By Aviglucci@MiamiHerald.com

A nonprofit developer armed with a multi-million grant aims to transform Opa-locka’s notorious Triangle into a family-friendly neighborhood by renovating vacant housing, building parks and installing public art.

 

A nonprofit developer plans to transform Opa-locka's notorious Triangle into a family-friendly neighborhood by renovating homes and apartments, installing playgrounds and public art, as depicted in this artist's rendering. Opa-Locka Community Development Corp.

Can a few million dollars, a public art project and a bold redevelopment plan reverse the sliding fortunes of one of South Florida’s toughest neighborhoods?

We’re about to find out.

 

 

Armed with a hefty federal grant and outsize ambition, developer and former politician Willie Logan has embarked on a mission of unusual, if not unprecedented, scope: To transform the entirety of Opa-locka’s notorious Triangle, once among the most violent and drug-soaked spots of Miami-Dade County, into a model, family-friendly urban neighborhood.

10 years of drawing inspiration from the Everglades

By Tom Austin
The Miami Herald

Artists long have looked at the Everglades with wonder. Over time, realistic portrayals of its spectacular landscapes — including the photography of local Clyde Butcher — have given way to contemporary abstraction and performance art inspired by the River of Grass and the modern pressures facing it and, metaphorically, the world beyond.

Read more here: http://www.miamiherald.com/2011/12/18/2549737/10-years-of-drawing-inspiration...

Welcome to the intersection of art, ego, philanthropy and jealousy. It’s where you’ll find the Jorge M. Perez Art Museum of Miami-Dade County.

My initial reaction to renaming the Miami Art Museum for Jorge Perez was negative. Why should our stunning new $225 million civic art museum — with $103 million coming from taxpayers — be named for any individual, no matter how generous his donation? The decision by MAM’s board of trustees to change the name struck me as weak-kneed and wrong-headed. And the requirement by Perez to do so as arrogant and self-aggrandizing. I said as much on TV.

But I’ve reconsidered. After speaking to Perez and looking at how other arts institutions are funded here and across the country, I’ve concluded that Perez should be thanked, not condemned for his $35 million gift to MAM. If the price is for the museum to bear his name, hang his art and be his legacy, well, why not? He’s certainly not the first South Florida art patron to make a deal like this. The Arsht Center? Taxpayers kicked in about $440 million toward the PAC and Adrienne Arsht got her name on it for $30 million, supplanting Carnival Cruise Lines, which had given $20 million.

The new Frost Museum of Science, to be built across from the Perez Art Museum, honors Pat and Phil Frost for their $35 million contribution. There appears to be a $35 million threshold here for naming rights, and Perez has met it, although he’s doing it on the installment plan — $20 million over 10 years and his $15 million art collection. Still, it all adds up to the requisite magic number. You can’t really change the rules in the middle of the game, which is what his critics seem to want.

Like those critics, there’s part of me that rebels against having Miami’s main civic art museum named for anyone except those who mainly paid for it. But we can’t really call it the Taxpayers’ Art Museum of Miami-Dade, can we? Many years ago when the Metropolitan in New York or the Art Institute of Chicago or the Louvre in Paris or Prado in Madrid were created they were paid for by the cities that built them because they were tangible symbols of culture and achievement. Wealthy art lovers contributed money and works of art, but didn’t expect civic museums to carry their names. A wing, a gallery, a plaza, yes. The entire museum, no.

But times have changed. Museums along with other cultural, academic, medical and academic institutions are now more often than not paid for by a major donor who gets his or her name on the edifice. Locally, think of the Miller School of Medicine of the University of Miami ($100 million from the Lennar founder Leonard Miller and family); The Frost Art Museum at Florida International University (Pat and Phil Frost once again), the Lowe Art Museum at UM and the Bass Museum on Miami Beach. Joe Robbie Stadium. There are, of course, exceptions. Lin and the late Ted Arison started and continue to sustain the New World Symphony.

Jorge Perez tells me some of the furor over the MAM renaming may have to do with his Hispanic heritage. “You know, the name Perez is new to Miami’s philanthropic society,” he said. “I think we need names of Latin descent to go hand in hand with great Anglo and Jewish names that have shown generosity in the past.”

