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41-553: John Bass (1891-1978) and Johanna Redlich (m. Feb. 21, 1921) were Jewish-immigrants from Vienna, Austria who resided in Miami Beach. As President of the Fajardo Sugar Company of Puerto Rico, John Bass was also an amateur journalist, artist (namely painting and etching) and composer of published music. Mr. Bass collected both fine art and cultural artifacts, including a sizeable manuscript collection that now lives in

82-990: A 501c3 non-profit corporation . In 2009, George Lindemann Jr. became President of the Board of Directors and Silvia Karman Cubiñá was appointed as executive director. Silvia Karman Cubiñá is the Executive Director and Chief Curator of The Bass Museum of Art. As of April 2018, the board members are George Lindemann (President), Lida Rodriguez-Taseff (Parliamentarian), Olga Blavatnik, Criselda Breene, Clara Bullrich, Hugh Bush, Trudy Cejas, Michael Comras, Brian Ehrlich, Gaby Garza, Solomon Genet, Christina Getty, José Ramón González, Sarah Harrelson, Lisa Heiden-Koffler, Naeem Khan, Diane Lieberman, Alice S. Matlick, Jimmy Morales, Thomas C. Murphy, Laura Paresky Gould, Tui Pranich, Alisa Romano, Tatyana Silva, Christine J. Taplin, and Cathy Vedovi. Arata Isozaki Arata Isozaki (磯崎 新, Isozaki Arata ; 23 July 1931 – 28 December 2022)

123-588: A BFA from Escuela de Artes Plásticas y Diseño de Puerto Rico in San Juan, Puerto Rico. In 1998 he attended the Skowhegan School of Painting and Sculpture and he attained an MFA from Bard College in 2001. They began working together after meeting while studying abroad in Florence , Italy in 1995. Since the beginning of their collaborative career in 1995, Allora & Calzadilla have worked in

164-428: A Sound (2004), Under Discussion (2005) and Half Mast\Full Mast (2010). Allora & Calzadilla interrogate the economic, cultural, and political markers that differentiate one area of land from another, and the processes of colonization and gentrification that come to define its changing status. As a whole, these works connected performances typical of political activism to artistic traditions like engraving. Land Mark

205-719: A capital campaign for a building expansion, developing the museum into a significant cultural institution. Renovations took place in 2001, and a 1,500 m (16,000 sq ft) expansion designed by Arata Isozaki  was inaugurated with the exhibition Globe Miami Island in 2002. In 2013, the Bass announced a $ 7.5 million grant from the City of Miami Beach to begin a second phase of transformation and expansion. The museum closed for construction in May 2015 and opened on October 29, 2017. The $ 12 million expansion designed by David Gauld increased

246-470: A new wing to the museum's building for additional exhibition space. In 2003, the Bass presented a traveling exhibition titled, US DESIGN, 1975–2000 , a critical assessment of the work of three generations of American designers during the last 25 years of the 20th century. Under the leadership of Silvia Karman Cubiñá, Executive Director and Chief Curator since 2009, The Bass has presented such exhibitions as: The Bass incorporates its founding collection into

287-962: A number of public institutions, including the Pérez Art Museum Miami , Solomon R. Guggenheim Museum , New York, the Museum of Modern Art , New York, Centre Pompidou , Paris, the Dallas Museum of Art , Dallas, TX, the Museum of Contemporary Art, Chicago , the Walker Art Center , the Tate Modern , London, the Princeton University Art Museum , New Jersey, the Museum Het Domein, the Museo de Arte de Puerto Rico , San Juan,

328-485: A schedule of international contemporary exhibitions. The museum’s permanent collection includes European painting and sculpture from the 15th century to present; 7th to 20th-century textiles, tapestries and ecclesiastical vestments and artifacts; 20th and 21st-century North American, Latin American, Asian and Caribbean art; photographs, prints and drawings; and modern and contemporary architecture and design with emphasis on

369-618: A sports club in Hong Kong by the then-unknown architect Zaha Hadid. In 1985 he designed the interior of New York City's Palladium nightclub. The Museum of Contemporary Art (MOCA) in Los Angeles, completed in 1986, was his second international project and his best known work in the U.S. In 2005, Arata Isozaki founded the Italian branch of his office, Arata Isozaki & Andrea Maffei Associates. Two major projects from this office are

