September 10 October 16, 2011 Tony Chirinos Ayme Cruzalegui Madeline Denaro Victoria Gitman Deborah Goldman Walter

r Hnatysh Cristina Lei Rodriguez Jillian Mayer Martin Oppel Christina Pettersson Leyden Rodriguez-Casanova Asser Saint-Val

1650 Harrison Street Hollywood, FL 33020 954. 921. 3274 ArtAndCultureCenter.org

The South Florida Cultural Consortium is funded in part with the support of the National Endowment of the Arts, the Florida Department of State, Division of Cultural Affairs and the Florida Arts Council, the Boards of County Commissioners of Broward, Miami-Dade, Martin, and Monroe Counties, and the Palm Beach County Cultural Council. Funding for this exhibition season is provided in part by Francie Bishop Good and David Horvitz. The Art and Culture Center of Hollywood is a 501(c)(3) non-profit organization supported in part by its members, admissions, private entities, the City of Hollywood, the Broward County Board of County Commissioners as recommended by the Broward Cultural Council; the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture; and the Kresge Foundation. We welcome donations from all members of the community who wish to support our work.

The South Florida Cultural Consortium Fellowship Program for Visual and Media Artists
About the Program The South Florida Cultural Consortium Fellowship Program offers the largest regional, government-sponsored artists grants in the United States, awarding $15,000 and $7,500 fellowships to resident visual and media artists from the counties of Broward, Martin, Miami-Dade, Monroe, and Palm Beach. Since it was established in 1988, the Consortium has awarded close to $2 million in fellowships to over 200 artists. About the Process Every year, more than 300 artists who live and work throughout the five counties submit their applications for consideration to the South Florida Cultural Consortiums Fellowship Program for Visual and Media Artists. The Consortium is a partnership of the local arts agencies of these five counties. Through these agencies, applications are made available to artists in the region. Visual artists can submit up to 10 images of recent work, while media artists submit up to 10 minutes of film or video. A regional panel of visual and media art experts from South Florida is convened to provide an initial review of the submissions. The regional panel forwards its recommendations to the national panel. This national panel with expertise in visual art, film, and media and chosen from a variety of academic and major visual arts institutions from all around the country is given the responsibility of recommending the final recipients. During a daylong deliberation, the submissions are viewed by the national panel in a series of rounds. The panelists then reduce the selection to the final group of awardees. The funding available from each county determines the number of awards presented from each county. The dynamics of the panel shape the selections from yearto-year. Merit is determined based on individual accomplishments as evidenced by the work submitted for review, with the highest premium placed on coherent bodies of work. In addition to receiving cash awards, the artists take part in an exhibition hosted and organized by a visual arts institution in one of the five counties. This exhibition is the result of that process.

Foreward
We are delighted to present the 23rd Annual South Florida Cultural Consortium Visual and Media Arts Fellowship Awards exhibition. This is the first time in the Centers 33-year history that we have hosted this prestigious exhibition. The 2011 Consortium showcases a dozen artists selected from five South Florida Counties. We congratulate all of this years winners. We thank Michael Spring, Chair of the South Florida Cultural Consortium, as well as the other Consortium leaders for selecting the Center to host the exhibition we are honored. Also, special thanks to Brandi C. Reddick of the Miami-Dade County Department of Cultural Affairs for all of her assistance. The Center recognizes and values the support of the National Endowment of the Arts, the Florida Department of State, Division of Cultural Affairs and the Florida Arts Council, the Boards of County Commissioners of Broward, Miami-Dade, Martin and Monroe counties, and the Palm Beach County Cultural Council for supporting the South Florida Cultural Consortium. Please enjoy these innovative works and join us in congratulating these artists. Joy Satterlee, Executive Director Art and Culture Center of Hollywood

The South Florida Cultural Consortium

Michael Spring Mary A. Becht Elizabeth S. Young Rena Blades Nancy Turrell Chair, South Florida Cultural Consortium Director, Miami-Dade County Department of Cultural Affairs Director, Broward Cultural Division Executive Director, Florida Keys Council of the Arts President and CEO, Palm Beach County Cultural Council Executive Director, The Arts Council, Martin County