It’s possible there could be an anti-Cuban tinge to the criticism, although I don’t see it. Carlos and Rosa de la Cruz, prominent art collectors who’ve been outspoken about the MAM name change, are proudly Cuban American. I suspect some part of the criticism is because of Perez’s role as a major real-estate developer who got very rich by helping overheat the housing market . But as he points out, when it cooled down he lost three-quarters of his wealth. And still ponied up $20 million in cash and art worth $15 million. “That’s art I look at every day,” he says, “art that I have an emotional attachment to.”

He’ll be able to see it, as will we, at the Jorge M. Perez Art Museum of Miami-Dade County. Got a problem with that? I did at first, but I’m OK with it now.

“IT was an honest gesture at the moment Kris gave it to me, so I feel the ring is mine,” said Kim Kardashian, or anyway Metisha Larocca, who happened at that particular moment to be channeling the tabloid staple at an art party staged by MoMA P.S. 1 in the waning hours of Art Basel Miami Beach, the art world’s version of a reality television show....

Jorge Pérez has made what appears to be a generous gift to the Miami Art Museum, an act that has been billed as one of the most generous in the city’s philanthropic history. In return, the museum sold him its name. Before we break out the Champagne, let’s do the math on this gift.

The headline gift totals $35 million: $20 million in cash and $15 million in art from his collection. Let’s start with the cash, because that’s what the museum needs immediately to fund construction of its new building. When the project began in 2005, Mr. Pérez made a $5 million pledge, which remains part of the $10 million cash gift he proposes to pay by 2012. He also proposes to pay another $10 million in 2022, 10 years from now, so let’s say the present value is $5 million. That’s a cash total of $15 million. This compares to Miami-Dade giving $100 million of its citizens’ money and the city giving land worth $50 million for a total of $150 million. Mr. Pérez’ gift amounts to 10 percent of Miami’s gift and he gets the name of the museum. And this doesn’t consider the risk of a substantial loss of funding from existing and future donors. Something doesn’t compute.

The $15 million worth of art was added to bring the headline gift to a level commensurate with the Frosts’ and Adrienne Arsht’s recent cash gifts. Until now, MAM’s capital campaign policy was “cash only.” Any professional fund raiser will tell you that a gift of art (which the museum can’t sell for ethical reasons) doesn’t pay for construction costs and doesn’t count towards naming rights.

When the MAM board approved the renaming there was no discussion of the longterm implications of the name change. No one mentioned that the American Association of Museum Directors, which accredits MAM, cannot find a single instance of a civic art museum selling its name to a donor, for any amount of money.

MAM’s leadership and Mr. Pérez have turned a deaf ear to the outpouring of negative responses to the name change, ignoring the constituency they ostensibly serve. The citizens of this great community paid for the museum and it should bear their name. How about a wing, Mr. Pérez? That would compute.

Howard S. Frank, Miami

Image: Maya Lin's plan model for Queen Anne Square in Newport, R.I.

You may have missed it during Art Basel. Interesting article. Old vs. New...

"Doris Duke Memorial Plan by Maya Lin Splits Newport"
By RANDY KENNEDY
Published: November 28, 2011

NEWPORT, R.I. — When Doris Duke was clearing a patch of derelict buildings here in the late 1970s to create a modest patch of open space known as Queen Anne Square, she was sometimes spotted personally directing the backhoe drivers at dusk, acting as both foreman and steward of the enormous fortune that she lavished on such restoration projects.

The same kind of New England pluck and perspicacity is now stoking an unusual battle, 18 years after Ms. Duke’s death, over a plan to create a permanent, minimalist art installation in honor of her legacy on this swath of green that she left behind in a former commercial area near the harbor...

By Jordan Levin

jlevin@MiamiHerald.com

The King of Pop is back. No, not Michael Jackson — Andy Warhol. The white-wigged godfather of pop art and celebrity culture, who passed away in 1987, is the subject of three exhibits and an influence on two others at various events around Art Basel Miami Beach.

On tap this week is a screening of San Diego Surf, a-never-before-released film shot by Warhol and Paul Morrissey in 1968, at a VIP party at The Standard Spa on Thursday, sponsored by Interview Magazine, the publication launched by Warhol.

Occupy Art Basel Miami Beach, Now!

I’m not going to Art Basel Miami Beach this year. I’m through with it, basta. It’s become a bit embarrassing, in fact, because why should I be seen rubbing elbows with all those phonies and scenesters, people who don’t even pretend they are remotely interested in art?

And so, here it is, in print, just so no one has to ask me again.