A Mass on Foreign Ground // New World School of the Arts Select BFA Graduate Show, Curated by Eddie Negron

Featuring work by Ani Gonzalez, Joshua Veasey, Elizabeth Newberry, Richard Sanchez, German Caceres, and Jessica Martin, this special exhibition of select BFA graduates was influenced by a collective trip through China sponsored by New World School of the Arts. Curated by Miami-based gallery owner Eddie Negron, the artists manifest themes of placement and displacement through the relativity of nearness and remoteness.  Join us for an opening reception with these six recent local graduates as they make the transition from pupil to professional.

On View August 20-September 17
Opening Reception // Saturday, August 20th 7-9pm

>> Be sure to RSVP to our Facebook event for updates and previews from the artists.

Richard Sanchez // Earthbound 82 x 80 inches, oil wax and paper on panel

Richard Sanchez // Earthbound
82 x 80 inches, oil wax and paper on panel

Jessica Martin // Stuffed Spring, 2016 96 x 102 inches, laquer, paintstick, charcoal, and oil on plywood panel

Jessica Martin // Stuffed Spring, 2016
96 x 102 inches, laquer, paintstick, charcoal, and oil on plywood panel

German Caceres (Richard Spit) // Baby's First Word Was Dada 2016, photograph

German Caceres (Richard Spit) // Baby’s First Word Was Dada
2016, photograph

Joshua Veasey // NE 82nd Street and NE 7th Avenue 2016, dimensions variable dry glazed ceramic, limestone, foam, latex, thermoplastic adhesive, pigment

Joshua Veasey // NE 82nd Street and NE 7th Avenue
2016, dimensions variable
dry glazed ceramic, limestone, foam, latex, thermoplastic adhesive, pigment

Elizabeth Newberry // Saga (Seesaw) 32 x 24 inches, archival pigment print

Elizabeth Newberry // Saga (Seesaw)
32 x 24 inches, archival pigment print

Ani Gonzalez // Absent Lovers 2016, 41 x 41 inches, oil on canvas

Ani Gonzalez // Absent Lovers
2016, 41 x 41 inches, oil on canvas

Jeremy Chandler’s ‘Spotted at First Light’ featured in Miami Art Guide

There’s still time to experience Jeremy Chadler’s ‘Spotted at First Light,’ on view through March 19th. Recently featured in Miami Art Guide, the platform describes the series as work that “repurpose methods utilized by hunting and military culture, converting otherwise weaponized techniques into benign aesthetic devices, through ways of storytelling.”

>> Read the full article here. 

Jeremy Chandler // Untitled 2015 46 x 57.5 inches Archival Ink-jet Print

Jeremy Chandler // Untitled
2015
46 x 57.5 inches
Archival Ink-jet Print

Jeremy Chandler // Self-Immolation Test 2015 57.5 x 46 inches Archival Ink-jet Print

Jeremy Chandler // Self-Immolation Test
2015
57.5 x 46 inches
Archival Ink-jet Print

 

The Daily Wood Featured Event // Sothern, Vidler, Valdes

We are thrilled The Daily Wood chose to feature these exhibitions! Haven’t seen “The Way We See It” or “An Inherent View of the World” yet? Visit us in Little River through December 11th to experience these works up close.

>>> View the full article here. <<<

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Muir Vidler // Debbie Dogbite // 2014 // 20 x 24 inches // c-type print, edition of 6

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Scot Sothern // Baby Boomer // 2011 // 11 x 17 inches // Pigment print

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Juana Valdes // An Inherent View of the World // 2015-ongoing // Collected decorative objects made of porcelain, bone china, glass, and wood documented as still life settings

The Way We See It: The Photography of Scot Sothern and Muir Vidler // October 23 – December 11

Mindy Solomon Gallery is pleased to present ‘The Way We See It,’ a new exhibition of photography by Scot Sothern and Muir Vidler. Both artists exemplify the photographer as observer and reporter by choosing subjects that are unique and fully authentic, living lives that exist in some instances outside of the cultural mainstream, finding comfort in neighborhoods and communities where individuality can be embraced.

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Opening Reception with the artists: Friday, October 23rd, from 6-9pm.
A reading from ‘Curb Service’ and ‘Sad City’ with Scot Sothern: Saturday, October 24th, from 1-2pm.