410-659: A style mixed between "New Brutalism" and " Metabolist Architecture " (Oita Medical Hall, 1959–1960), according to Reyner Banham. His style continued to evolve with buildings such as the Fujimi Country Club (1973–74) and Kitakyushu Central Library (1973–74). Later he developed a more modernistic style with buildings such as the Art Tower of Mito (1986–90) and Domus-Casa del Hombre (1991–1995) in Galicia, Spain . In 1983, he supported an apparently unbuildable entry for

451-579: A subsonic version of a musical score played in 1798 for two elephants brought to Paris as spoils from the Napoleonic Wars , in the first recorded instance of attempted inter-species communication through music. For the 56th Biennale di Venezia, Allora & Calzadilla presented In the Midst of Things , a choral work with music by composer Gene Coleman based on Haydn ’s oratorio The Creation (1796–98), whose original libretto drew on descriptions of

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492-655: A variety of media to produce a body of work spanning sculpture , photography , performance art , sound and video . Starting in 1999, Land Mark is a series of projects that encompasses film, video, photography and performance pieces related to the Puerto Rican island of Vieques , which, for 60 years, was used by the United States for military operations, leading to a civil disobedience campaign waged by local residents. The works include Land Mark (1999/2003/2006), Land Mark (Footprints) (2001–02), Returning

533-452: Is a hybrid of sculpture, performance and experimental musical practice. It consists of an early 20th century Bechstein piano that has been put up on wheels and ‘prepared’ by cutting a round hole in the center of the body and reversing the pedals, which allows a series of performers to play variations on the Ode to Joy (as transcribed for piano by Franz Liszt ) from inside of the instrument. During

574-573: Is explained semantically as an instrument for reading marks left on the territory (landmarks) instead of as a simple point of spatial orientation (landmark). The spatial investigations in Allora & Calzadilla's work are made in terms of what the artists call “the trace.” At once a poetic trope and a set of material operations, the trace links presence and absence, inscription and erasure, preservation and destruction, and appearance and disappearance. Allora & Calzadilla's body of work has long explored

615-610: The Allianz Tower CityLife office tower, a redevelopment project in the former trade fair area in Milan and the new Town Library in Maranello , Italy. Despite designing buildings both inside and outside Japan, Isozaki was sometimes described as an architect who refused to be stuck in one architectural style, highlighting "how each of his designs is a specific solution born out of the project’s context." Isozaki won

656-770: The MUSEION – Museum of Modern and Contemporary Art, Bolzano , the Musée d'Art Moderne de la Ville de Paris , the Kunstmuseen Krefeld, The Israël Museum , Jerusalem, the Fonds Régional d’Art Contemporain (FRAC), Aquitaine, the Castello de Rivoli Museo d’Arte Contemporanea , Rivoli, the Baltimore Museum of Art , Baltimore, Artium. Centro Museo Vasco de Arte Contemporáneo , Basque Country and

697-587: The Museum of Modern Art (2009), National Museum of Art, Oslo (2009) Haus der Kunst , Munich (2008), Serpentine Gallery and Whitechapel Art Gallery , London (2007), Les Rencontres d'Arles festival, France (2008), Stedelijk Museum in Amsterdam (2008), Kunsthalle Zurich (2007), and the Renaissance Society, Chicago (2007). Allora & Calzadilla also participated in the 5th and 7th Gwangju Biennale (2004 and 2008). On September 8, 2010,

738-633: The Oita Prefecture Oita Uenogaoka High School (erstwhile Oita Junior High School). In 1954, he graduated from the University of Tokyo majoring in Architecture and Engineering. He completed a doctoral program in architecture from the same university in 1961. Isozaki also worked under Kenzo Tange before establishing his firm in 1963. Isozaki's early projects were influenced by European experiences with

779-672: The Pritzker Architecture Prize in 2019. Isozaki died on 28 December 2022, at the age of 91. Allora %26 Calzadilla Jennifer Allora (born 20 March 1974) and Guillermo Calzadilla (born 10 January 1971) are a collaborative duo of visual artists who live and work in San Juan, Puerto Rico . They were the United States Representatives for the 2011 Venice Biennale , the 54th International Art Exhibition, in 2011. Jennifer Allora

