Sunday, September 6, 2026

What Does It Mean to Inhabit a Body Shaped by Illness? Dana Donaty’s “Florida Blue, The Revenue Stream”

 

Dana Donaty's ‘Florida Blue, The Revenue Stream’

South Florida contemporary artist Dana Donaty explores illness, women’s health, historical erasure, and the systems that shape how women’s bodies are understood through a new punch needle work created during her time at the Chanorth Art Residency. 

What does it mean to inhabit a body shaped by illness?

For artist Dana, that question has become the starting point for an ongoing investigation into the ways illness can transform not only the body, but also the experience of time, relationships, and belonging.

Florida Blue, The Revenue Stream, completed in 2026 during Dana’s time at the Chanorth Art Residency, is part of a new punch needle series exploring those questions through material, research, grief, rage, and memory.

Over the past decade, illness has changed far more than Dana’s body. It has altered how she experiences the world around her, prompting a deeper investigation into the history of women’s health, medicine, and the ways women have been understood—or misunderstood—within medical and social systems.

“I started there, but the research kept expanding,” Dana explains.

As she moved through those histories, she began to recognize that experiences that had initially felt deeply personal were also part of a much longer lineage of exclusion, dismissal, and erasure.

And, unexpectedly, that realization brought some comfort.

Doctors have often made it sound as though she is uniquely complicated rather than acknowledging the limits of medical knowledge and research.

“Different century. Same shit.”

What began as an attempt to make sense of her own experience has therefore become a broader investigation of the historical and systemic forces that shape how women’s bodies are understood, cared for, and remembered.


Dan Donaty's ‘Florida Blue, The Revenue Stream’ Side 2


Florida Blue, The Revenue Stream

Created in 2026, Florida Blue, The Revenue Stream combines acrylic yarn, Marino wool, Mongolian cashmere, pink mirrored plexiglass, twisted nylon mason line, grief, and rage.

The work unfolds across two sides.

Side 1 is grounded in the present, where illness can pull the body into systems that manage rather than care. Here, the river becomes a figure for the extractive flow of contemporary healthcare.

Side 2 turns toward the past, tracing a lineage from women persecuted for their healing practices to the institutions that continue to govern women’s health today.

Together, the two sides ask a larger question: How do the currents of history move through women’s bodies?

Through the language of fiber and the physical labor of punch needle, Dana brings together personal experience, historical research, material memory, and social critique. The resulting work becomes both an exploration of her own lived experience and an examination of the larger systems that have shaped women's relationships with medicine, authority, care, and the body.


Dana Donaty Studio


A Continuing Investigation

Rather than offering a single conclusion, Florida Blue, The Revenue Stream forms part of Dana’s continuing investigation into women’s health and the historical structures surrounding it.

The work connects the intimate realities of illness with a broader cultural history, asking viewers to consider what is remembered, what is erased, who is believed, and what happens when institutions continue to govern bodies without fully understanding them.

Florida Blue, The Revenue Stream is currently included in A Pixel Ring, an online exhibition presented by Field Projects Gallery and curated by @herlovelyface, @jacobrhodes74, and Elizabeth Harris.

View the exhibition:
www.fieldprojectsgallery.com/a-pixel-ring

Florida Blue, The Revenue Stream, 2026
Acrylic yarn, grief, Marino wool, Mongolian cashmere, pink mirrored plexiglass, rage, twisted nylon mason line.


Dana Donaty's ‘Florida Blue, The Revenue Stream’ detail pic


Wednesday, September 2, 2026

Must-See exhibition at PAMM, John Baldessari: The End of the Line

 

John Baldessari. Tetrad Series: What Was Seen, 1999. Inkjet print on canvas; acrylic and enamel paint on canvas, in four parts. 94 x 94 inches overall. Craig Robins Collection. © 1999–2026 John Baldessari Family Foundation. Courtesy Estate of John Baldessari; Sprüth Magers


John Baldessari: The End of the Line

August 20, 2026 – May 9, 2027


Pérez Art Museum Miami (PAMM) presents the first major survey in South Florida devoted to John Baldessari (1931–2020), a leading pioneer of conceptual art. The exhibition features a selection of forty works spanning painting, photography, video, and installation, drawn largely from the collection of Craig Robins––a close friend, champion, and one of the artist’s foremost collectors. This presentation highlights Baldessari’s foundational works from the 1960s and 1970s, the radical incineration of his own paintings, his serial approach to photography, and his lifelong investigation into the relationship between language and image.

