It's no secret that Robert Brown and Todd Davis of Miami-based design firm
Brown Davis are art aficionados, so naturally they were the perfect choice to report back from Miami's newly-opened contemporary and modern art museum, Pérez Art Museum, Miami. Below they tell us about their favorite pieces from the collection. 70
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Todd Davis and Robert Brown outside of the extraordinary
PAMM (Perez Art Museum, Miami) by architects Herzog de Meuron.
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Mama Quiere Menga, Menga de Su Nkombo, Jose Bedia, Havana 1968, Acrylic on Canvas
The man in this painting can be described as a member of the Afro-Cuban religion Palo Monte. This self-portrait depicts a man between two worlds, the contemporary material realm and the ancient spiritual world.
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Beijing’s Olympic Stadium 2005-08, Ai Weiwei
The process and progress of building the stadium (by architects Herzog de Meuron) is recorded in these photographs.
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Colored Vases Han Dynasty 206B CE-220 CE, Ai Weiwei
Han Dynasty vases dipped in contemporary industrial paint challenge the viewer to consider questions about authenticity and the value and meaning of an original artwork.
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Velvet and Fabric Dye, Polly Apfelbaum, 2001 (foreground), Naked and Wonder, Adrian Esparaza, 2013 (on wall)
Dominated by the color brown, Apfelbaum’s work is made of hundreds of shaped and dyed velvet pieces placed directly on the floor. The staining technique borrows from the abstract impressionists painting style, and the serial structure of the work references the rugs, quilts, and domestic crafts of the feminine arts of the 1970s.
Esparaza expresses his experience as a Mexican American raised near the US-Mexican border.
He has taken a serape blanket – a traditional Mexican craft – and pulled apart its threads reweaving them around nails hammered in the walls of the Gallery.
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Straight, Ai Weiwei, 2008
In a laborious process, the artist straightened sections of mangled rebar recovered from the rubble of collapsed schoolhouses following the 2008 Sichuan earthquakes. The piece expresses the artists concern over society’s ability to start afresh “almost” as if nothing had happened.
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Rescue Unit, Mark Dion, 2006
Dion’s carefully constructed truck is filled with various paraphernalia to explore the Florida Everglades. The installation provocatively mixes fact with fiction regarding the potential to recuperate this natural environment.
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Market, Monika Sosnowska, 2013, Painted Steel
Sosnowska’s work explores the politics and poetics of the built environment, engaging and transforming the architecture of the exhibition space, often in implausible ways.
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Another Geometry, Euginio Espinoza, Argentina 2006
Geometric abstraction and kinetic art as humorous, irreverent and a manipulation of the grid form which is aggressively destabilized in a precarious manner.
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Untitled #75, Al Loving, 1975 (left), The Other Side of the House, Elliott Hundley, 2012 (right)
Loving, the first African American to have solo exhibition at Whitney, began to literally rip apart his paintings – to cut, dye and sew together fragments of canvas. He was influenced by both his mother and grandmother who were both quilters.
Known for diverse materials, Hundley’s piece is based on the Greek tragedy in which King Admetus simultaneously mourns the death of his wife and graciously hosts the god Heracles.
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Circle of Animals/Zodiac Heads Bronze, Ai Weiwei, 2010
This piece represents the Chinese zodiac in which 12 animals correspond to a calendar year of a 12 year lunar cycle.