820-758: The Art Dealers Association wrote: “We believe that it [the Bass collection] comprises the most flagrant and pervasive mislabeling by any museum known to this association.” In 1973, the Miami Beach City Council closed the John Bass Art Museum. In 1980, art historian Diane Camber was hired as Executive Director of the museum. For the next thirty years, Camber worked to professionalize museum operations, obtain AAM accreditation, produce scholarly exhibitions and successfully run

861-575: The Carnegie Hall Archives. In 1963, the couple bequeathed a collection of more than 500 works, including Old Master paintings, textiles and sculptures to the City of Miami Beach, under the agreement that a Bass Museum of Art would remain open to the public in perpetuity. The museum opened its doors on April 7, 1964; at the time, it was the only municipally operated art gallery in South Florida. The city spent $ 160,000 to renovate

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902-601: The United States Bureau of Educational and Cultural Affairs (ECA) announced the selection of Allora & Calzadilla as the American representative at the 2011 Venice Biennale, a first for artists living in Puerto Rico. The proposal for the exhibition was developed between the artists and curator Lisa D. Freiman (chair, Department of Contemporary Art, Indianapolis Museum of Art , and Director, 100 Acres: The Virginia B. Fairbanks Art & Nature Park), during

943-686: The World's Futures, curated by Okwui Enwezor , at the Venice Biennale (2015), Intervals, curated by Carlos Basualdo and Erica F. Battle, at the Philadelphia Museum of Art and the Fabric Workshop and Museum (2014), the group show Costume Bureau (2014) at Framer Framed in Amsterdam, dOCUMENTA (13) (2012), curated by Carolyn Christov-Bakargiev . Their work has been exhibited in solo and group exhibitions in venues such as

984-516: The dynamic between music and power. Some of the pieces that trace this "age-old sonic militarism against the contours of its relationship to contemporary culture and political ideology" are Clamor (2006), Sediments, Sentiments (Figures of Speech) (2007), Wake Up (2007) and Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano (2008). The first three feature "massive sculptural installation, live performance, collaboration, and, of course, extensive sound tracks." Stop, Repair, Prepare

1025-457: The fall and winter of 2009. The exhibition consisted of six new commissions including: Armed Freedom Lying on a Sunbed (2011), Track and Field (2011), Body in Flight (Delta) (2011), Body in Flight (American) (2011), choreographed by Rebecca Davis, Algorithm (2011) and Half Mast\Full Mast (2010). In most of the pieces, the artists did away with subtlety in favor of a direct invocation of

1066-459: The imposing specter of American militarism, treating nationalism first and foremost as an aesthetic language that expresses itself through the military machine, ritualized bodies, and official architecture. The installations and performances inside the pavilion further the artists’ investigations of “ bio-power ” and technology, deforming and repurposing bodies and materials in conjunctions that are at once ominous and comical. Their works are held in

1107-520: The largest art museum education facility in Miami-Dade, with three classrooms and various spaces to serve a regular curriculum of multigenerational programs. The Bass has an annual operating budget of around $ 4.5 million. Aligning with rapid urban development of City of Miami Beach, support from the John L. and James S. Knight Foundation and the success of Art Basel Miami Beach , the museum converted to

1148-475: The origins of the world and humankind from the Book of Psalms , the Book of Genesis and Milton's Paradise Lost (1667). Allora & Calzadilla follow Milton's in medias res tradition for a series of interruptions on Haydn's score. In taking liberties, Allora & Calzadilla are also playing on the translation history of the libretto: originally written in rather awkward English, it's said to have been improved by

1189-430: The performance, the pianist, girdled by the absurd skirt of the instrument, periodically trudges with it through the performance space, dragging its weight as he or she plays. Since their participation in dOCUMENTA (13) with the video Raptor's Rapture , Allora & Calzadilla, have created works that move beyond the purely human. According to critic Emily Eliza Scott, their work is "focused to engage what we might call

1230-558: The permanent collection were incorporated into an exhibition at the Lowe Art Museum at the University of Miami . Dürer to Rubens: Northern European Art from the Bass Museum included works that represent a range of media—including oil on canvas, tempera on panel, enamel on porcelain, and textiles. In September 2016, The Bass launched a ten-year initiative to grow the museum’s holdings of international contemporary art within