Born in the small border town of National City, California, Baldessari began his artistic career as a painter. In the mid-1960s, he started incorporating text and photographs into his canvases, questioning the limits of painting and the traditional notions of artistic authorship. In 1970, through his Cremation Project, he burned most of the paintings he had made between 1953 and 1966, symbolically separating his early work from the conceptual practice that followed––a gesture of radical reinvention echoed the following year in I Will Not Make Any More Boring Art, one of his most iconic critiques towards the art establishment. During the following decade, he began collecting film stills, images from television, and other photographic reproductions from media. Over time, he amassed a vast archive of source material that he incorporated freely into his work, frequently obscuring faces and other details with brightly colored circles.

Beyond challenging the artistic conventions of his time, Baldessari profoundly influenced generations of artists through his teaching. He taught at the California Institute of the Arts (CalArts) from the institution’s founding in 1970 until 1988, and at the University of California, Los Angeles (UCLA), from 1996 to 2005.


Organization and Support

John Baldessari: The End of the Line is curated by Karen Grimson, Curator of the Craig Robins Collection and Director of Cultural Programming at Dacra. The exhibition at PAMM is organized by José Carlos Diaz, Senior Director of Curatorial Affairs and Chief Curator, and Fabiana A. Sotillo, Curatorial Assistant. Support from National Endowment for the Arts, Funding Arts Network, Jayne Binzer-Jacowitz and Steven Jacowitz, Constance Tolevich Fernández, Linda LaGorga, and Jane Hurt is gratefully acknowledged.

Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026 Celebrates Art, Culture & Heritage at Artgal Zim Center

 


Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026 Celebrates Art, Culture & Heritage at Artgal Zim Center

September 8–12, 2026 | Artgal Zim Center, Domboshava, Zimbabwe

Zimbabwean art, culture, identity, and heritage take center stage this September with Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026, an important new platform bringing artists and the broader cultural community together at the Artgal Zim Center in Domboshava.

Taking place from September 8–12, 2026, Tsika Dzedu will culminate in a vernissage and awards ceremony on September 12, celebrating the artists and creative voices participating in this year’s national exhibition and competition.

Following the main event, the selected artworks will remain on exhibition at the Artgal Zim Center for an additional three weeks, providing audiences with an extended opportunity to experience the work beyond the opening celebrations.

Celebrating Zimbabwean Culture

Tsika Dzedu centers on themes of culture, identity, heritage, and the traditions that continue to shape Zimbabwe. The exhibition provides artists with a platform to explore the many dimensions of Zimbabwean cultural experience while presenting their work to audiences both locally and internationally.

With the Artgal Zim Center serving as its physical cultural and educational base, the exhibition reflects Artgal’s broader mission of creating opportunities for Zimbabwean artists, expanding access to their work, and strengthening connections between local artistic production and the international art community.



Meet the Tsika Dzedu Judges

A distinguished three-person judging panel has been assembled to help select this year's winners:

Sampson Kuvenguhwa
Master Zimbabwean Sculptor

Malindi Odell
Head of Art Department, The Heritage School Zimbabwe

Leslie Johnson
Zimbabwean Artist and Arts Festival Organiser


Artgal Zim Center

Located in Domboshava, the Artgal Zim Center provides a physical home for Artgal’s growing program of exhibitions, cultural initiatives, artist opportunities, and educational activity.

Through its exhibitions and digital initiatives, Artgal.Online is developing a broader platform for contemporary Zimbabwean art—connecting artists, collectors, cultural audiences, and international communities while creating greater visibility for Zimbabwe's creative sector.

Tsika Dzedu forms an important part of that ongoing mission, bringing together artistic production and cultural heritage while creating new opportunities for Zimbabwean artists to reach wider audiences.