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Scot Sothern // Martha // 2012 // 11 x 17 inches // Pigment print

Artist Scot Sothern states in his memoir Lowlife: “I know a place not far from here where I can take your picture. I can give you twenty bucks.” Sothern is inextricably bound to the street. He follows the comings and goings of the unnoticed with his eyes and his heart. In Lowlife, we learn through his photographic narrative to understand and empathize with the struggles of a community of people often harshly judged and overlooked.

Scot Sothern // Superman Dreams // 2011 // 11 x 17 inches // Pigment print

Scot Sothern // Superman Dreams // 2011 // 11 x 17 inches // Pigment print

His newest body of work, ‘Sad City’ focuses on not just the women and she-males of the night, but the discarded and disenfranchised that dwell in plain sight: “It’s 1978 and I’m renting a clapboard dump high on a Silver Lake hill looking out toward Hollywood. The guy next door, on the other side of the wall, tells me he used to be a Black Panther and he did time for murder and he steals cars for a living. I ask him if he can get me a car in the two hundred dollar price range and he tells me he’ll keep an eye out. He lives with his sister who is a whore and totally blind. I ask her if she’s ever accidently climbs into a cop’s car but she doesn’t have much of a sense of humor.

Scot Sothern // The Neighbors // 2012 // 11 x 17 inches // Pigment print

Scot Sothern // The Neighbors // 2012 // 11 x 17 inches // Pigment print

Late one quiet Friday night I’m reading and have the door open when the sister next door starts screaming. It’s not my business but it continues for a while so I go next door and knock. The Black Panther opens the door and apologizes for the noise. His sister is on the floor in the middle of the room pulling her hair and beating on her head and screaming. I ask him if she’s alright and he says she will be in a little while. I go back to my place and open a beer and a little while later she stops screaming.”

Scot Sothern // Duck // 2011 // 11 x 17 inches // Pigment print

Scot Sothern // Duck // 2011 // 11 x 17 inches // Pigment print

What inspired the shift in Sothern’s newest works, changing focus away from photographing prostitutes in hotel rooms to examining the often unseen parts of life through another lens? He says: “After years of dark one-on-one impromptu portraits it was time for a change: technologically, by spurning film for digital—and physically, by moving to the periphery of the action. My task now is to find from a distance what I previously found in eye contact and my own interference with my models. I’m looking for single-frame noir movies in Technicolor with bittersweet endings.

Scot Sothern // Playing in Traffic // 2011 // 11 x 17 inches // Pigment print

Scot Sothern // Playing in Traffic // 2011 // 11 x 17 inches // Pigment print

The words accompanying the images should open an interior dialogue like a flashbulb opens shadow. Personal confessions and bare-naked exploitations are used to elicit empathy with bright and pretty colors to soothe the guilt. Sad City is a place where no one wants to live and the population never stops growing.”

The particulars of each image and story might be unappealing to those of us who live in communities of affluence or even middle class comfort, but the struggles of life on the street have a logic and a grittiness that is all around us. Sothern cares about his subjects, legitimizing their histories of anger and frustration.

Scot Sothern // The Gates of Hell 1 // 2011 // 11 x 17 inches // Pigment print

Scot Sothern // The Gates of Hell 1 // 2011 // 11 x 17 inches // Pigment print


Muir Vidler // Pooky’s Salon 1 // 2015 // 20 x 24 inches // Digital C-Type Print, Edition of 6

Muir Vidler // Pooky’s Salon 1 // 2015 // 20 x 24 inches // Digital C-Type Print, Edition of 6

Muir Vidler loves humor and irony. A photojournalist by profession, he observes locals while on assignment—searching for the real rather than the staged. He likes to contradict preconceived notions about what we (the outsiders) view a culture to be. One example: while traveling in Thailand, he visits Pooky’s Salon on Soi 6 in Pattaya. This is a place where transexual prostitutes go to have their hair and make-up done. They pay a set fee for the initial work in the morning and a couple of touch-ups during the evening. Vidler embraces the vibrancy and beauty of his subjects. He highlights their efforts to embrace hyper-feminine sexuality, allowing them to be provocative and demure simultaneously.