Introduction
As Curator of Exhibitions at the Art and Culture Center of Hollywood, it has been an exciting opportunity to select the works for the 23rd Annual South Florida Cultural Consortium Visual and Media Arts Fellowship Awards Exhibition. This years exhibition includes the work of 12 artists from Broward, Miami-Dade, Monroe, and Palm Beach counties. The artists were chosen by regional and national arts experts during a two-tier panel process. Selection by the regional panel was anonymous and based solely on the quality of the artists work as evidenced by digital images, slides or video/films submitted. The regional panel included: Francie Bishop Good, Visual Artist, 2010 SFCC Recipient (Broward); Wendy Blazier, Senior Curator, Boca Museum of Art (Palm Beach); Denise Delgado, Miami-Dade Public Library System (Miami-Dade); Irvin Lippman, Executive Director, Museum of Art, Fort Lauderdale (Broward); Rene Morales, Associate Curator, Miami Art Museum (Miami-Dade); and Glexis Novoa, Visual Artist, 2010 SFCC Recipient (Miami-Dade). The regional panel forwarded their recommendations to the national panel comprised of Dina Deitsch, Associate Curator, DeCordova Sculpture Park and Museum, Lincoln, MA; and Cheryl Hartup, Chief Curator, Museo de Ponce, Ponce, Puerto Rico. I would like to thank each of these colleagues for their time and expertise in making their selections, which was a challenging process given the number of talented applicants who submitted for the South Florida Consortium Fellowship Awards this year. I would also like to thank Brandi Reddick, Communications and Artists Manager, Art in Public Places, Miami-Dade Countys Department of Cultural Affairs, for her tremendous commitment to this process and unbounded enthusiasm for the artists and art in our region and beyond. As South Florida continues to evolve as one of the leading centers for the arts in the United States, it comes as no surprise that the competition among artists to receive this prestigious award has grown. The 12 artists who make up the 2011 Consortium Fellowship recipients each display exemplary vision, talent and professionalism within their respective styles. While their chosen mediums and aesthetic approaches vary widely, I believe there is an underlying thread that connects the work presented in this exhibition. We witness an obsessive exploration and rendering of specific subject matter from an individual standpoint, as well as in ways that convey a shared human experience. The process of painting is evident within the exhibition, including a selection of labor intensive works by Madeline Denaro, Victoria Gitman, Walter Hnatysh and Asser Saint-Val. Denaros multilayered abstractions reveal the numerous incarnations the canvas embodies as she works and reworks areas of surface and paint. Victoria Gitmans intimately scaled paintings of beaded bags are dazzling in their seeming simplicity, which belies the astonishingly pain-staking practice to render these intricately crafted accessories. Walter Hnatyshs single large-scale, mixed-media, installation piece entitled Wisterium presents an engrossing, phantasmagorical tangle of organic elements and forms in a grisaille palette that pulls the viewer into its web. Asser Saint-Val utilizes a number of uncommon materials such as flour, tea and shoe polish, as well as pigment and paint, to create richly textured figurative works. Saint-Vals surreal style explores issues dealing with the biological pigmentation element melanin and its historical and sociological implications. Swedish-born artist Christina Pettersson creates large-scale graphite drawings of dizzying detail that reflect her inherited sensibility and embrace epic mythological tales as a metaphor for self expression. In a much different manner, multi-media artist Jillian Mayer combines installation, painting, performance and digital media to cinematically portray the conundrum of contemporary life in a dystopian setting that is both witty and unsettling. Three artists Cristina Lei Rodriguez, Martin Oppel and Leyden Rodriguez-Casanova utilize installation and mixed media as their primary approach. Each of these artists often employs unconventional and/or found materials, although in very different ways. Lei Rodriguez fashions elaborate installations and individual sculptural objects that combine layers of fake foliage and other natural and artificial elements with resin and colored liquid plastic to simulate the process of decay and its inherent beauty. Oppel uses a trompe loeil technique to transform objects that appear to be made from various found or existing materials, questioning notions of what is natural versus what is not and how this shapes interpretations of so-called reality. Rodriquez-Casanova constructs minimal, yet complex sculptural interventions often using commonplace architectural objects or components to address issues of memory and perception. The process of photography is embraced by Tony Chirinos and Deborah Goldman, each who in their own way employ the medium as a mode of systematic documentation. In his ongoing series of black-and-white photos entitled Cocks, Chirinos draws upon his Hispanic heritage to bear witness to the controversial activity of cockfighting in San Andrs, Colombia. Each image portrays as its subject one of many birds that is engaged in this blood sport. His gaze does not pass judgment, but rather offers viewers an intimate view so they can make their own conclusions of this culturally charged activity. Goldmans photographic works record her ongoing collection, counting, sorting and arrangement of natures seeds, pods and other flora. She engages with these items in a ritualistic fashion, often counterpointed to the positioning of her own body parts in a sequential performance process. Por Mis Hijos/For Them is a short documentary film directed, produced, co-written and edited by Ayme Cruzalegui. Cruzalegui was born in Lima, Peru, and chose to make this, her first such film, about a woman from her native country who fights against loneliness and other challenges. In this deeply compelling story, the woman looks for work in order to support her family, a plight that viewers of all backgrounds can relate to in light of our current economic climate. We are grateful to all the artists who submitted work and to the local and national arts experts who helped make this South Florida Cultural Consortium exhibition a success. We hope that the diverse and engaging selection of work in this exhibition provides gallery visitors with an enriching experience. Jane Hart, Curator of Exhibitions Art and Culture Center of Hollywood