Discover the September Collector Journal

The latest Artgal.Online September Collector Journal expands on Tsika Dzedu, introducing the judging panel and exploring the artists, ideas, cultural heritage, Zimbabwean art, Shona sculpture, exhibitions, artist stories, collector insights, and the latest developments from the Artgal Zim Center.

Discover more about Tsika Dzedu and the latest news from Artgal.Online in the September Collector Journal, and read the full Miami Art Scene™ feature below.

Read the September Collector Journal:
https://www.artgal.online/journal-newsletter/newsletter-september/

Read the full Miami Art Scene™ feature:
https://www.themiamiartscene.com/from-domboshava-to-the-international-art-world-artgal-online-builds-a-new-platform-for-contemporary-zimbabwean-art/

Artgal.Online:
https://www.artgal.online/

Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026
September 8–12, 2026
Artgal Zim Center | Domboshava, Zimbabwe
Vernissage & Awards Ceremony: September 12, 2026
Selected artworks remain on view for an additional three weeks.



Wednesday, August 19, 2026

NSU Art Museum presents a new exhibition: Wilfredo Lam's Legacy, August 30, 2026 - February 14, 2027



Wifredo Lam's Legacy

August 30, 2026 - February 14, 2027

In Memory of Pearl Goodman 

NSU Art Museum presents a new exhibition, Wilfredo Lam's Legacy, August 30, 2026 - February 14, 2027. Born in 1902 in a sugar-cane harvesting region of Cuba, Wifredo Lam (1902-1982) was a transatlantic artist whose mixed heritage as the son of a Chinese immigrant father and Afro-Cuban mother shaped his distinct Surrealist work. Lam had a profound influence on Cuban artists. Lam’s adoption of Afro-Cuban rituals, the reclaiming of African identity, the celebration of the tropical landscape, the use of coded emblems of social and political protest, and the stylization of abstracted hybrid personages are evident in the works on view in this exhibition. Most of all, Lam’s fame as a transnational artist was a source of pride and an example of how art transcends national borders. As artist Maria Magdalena Campos-Pons (b. 1959) stated on the occasion of Lam’s recent retrospective at the Museum of Modern Art, New York, “When I was young, we were all trying to be Lam.”


Drawn exclusively from the museum’s permanent collection and the recent generous gift from Stanley and Pearl Goodman of their Latin American art collection, the exhibition includes works by Wifredo Lam, Ray Azcuy (Broward), José Bedia (Miami), María Brito, Agustín Cárdenas, Los Carpinteros, Kcho, Ana Mendieta, María Martínez-Cañas (Miami), María Magdalena Compos-Pons, and Ricardo Zulueta (Miami), among others. 


Wednesday, August 12, 2026

The Betsy Orb: “The Egg” Connecting Miami Beach’s Architectural Past and Present

 




Walk along Miami Beach's Ocean Drive and you expect to see Art Deco façades, palm trees, ocean views, and the unmistakable architecture that has made the area one of the world's most recognizable destinations. But tucked between two historic buildings is something entirely different: a futuristic, orb-shaped structure that seems almost suspended in midair.

Known as The Betsy Orb, and affectionately referred to by many as “The Egg,” the distinctive skybridge connects The Betsy's original Ocean Drive property with the former Carlton Hotel building on Collins Avenue. What makes the structure particularly fascinating is the contrast between the historic architecture surrounding it and its contemporary sculptural form. Rather than competing with the buildings, the Orb creates a visual conversation between Miami Beach's architectural past and its evolving cultural identity. The Betsy itself describes the Orb as an “orb-shaped skybridge” and highlights it alongside the property's Poetry Rail and other art and design elements. 



The Betsy's original building, located at 1440 Ocean Drive, opened in 1942 as the Betsy Ross Hotel. Designed by architect L. Murray Dixon, it is recognized as one of Miami Beach's notable examples of Colonial Revival architecture, incorporating classical details while adapting to the city's subtropical environment.

