Over the course of the last ten years, two of the city’s neighborhoods, the Design District and the nearby Wynwood, have become famous for their ever-changing art scene that today houses around 200 galleries and artist-run spaces. NOW Miami’s Art Scene Turns to Little Haiti. “The neighborhood around it will be enhanced, I hope,” Dorsch says. “This will not be another Wynwood.” Thanks to another round of big art names moving into this neighborhood — and nearby Little River — more visitors than ever are likely to make the trek during Basel week this year.
History of 55Bellechasse Paris
Since its creation in 2013, 55Bellechasse has played a role in the emergence of 15 international artists with an approach that combines certain timeless traditions of art dealership with an entrepreneurial and international outlook on the new challenges that have changed the business over the past ten years.
Created in February 2013 (paris location) by Bertrand SCHOLLER and friends(1) met in the course of his studies and career, 55Bellechasse is an Art Gallery aiming to become a reference in the World of Art. In the gallery own words since 2013 :
15 artists under exclusive contracts (painters, photographers, and sculptors from 8 countries and with an average age close to 40) who regularly represent us in international art trade fairs and shows
15 artists invited to show their art in temporary exhibitions at 55Bellechasse-Paris7
More than 50 articles and reports on the radio or on television about 55Bellechasse and/or its artists
JON DAVIS Born in the USA, he lives and works in Miami. Five questions | Five answers What is it like to be an artist in the USA today? It’s hard. I just think it's hard to be an artist today anywhere now. We are bombarded with art everywhere from the massive art fairs to the huge surge in street art to the online art stores. Sometimes it seems like all that has taken some of the magic away. That people forget how much actually goes into making a body of art and creating your own language through different mediums. How would you define your work in five words? Juxtaposition, interesting, capsulating, layered, not shadow boxes !What is the best tool to create your work? Why? Having the desire and determination to create your own “rules” for your art. I believe that once those rules are established you can break and bend those rules and you know what you’ve done and why you did it. Without that, I think you’re sailing without a rudder. There is so much saturation of art today that its very easy for ideas to bleed into your work and for you to not know why they are there. What message do you wish to convey through your art? That everything is built from what has preceded it. Also, our secrets, desires, what goes on behind closed doors, to provoke memories and in a strange way that we are all in this together. How must a gallery be today in order to represent your work? Trust. A belief and understanding of what each other is trying to do. The art is very personal for the artist. He/She are putting themselves out there for display and the gallery is saying we believe in them. They both have to know what each other is saying.
Lee Ann Lester founder owner and Director at Director: ArtPalmBeach, Art Boca Raton Contemporary Art Fair, SeaFair Miami | Carol Damian was the Director & Chief Curator of the Patricia & Phillip Frost Art Museum at Florida International University, from 2008 until 2015. and Noor Blazekovic founder Publisher/ Chie Editor and Curator for IRREVERSIBLE PROJECTS and Magazine.
artist Jon Davis with Natasha Kertes and Noor Blazekovic By inviting viewers to explore classic masterpieces blended with vintage photographs, my art compresses art history into a small theatrical environment mounted on a wall. This mode expresses my theory that all art is built upon the art that has preceded it. For instance, the use of classic art is meant to represents a moment when the medium was at its peak, a time of explosion in techniques and ideas. In contrast, the antique photos represent the birth and innocence of a new medium. The public had not yet accepted photography as an art form and the artist was in a moment of complete experimentation. Even so, I see thematic and technical connections between these early photographs and more traditional classic paintings that predate the photos by two or three hundred years. Yet these two mediums forged a symbiotic relationship, a relationship I capture and interpret. After all, while early photographers did not influence classic masters, they certainly have influenced later painting. In fact, these pieces do not simply connect early photos to classical masterpieces. The new arrangements also take into account the various movements that have happened over the past century and that have had an influence on me. From dada and cubism to the combines of Rauschenberg and the paintings of Bacon, I include subtle gestures to each of them.