1271-402: The permanent collection. The initiative was celebrated with two inaugural acquisitions of public art: Miami Mountain , 2016 by Ugo Rondinone and Eternity Now , 2015 by Sylvie Fleury . In August 2017, the museum announced its third major purchase towards this initiative with Allora & Calzadilla 's Petrified Petrol Pump (Pemex II) , 2011. In 2017, the museum’s Creativity Center opened as

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1312-419: The pre- and postwar design history of Miami Beach. The “Open Storage” gallery is dedicated to displays of the museum’s permanent collection, featuring a series of rotating artist projects that present works in dialogue with the collection. Pascale Marthine Tayou served as the first artist intervention in the space with his exhibition Beautiful. From August 21, 2015 to July 17, 2016, a selection of artworks from

1353-456: The programmable space by almost 50 percent, adding four new galleries of 380 m (4,100 sq ft); Isozaki served as design consultant. As part of a rebranding, the Bass removed “Museum of Art” from its name. In 2022, the Bass received $ 20.1 million in city-issued funds as part of a municipal general obligation bond that voters authorized in the US midterm elections ; it will be used to add

1394-412: The space. Referring this work, Laura C. Rogers has said the artists "challenge viewers to build meaning by reading a work as literal, metaphorical, evidential, and political, but also to take part in the work as an experiential event that heightens one's aesthetic sensibility." Allora & Calzadilla's work has been featured in solo and group exhibitions internationally. Notable exhibitions include All

1435-591: The span of geologic time and our own place within it. The artists presented a trilogy of video works that present modern musicians and vocalists engaging with ancient artifacts through sound. Apotome (2013) stars singer Tim Storms, who holds the world record for producing the lowest note every recorded—only audible to the human ear with amplification. As he wanders among taxidermied animals in subterranean storerooms of Paris's National History Museum he produces, according to critic Emily Nathan, "a deep, satanic rumble" which "seems to usher from his very core." These sounds are

1476-489: The structure, which includes what was formerly the Miami Beach Public Library. John Bass directed the museum from its founding until his death in 1978. Following a series of published reports casting serious doubts upon the authenticity of many of the Bass collection paintings, a group of citizens asked the Art Dealers Association early in 1969 for an independent appraisal. In its September 1969 report,

1517-521: The subsequent German translation. According to Dorothy Feaver, "the Voxnova Italia choir's physical movement through the Arsenale mimics their voices: they shift positions, facing each other, turning away, roaming through the space in low-key cotton clothes, epic but casual." In the piece, cacophony and melody confront one another — just as the group of choral interpreters move back and forth in

1558-521: The worldly. These artworks illuminate entanglements between the human and the nonhuman as they unfold in time, signaling a dual (re-) thinking of humans as natural---one among other species and surroundings---and nature as historical." Following the same thematic interest in cultural artifacts and deep time , the artists presented the two part exhibition "Intervals" at the Philadelphia Museum of Art and The Fabric Workshop and Museum . There, they employed objects, films, live performances, and sound to invoke

1599-521: Was a Japanese architect, urban designer, and theorist from Ōita . He was awarded the Royal Gold Medal in 1986 and the Pritzker Architecture Prize in 2019. He taught at Columbia University , Harvard University , and Yale University . Isozaki was born in Oita on the island of Kyushu and grew up in the era of postwar Japan , the eldest of four children of Toji and Tetsu Isozaki. His father

1640-483: Was a prominent businessmen. In 1945, he witnessed the destruction of Hiroshima on the shore opposite his hometown. When he accepted the Pritzker Prize in 2019 he stated: "There was no architecture, no buildings, and not even a city. So my first experience of architecture was the void of architecture, and I began to consider how people might rebuild their homes and cities." Isozaki completed his schooling at

1681-711: Was born in 1974 in Philadelphia, Pennsylvania . In 1996 she received a BA from the University of Richmond in Virginia . Between 1998 and 1999 she was a fellow at the Whitney Museum of American Art Independent Study Program. In 2003 she attained a Master of Science from the Massachusetts Institute of Technology . Guillermo Calzadilla was born in 1971 in Havana , Cuba . In 1996 he received

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