The adjacent Carlton Hotel represents another chapter in Miami Beach's architectural history, having been designed by architect Henry Hohauser. The eventual expansion of The Betsy brought these two architecturally distinct buildings together as one unified property. 

And then there is the Orb.



Instead of hiding the architectural differences between the two buildings, the expansion embraced them—introducing an entirely new contemporary element that visually and physically connects the two.

The Betsy Orb is more than a passageway between two buildings. The hotel presents it as a piece of public art, and its role within The Betsy's larger arts and culture program has become an important part of its identity. The hotel's arts programming includes exhibitions and installations within the Orb itself, demonstrating how the unusual architectural space can become a setting for contemporary creative work.




Sunday, August 9, 2026

The Institute of Contemporary Art Miami (ICA Miami) Four Rooms: Selections from ICA Miami’s Permanent Collection

 

Ming Fay, 'Money Tree Floating Vine' 1990s/2025 


Four Rooms: Selections from ICA Miami’s Permanent Collection

Special Exhibition / 2nd Floor on view April 30 – October 4, 2026


 “Four Rooms” on view at The Institute of Contemporary Art Miami (ICA Miami) assembles a suite of four exhibitions comprising works from the museum’s permanent collection, each organized by one of the museum’s curators, with a focus on recent acquisitions. The resulting presentations, which take the form of vignettes, demonstrate both the diversity and the historical depth of ICA Miami’s collection. The exhibition continues the museum’s ongoing approach to generating dialogue between newly commissioned works and works from the last fifty years and expresses the global scope of ICA Miami’s collection. 

Spirit Matter, curated by Donna Honarpisheh, Associate Curator, Art + Research, brings together diverse experimentations with material that transform matter into portals of spiritual encounter across global contexts. In an exhibition dedicated to grisaille, Gean Moreno Director, ICA Miami’s Art + Research Center, presents works that are meditations on the body and its traces, where presence, memory, and identity emerge through black-and-white photography and subtle performative gestures. Associate Curator Amanda Morgan invites viewers to reflect on intimacy and one’s relationship to the spaces of everyday life. Her exhibition brings together works that feature emotionally laden domestic objects and built environments that imply presence without depicting the human form. Finally, Alex Gartenfeld, Artistic Director, highlights a concise presentation of the museum’s wide-ranging examples of minimalism, highlighting a recent major acquisition of work by Miriam Schapiro. 

Featured artists include Larry Bell, Talia Chetrit, Anne Collier, Rose Marie Cromwell,  Kim Farkas, Ming Fay, Dan Flavin, Samuel Fosso, Paul Gardère, Ron Gorchov, Hugh Hayden, Lonnie Holley, Peter Hujar, Hudinilson Jr., Nikita Kadan, Matt Keegan, Tau Lewis, Louise Nevelson, Damián Ortega, Dalton Paula, Thomas Ruff, Miriam Schapiro, Heji Shin, Tatiana Trouvé, Kaari Upson, Sara VanDerBeek, Celia Vásquez Yui, Ai Weiwei, and Luis Fernando Zapata.

Sunday, July 26, 2026

The Contemporary Art Modern Project (CAMP Gallery) presents The Fabric of Me August 1 - 21, 2026

THE FABRIC OF ME
AUGUST 1 - AUGUST 21, 2026


The Contemporary Art Modern Project is elated to announce a special summer exhibition in collaboration with Aurora Molina and her students at Play Studio Artelier. At Play Studio Artelier, they believe every child is an artist with a unique voice. Under the guidance of artist and educator Aurora Molina, our students are invited to explore contemporary art through curiosity, experimentation, and the transformative language of fiber. On view August 1 - 21, 2026.

The portraits presented in this exhibition are more than representations of faces—they are expressions of identity, observation, and imagination. Through weaving, stitching, and textile-based techniques, each young artist discovered how thread can become a medium for storytelling, connection, and creative confidence.

We are honored to present these works at The CAMP Gallery, celebrating the creativity of our young artists and reaffirming our belief that when children are given the opportunity to create with intention, their voices become an essential part of our cultural conversation. At Play Studio Artelier, they see art not only as a means of making, but as a way of thinking, connecting, and shaping the future.