The University of Miami has moved its art gallery to a new location in the historic Wynwood district. The exhibition space, which showcases the work of UM art and art history faculty members and students, is now housed in the Wynwood Building at 2750 N.W. 3rd Avenue, Suite 4, and is called the University of Miami Gallery.
“The University of Miami Gallery offers a prominent collaborative space for the public to access and enjoy the work of our Department of Art and Art History faculty and students,” said Leonidas Bachas, dean of the College of Arts and Sciences. “Innovative venues like the gallery deepen our cultural ties to the community and help our college remain at the forefront of creative expression, inquiry, and scholarship.”
Lise Drost, professor and chair of the Department of Art and Art History, noted that the department “is excited about moving our off-campus gallery to the Wynwood Building, which is headquarters to a number of other galleries and arts-related businesses.”
UM originally moved into the Wynwood Project Space on Northwest 2nd Avenue in 2007, holding the first ’Cane Art Fair at that location. Four ’Cane Art Fairs were held in Wynwood Project Space, coinciding each year with Art Basel Miami, an annual contemporary art exhibition that is a sister event to Art Basel in Switzerland held each June.
That tradition will continue in UM’s new gallery with the inaugural exhibition “of-things-being-what-they-are-not,” by Martin Casuso, which opens June 9 and features stop-action video and site-specific installations.
Casuso’s work has its origins in mainstream handiwork and hobby, with a deliberate shift from a traditional application of these crafts. His work involves an ongoing exploration of how gender, sexual preference, materials, and processes relate to themes of domesticity. The materials of craft, sometimes made by unseen hands of the past or by the artist himself, are combined with a more industrial palette of hardware supplies or thrift store housewares to make new “old” objects that are not gender specific. They in turn reflect Casuso’s own relationship with domesticity, shifting from being objects of use to objects of contemplation.