Tony Chirinos uses his photography to explore his Hispanic heritage and his identity as an immigrant living in the United States. He first heard about the tradition of cock fighting as a child, listening to his fathers stories about his native Cuba. Chirinos created this series of photographs in San Andrs, Colombia, where he used his camera to integrate himself into the cock fighting community over a series of frequent short visits. Chirinos received a Master of Fine Arts from Columbia University in New York. His work has been exhibited internationally, including at the the LeRoy Neiman Gallery in New York, Centro Colombo Americano in Bogot, Art Miami, and The Center for Photography at Woodstock. Chirinos is currently an Associate Professor at Miami Dade College in Miami, Florida, where he has been teaching photography since 2003.

Tony Chirinos
Miami-Dade County

Above left: El Pirata, from the series Cocks, 2009, Gelatin silver print, 16 x 20 inches. Above top: Vamos a Ganar, from the series Cocks, 2009, Gelatin silver print, 20 x 16 inches. Above bottom: Escorpion v. Fantasma, from the series Cocks, 2009, Gelatin silver print, 16 x 20 inches.

Ayme Cruzalegui decided to focus on documentary filmmaking after a trip through her native Peru with a camera in 2006. She enrolled in a Masters Program for Social Documentary (ESCAC/University of Barcelona) in Barcelona, Spain. There, she directed, produced, co-wrote, and edited her first documentary, Por Mis Hijos/For Them. It is the story of a woman who fights against loneliness and other barriers, while looking for a job to support her family back home. Por Mis Hijos has been exhibited and honored at various film festivals around the world. It won Best Documentary at the Miami Short Film Festival; second place in Documenta Madrid 2008 in Spain; and Best Opera Prima at the Lima Short Film Festival 2008, among other recognition.

Ayme Cruzalegi
Miami-Dade County

Por Mis Hijos/For Them (stills), 2007, Video, 15 minutes 49 seconds.

Committed to abstraction for over two decades, Madeline Denaro credits her education to an academic training at the South Florida Art Institute, broadened by extensive independent study in London and Frankfurt. Her canvases are abstract in nature, although there is an underlying visual order that gradually emerges. The artist seems to be forever altering and adjusting the framework of some invisible reality. Through the use of her sensitive drawing combined with layering, Denaro constantly adjusts, revisits, destroys, and renews permitting the viewer a glimpse at where she has been before. Denaro has had solo exhibitions at the Museum of Art, Fort Lauderdale, Pryor Fine Art in Atlanta, Cheryl Hazan Gallery in New York, and Galerie Veronica Kautsch in Germany. Her work is in private, museum, and corporate collections throughout the United States and in Europe.