Muir Vidler // Purim, London 2 // 2014 // 20 x 24 inches // C-Print, Edition of 6

Muir Vidler // Purim, London 2 // 2014 // 20 x 24 inches // C-Print, Edition of 6

The challenges of each subject’s daily life become less apparent through the humanizing lens of our visual guides. Mindy Solomon Gallery is pleased to present the work of these talented and compassionate photographers.

Muir Vidler // Ian Baillie, Kilmarnock // 2014 // 20 x 24 inches // C-Type Print

Muir Vidler // Ian Baillie, Kilmarnock // 2014 // 20 x 24 inches // C-Type Print

Muir Vidler on Slate.com

Muir Vidler was featured in an evocative spread on Slate.com entitled “These Photos Aren’t Trying to Tell You Anything—That’s What Makes Them So Great.”

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In the article Muir says: “I’m weary of any art form that tries to tell you something. I certainly never set out to say I want you to think this or this is what I’m trying to say. I just realized some personal projects had that theme after having done a couple. I like that theme and wanted to find new work with that theme in mind. I’m not trying to say anything with it. I like the idea of art in general raising more questions than giving answers, I like for people to ask what’s happening.”

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Don’t miss “The Way We See It”
Works by Muir Vidler // On view October 23
Mindy Solomon’ s NEW LOCATION IN LITTLE RIVER!
8397 NE 2nd Ave, Miami, FL 33138

>> See more Muir Vidler at Mindy Solomon Gallery <<

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Muir Vidler // Forever Young PR Around the World

Mindy Solomon Gallery artist Muir Vidler was featured in media coverage across the globe this week:  ABC News, The Guardian front page, Beautiful/Decay, and Feature Shoot.  Journalists took special interest in his series of photographs of “Britain’s aging rebels and mavericks.”

Muir Vidler // Isobel Varley

Muir Vidler // Isobel Varley

“After seeing a man in his 60s wearing a leather harness dancing at a gay club, photographer Muir Vidler realised he wanted to celebrate the people that never let their age define who they are. From the ‘world’s most-tattooed senior woman’ to a Jurassic mod, here are his band of rebels.”
-The Guardian

 

Muir Vidler // Mick and Peggy Warner

Muir Vidler // Mick and Peggy Warner

Muir Vidler has an unusual portrait project. “I had the idea to shoot portraits of aging rebels and mavericks after meeting Adrian Delgoffe in a club in Brixton called Love Muscle. He was dancing by himself wearing a leather harness and chains and I thought it was great that he was doing that in his 60’s rather than sitting at home, covered in biscuit crumbs, wedged into an armchair in front of the TV. I wanted to take photos that celebrate the people who don’t let age define who they are and how they live their lives.”
-ABC News

Muir Vidler‘s work, along with Scot Sothern‘s, will be on exhibition in The Way We See It from October 23rd through December 11th at Mindy Solomon Gallery’s new location in Little River: 8397 NE 2nd Avenue, Miami, FL.

Take a look at Muir’s new series of animals from the Isle of Muck in Scotland, a departure from his usual photographic subjects.

More Muir Vidler at Mindy Solomon Gallery //

Muir Vidler // New Photographs

We are thrilled to introduce these stunning photographs from Mindy Solomon Gallery artist Muir Vidler. These images are a departure; after you’ve perused, check out Muir’s artist page on our website to see how these compare with his “usual suspects.” In his own words: “This summer I briefly, unintentionally became a wildlife photographer.”

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Cows, Beach, Isle of Muck // 2014 // Digital C-Type Print, Edition of 6 // 20 x 24 inches

“I was shooting on the Isle of Muck, a small privately owned island in the inner Hebrides off the west coast of Scotland. The population of the island is about 35, so after 3 or 4 days I was running out of people to photograph and found myself photographing horses and cows a lot.”

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Horse, Isle of Muck // 2014 // Digital C-Type Print, Edition of 6 // 20 x 24 inches

“More than anything, I like to photograph people but I realised that it can be good to shoot cows too—you don’t have to talk to them and they’re usually more flexible with their schedule.”

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Sheep, Isle of Muck // 2014 // Digital C-Type Print, Edition of 6 // 20 x 24 inches