Comments on: Loriel Beltran at Locust Projects

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By: herocious

herocious — Mon, 09 Mar 2009 20:48:25 +0000

Just wanted to say hello. I discovered your blog yesterday, and have learned a lot since about the miami art scene. I saw Beltran’s work last month, and I also know its context.

The idea of creating a semblance of history in your art is fascinating, and to accomplish this by layering paint is, for me, an interesting take on history.

That said, here’s another post on the art scene in miami:

http://theopenend.com/2009/03/09/wynwood-art-walk-february-2009/

By: MiamiDanny

MiamiDanny — Mon, 26 Jan 2009 01:34:41 +0000

The comment ‘much ado about nothing’ obviously refers to the weird idea that is hinted at in this post that there is something nefarious going on. Snitzer is an art dealer who represents Beltran. Locust Projects is a non-profit that is not involved in commissions. They are 500 feet from each other. It only makes sense that Beltran’s show after Snitzer should be at Locust. Incidentally, they were two completely different shows, and served both artist and dealer (and Locust of course, which hosted an amazing show) well. Also, Snitzer’s gallery was closed that night-another plus for him, as he has railed against the 2nd Saturday drunk-a-thon, and could simply attend Locust and relax. Well, he looked about as relaxed as I’ve ever seen him.

By: Richard Haden

Richard Haden — Sat, 24 Jan 2009 02:03:58 +0000

I liked the show very much, especially when I found out the wall sculptures were made from the walls they hung on. He encoded many seasons of Locust’s 2-d history into a monumental 3-d record–in a post-historical fashion that rendered the narrative mute. I like the idea of working within the frame of the “found” and framed again by his gesture….other locals do that: Tom Scicluna by making installations from objects near the site of the exhibition and Nick Lobo has, in the past, ground up his own work to produce something new. I am sure there are others…

I think Ron Ginenthal’s comment about (a) gallery deciding how an artist is to be perceived is perceptive and somewhat ominous. Because, there is truth to the fact that many art galleries treat the artist an exploitable commodity whose output has to be carefully controlled, like the Bourgeoisie industrialist controlling factory output. Much of art history has tried to counter this by insurgent art production.

As far as I can see, Beltran’s work at Locust is sculpture. Most of his work that I can remember from the show at Snitzer’s was sculpture. So the Idea that a gallery is deciding his fate as 2 or 3-d artist is somewhat ambiguous. I can think of many artists who do not even bother with such classification any more. Thomas Schuute comes to mind. He doesn’t even follow a linear path to image involvement at all, but works in series that do not relate to one another.

By: Ron Ginenthal

Ron Ginenthal — Fri, 23 Jan 2009 21:07:17 +0000

I think what is interesting here is not just that there were two solo shows by the same artist or that the dates of those shows were changed, but rather that there were two solo shows so close to each other in both senses. It seems that what is being said is that there are types of audiences in Miami. Two exhibitions by the same artist whereby work was made accordingly illustrate this. The date switching, although its broader implications are mildly interesting, is essentially a moot point.

By: domingo

domingo — Fri, 23 Jan 2009 19:44:20 +0000

Well, I have a love/hate reaction to this show. Because I saw his first show at Snitzer and then seeing this one. It seems to me that he really did solve all the problems from the Snitzer show in this Locust exhibition. Possibly because the snitzer show was done prematurely and the work was still not solved.

I noticed with the pieces at locust as opposed to the ones at snitzer that the composition, placement and installation were completely thought out. It almost made the snitzer show look like a joke.

however i was disappointed in the show because the artist really didnt take advantage of the floor space or present other works that related to the same idea as the paintings on the wall. so he solved one problem, but at the same time he didnt take advantage of the freedom to ask new questions within his process.

By: I was there

I was there — Fri, 23 Jan 2009 19:13:36 +0000

I should rephrase, I am not being negative, actually more curious.
Is this topic interesting because the work is really good or because he had two shows in a row?
I recently was in two exhibitions in a row (a group show and a solo show) and they were generally met with silence.
Silence is Golden, or so they say.

By: canefan

canefan — Fri, 23 Jan 2009 05:21:23 +0000

The work at Locust projects is truly impressive and ground breaking in my opinion. This space has years of history which are detailed in each layer of paint that was removed by the artist and delicately installed on panel. Beltran is a young artist who has had his first solo show, which was a success and this institution show which “I was there” is the first person that I hear that has a negative opinion. I guess you can’t make everyone happy, the work is interesting and open to interpretation, so my advice is to personally view the work in person.

By: I was there

I was there — Fri, 23 Jan 2009 01:10:44 +0000

….much ado about….?
I saw the work and would like someone to illuminate my mind regarding what the “hub bub” is all about.
1.
2.
3.

By: Ron Ginenthal

Ron Ginenthal — Thu, 22 Jan 2009 06:08:02 +0000

Presumably Snitzer gallery thought it would be better to show the sculptures first? Switching the dates of the show after Locust had committed could be seen as spiteful but was probably just a smart move. In that regard, whether Snitzer gallery wanted to establish this artist as a sculptor or avoid a follow up show which didn’t measure up is their business, either way it worked out for everyone. I am more curious about the implications of the switch rather than the possibility that Locust Projects was forced to get sloppy inappropriate seconds.