Madeline Denaro
Broward County

Above left: The Anchor in the Storm..., 2008, Acrylic with polymers on canvas, 65 x 63 inches, Collection of Francie Bishop Good and David Horvitz. Above right: The feeling of well-being, 2011, Acrylic with polymers on canvas, 48 x 60 inches.

The series On Display portrays vintage beaded purses that feature abstract geometric patterns and designs. Echoing tropes of Modernist abstraction, the works play with the distinctions between art and design and sartorial and artistic style--pointing to style as a social site. They also play with the metaphoric analogies between purses and paintings: purses as female genitalia and paintings as feminine surfaces to be penetrated by the male gaze. The works thus pose purse as image and image as purse. Victoria Gitman was born in Buenos Aires, Argentina, in 1972. She graduated summa cum laude from Florida International University in 1996, and was a Fellow at the Yale Summer School of Art. Her work is represented by the David Nolan Gallery, New York, and the Daniel Weinberg Gallery, Los Angeles, and is in the collections of The Museum of Modern Art, the Whitney Museum of American Art, The Los Angeles County Museum of Art, and other public and private collections.

Victoria Gitman
Broward County

Above left: On Display, 2008, Oil on board, 6.5 x 7 inches. Above right: On Display (detail), 2011, Oil on board, 8 x 10 inches, Courtesy of David Nolan Gallery, New York.

Deborah Goldman was born in Fitchburg, Massachusetts, close to Concord, Lexington, and Boston. History was in the air, and early on she developed a fascination with the past and its narrative. Throughout her studies for a BA in history and an MFA in sculpture, she has consistently focused on the transitory nature of existence. While in residency at The Studios of Key West, an accidental sighting of Bismarck seedpods resulted in a body of work that combines her preoccupation with counting and a fascination with the way that things grow and die. These seedpods gave her the chance to develop her own tracking devices. Goldmans work has been featured in galleries throughout the country and jury selected for exhibitions on the East Coast. She is represented by Lucky Street Gallery, Key West, and serves on the board of The Studios of Key West.

Deborah Goldman
Monroe County

Above left: Studio Practise Counting, 2011, Photo assemblage, 56 1/2 x 62 x 1 3/4 inches. Above right: Bismarck Seed Pod Counting, 2010, Photo assemblage, 80 x 54 inches.

Walter Hnatysh was born in Greenbelt, Maryland. He received his Bachelor of Fine Arts from Indiana University and his Master of Fine Arts from Tyler School of Art. He is currently a Professor of Painting at Florida Atlantic University. Hnatysh works in drawing, painting, collage, and photography. His work has been featured in 23 one and two-person exhibitions and over 100 group shows since 1986. He has exhibited works in Istanbul, Turkey; MOCA at the Goldman Warehouse, Miami; and Atlantic Center for the Arts. His paintings and drawings are in many private and public collections, including the Huntsville Museum of Art in Alabama, the Everhart Museum in Scranton, Pennsylvania, and the Boca Raton Museum of Art. He has received an Individual Artist Grant from the state of Maryland, and been a recipient of the South Florida Cultural Consortium Fellowship award in 2007 and 2011.

Walter Hnatysh
Palm Beach County

Front cover: Wisterium (detail), 2010, Pens, markers, and collage on paper, 44 x 42 inches. Top: Biophilia (detail), 2010, Pens, markers, and collage on paper, 44 x 42 inches. Above left: Wisterium (detail), 2010, Pens, markers, and collage on paper, 44 x 42 inches. Above right: Poinked, 2011, Drawing/collage, pens, markers on paper, 17 x 12 inches.

Miami native Cristina Lei Rodriguez is best known for her assemblage sculptures depicting an artificial, fantastic interpretation of the life cycles in nature. Their surface is detailed and often excessively layered with color and accessories for eye candy appeal. Her work has been displayed internationally in museums and galleries such as the Serpentine Gallery in London, the Astrup Fearnely Museum in Oslo, and Deitch Projects in New York City. Locally, her work has been displayed at the de la Cruz Collection and the Miami Art Museum, among others. Her upcoming solo shows at Team Gallery in New York and Fredric Snitzer Gallery in Miami will take place simultaneously in November 2011. Rodriguez was born in 1974 in Miami, where she currently lives and works.

