Company’s hugely successful trade with Asian countries made the
Dutch a major global commercial trader and led to the formation of other trading
companies eager to participate in the highly profitable business. Over time, new
industries resulted when European companies began manufacturing domestic china and
many Asian companies likewise arose to produce china specifically for European export.
Valdes displays examples of china made in different countries and time periods, and
each piece embodies the cultural values of its time/place, reflecting aesthetic and
economic decisions made by the manufacturer and by consumers. Not to be forgotten in
this economic chain of activities is the woman who purchased these domestic wares to
be used by her family, and Valdes invites us to think about how the design and
decorative patterns on plates, cups and other pieces of china often provided children in
these households with their first aesthetic experience.

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Not surprisingly, all this historic economic activity included constantly searching for
competitive business advantages, especially the advantage gained when entities can take
resources without paying for them. Colonialism, a natural offshoot of global trading, has
resulted in skewed racial relationships between lighter-skinned people and the darkerskinned
— with profound consequences that impact us today. By presenting this
Duchampian artwork created with the collection and arrangement of seemingly simple
domestic wares, Valdes offers us an opportunity to engage with and re-examine the
myriad issues available here: globalization, hybridization, economics, labor production,
cultural identity, migration, valuation, aesthetics, collecting, selling, women’s history and
even the possibilities of art.

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One of the Season’s Most Anticipated Openings

Einar and Jamex de la Torre are among the featured artists in this Miami New Times article focusing on collections confronting controversial issues. If you missed the opening reception and the launch of Cheech Marin’s new mezcal Tres Papalote,® come in to the gallery to experience The Flaunting of Youth by Einar and Jamex de la Torre and Raw Horse Power by Generic Art Solutions. On view through January 14, 2017.

“They are among the most important Chicano or “Border Baroque” artists in the world today.”
– Lena Katz, Miami New Times


Einar and Jamex de la Torre // Work Ethics 2016, 68.25 x 50.25 x 3 inches, Lenticular Print in LED Lightbox


“Political Fold” and “About the Absolute Truth” Top Picks in Miami Press

Cuban artists Geandy Pavón and José Manuel Mesías have received top picks from several Miami publications including The Culture Trip, Cuban Art News, Miami New Times, El Nuevo Herald, and the Miami Art Guide.  Don’t miss “Political Fold” and “About the Absolute Truth,” on view at Mindy Solomon Gallery through August 13th.

My Mother // 2008 // 56 x 77 inches // Acrylic, pastel, marker, colored pencil, pencil, paper, canvas and masonite

José Manuel Mesías // Mi Madre // 2008 // 53 x 35.5 inches // Acrylic, pastel, marker, smalt, paper, masonite

JGeandy Pavon // Wrinkled Wing // 2015 // 30 x 40 inches // oil and acrylic on canvas

Geandy Pavón // Wrinkled Wing // 2015 // 30 x 40 inches // oil and acrylic on canvas

Kobayashi & Pagk: Art Circuit’s CRITIC’S CHOICE

We are honored that Osamu Kobayashi and Paul Pagk were selected as one of May’s five Critic’s Choice features by Claire Breukel on Art Circuits this week. This show was a beautiful union of two artists who share a love of the materiality of paint, the delights of vibrant color, and the varieties of spatial experience found in abstraction.

Check out the Art Circuits homepage this month for featured images by Kobayashi and Pagk. You can read more about the exhibit here.

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Sneak Peek of Art Wynwood 2016

Anticipation is high for this year’s Art Wynwood taking place February 11-16, and we are thrilled to be part of a featured booth curated by MADA (Miami Art Dealers Association). Art Wynwood Director Grela Orihuela sat down with Miami New Times to talk about this year’s line-up and events:

“We’ll be showing some spectacular works by James KennedyKang Hyo Lee, and Osamu Kobayashi.”

>> Read the full interview here.

Osamu Kobayashi // Splinter // 52 x 55 inches // oil on canvas

Osamu Kobayashi // Splinter // 52 x 55 inches // oil on canvas

Ponderis, Kennedy 64x64 copy

James Kennedy // Ponderis // 64 x 64 inches // Acrylic polymer on Incised Eucalyptus Masonite, Walnut Framed

Kang Hyo Lee // Puncheong Mountain Water //  71 x 65 x 66 cm // Ceramic with ash glaze

Kang Hyo Lee // Puncheong Mountain Water // 71 x 65 x 66 cm // Ceramic with ash glaze