Cristina Lei Rodriguez

Miami-Dade County

White Fly I and II, 2008-11, Ficus trees, plastic, foam, paint, chain mesh, shrink wrap, tinsel, metal studs, and glitter, Dimensions variable, Courtesy of Fredric Snitzer Gallery.

Jillian Mayer steeps her artistic practice in the verisimilitude of a generation that came of age in the 1980s. Indoctrinated into expectations of upward mobility, instant gratification, and the succinct finesse of a television sitcom, Mayer critiques the dissonance between her childhood optimism and the state of contemporary culture with an erudite playfulness. In 2010, the artists work was one of the 25 selections for the Guggenheims Youtube Play: A Biennial of Creative Video. As part of the Guggenheims Creative Video Biennial, the artists work was exhibited at Solomon R. Guggenheim Museum in New York, Peggy Guggenheim Collection in Venice, and Deutsche Guggenheim in Berlin. She was recently commissioned by the Borscht Film Festival to create and direct a short film told entirely through her installations. A modern Miami adaptation of the 1962 French short film La Jete, her film features legendary Luther Campbell (aka Uncle Luke of influential musical group 2 Live Crew). Mayer lives and works in Miami, where she was born. She is represented by David Castillo Gallery.

Jillian Mayer
Broward County

Top: We as Me (3 stills), 2011, Video, 1 minute, 33 seconds, Courtesy David Castillo Gallery, Miami. Above right: How My Best Friend Died (2 stills), 2010, Video, 2 minutes, Courtesy David Castillo Gallery, Miami.

Martin Oppels work often employs a dialectical approach that pairs seemingly opposing ideas and processes to arrive at a synthesis. These juxtapositions reflect on larger themes of cultural progress and highlight shifting perceptions of what is natural. Formally, they are often framed around distortion, reduction, and many times bring up questions about distinctions between reality and the occult. His work has been included in numerous group exhibitions, both nationally and internationally, such as the 2nd Athens Biennale, Weather Reports at the cole Regionale des Beaux Arts in Rouen, France; Kabul 3000 at Galeria Zero in Milan, Italy; Think Warm: Miami Draws for You at Tomio Koyama Gallery in Tokyo; Japan; The Possibility of an Island at the Museum of Contemporary Art, North Miami; Miami in T ransition at Miami Art Museum. He has had solo exhibitions at Galerie Emmanuel Perrotin in Paris, France; The Fireplace Project, East Hampton, NY; and The Journal Gallery in New York City. Martin Oppel was born in Buenos Aires, Argentina, in 1976, and lives and works in Miami.

Martin Oppel
Miami-Dade County

Above left: Untitled (The Earth from Below), 2010, Acrylic on arches paper, 22 x 30 inches. Above center: Untitled (Squiggle #1 w/ optional Googly Eyes), 2011, Stainless steel, 90 x 36 x 30 inches. Above right: Untitled (Strata Fiction Ruin), 2010, EPS foam, plaster of paris, lightweight spackling paste, and acrylic, 84.5 x 14.5 x 14.5 inches.

Christina Pettersson was born in Stockholm, Sweden, in 1976. She is known for her meticulous, large-scale graphite drawings and for her multi-screen videos. Pettersson is represented by Anthony Spinello Gallery in Miami, where her second solo show, Resurrection, was filmed for a documentary on Artnet TV. She will have a solo exhibition, Sentinel, in February 2012 at the Art and Culture Center of Hollywood, Florida. She received a Fulbright Grant to return to Sweden in 2000, and attended the Valand School of Fine Arts in Gothenburg. More recently, she had residencies at the Vermont Studio Center and at Yaddo, in Saratoga Springs, NY. She has an upcoming residency at the Deering Estate at Cutler in Miami. Pettersson has exhibited work throughout the United States, at places such as the Birmingham Museum of Art, The Columbus Museum of Art in Georgia, The Baltimore Museum of Art, and the Miami Art Museum. Her work is in the collections of Martin Z. Margulies, Arturo Mosquera, and Martin and Cricket Taplin at the Sagamore Hotel.

Christina Pettersson
Broward County

Above left: We Are No Longer In The Land Of Kings, 2008, Graphite on paper, 86 x 68 inches, Courtesy Anthony Spinello Gallery. Above right: Vanities (2006), 2011, Graphite on paper, 36 x 36 inches, Courtesy Anthony Spinello Gallery.

Leyden Rodriguez-Casanova was born in 1973 in Havana, Cuba. He immigrated to the United States with his parents in 1980 during the Mariel Boatlift. Rodriguez-Casanova has exhibited throughout the United States and abroad in numerous exhibitions including installations at Socrates Sculpture Park and Sculpture Center in New York. Recent solo exhibitions include An Uneven Floor, Locust Projects, Miami; You might sleep but you will never dream, David Castillo Gallery, Miami; and the Cultural Consortium Showcase, Casas Riegner Gallery, Miami, FL (2004). His work has been featured in various publications including ART news, Art in America, Sculpture Magazine, Arte al Dia, Art Nexus, and The Miami Herald. It is in numerous public and private collections, including the Cisneros Fontanals Art Foundation, Miami; the Frost Art Museum, FIU; and the Bass Museum of Art, Miami Beach. He recently returned from the artist-in-residence Ville de ParisCultures France program at the Centre International dAccueil et dchanges des Recollets in Paris where he spent three months conducting research informing his work. The artist is represented by David Castillo Gallery in Miami.

Leyden Rodriguez-Casanova
Miami-Dade County

Top, left to right: A Frame Hidden by Blinds, 2010, Vertical blinds, found frame, glass and foam board, 40 x 64 inches; A Frame on an Open Wall, 2010, Found frame, glass, foam board, cut wall, 84 x 43 1/2 inches; A Concealed Dresser (two images), 2010, Found dresser, MFD and fabric, Dimensions variable; Door Partially Behind Blinds, 2010, Vertical Blinds and wooden door, Dimensions variable; A Frame Hidden by Blinds, 2010, Vertical blinds, found frame, glass and foam board, 40 x 64 inches, Courtesy of David Castillo Gallery, Miami. Above left: A Concealed Dresser, 2010, Found dresser, MFD and fabric, Dimensions variable, Courtesy of David Castillo Gallery, Miami.

Asser Saint-Vals oeuvre is fueled by research into the chemical and sociological importance of melanin, a compound found in the plant, animal, and protista kingdoms among other living things. It is produced in the human brain the pineal gland and is responsible for the color of human skin, hair, and eyes. He explores the way in which science has in the past been used to justify false perceptions concerning people of color. Anchored by objects that had been invented or patterned by people of African descents and the presence of legs, his imagery refers to melanins history part figurative, part ambiguous forms or something you might see under a microscope. His paintings are comprised of a variety of media and contain both eclectic symbolism and figurative abstraction. Born in 1974 in Haiti, Saint-Val has lived in South Florida for the past 22 years. He holds a Bachelor of Fine Arts in Painting and obtained a minor in Graphic Design at New World School of the Arts/University of Florida in 2004.

Asser Saint-Val
Miami-Dade County

Above, left: Souetre, E.J., Salvati, E., Krebs, E. Belugou, et al (1987). 5-methoxypsoralen increases the Plasma melatonin Levels in humans. Journal of Investigative Dermotology 89, 152-155, 2010, Mixed media on masonite: acrylic, color pencils, chalk paster, oil pastel, shoe polish, coffee, flour, etc., 50 x 50 inches. Above, left: ODonohue, T.L. and Dorsa, D.M. (1982). The opiomelanotropinergic nueronal and endocrine systems. Peptides, 3, 353-395, 2009, Mixed media on mesonite: acrylic, chalk & oil pastel, color pencils, coffee, flour, shoe polish etc., 24 x 24 inches.

1650 Harrison Street Hollywood, FL 33020 954. 921. 3274 ArtAndCultureCenter.org