Anai Fonte: Miami as Text Spring 2024

Photograph of Anai Fonte // CC by 4.0

I am a Senior at FIU completing my BFA. My art practice has been mostly in drawing, but I am expanding that into ceramics and installation art. I am returning to complete my degree after many years out of school. I’ve spent that time mostly on entrepreneurship.

Miami Encounter as Text

“My Miami” by Anai Fonte of FIU, January 14th, 2024

Photograph by Unknown of Anai Fonte // CC by 4.0

I love Miami. This city feels as much a part of me as my own skin. I am “kind of” a second-generation native. My father was not born here but came from Cuba when he was only three. I started my life in the most iconic part of Miami, South Beach. My mom was temporarily living in a motel while my father was a fugitive from the law. My mom gave birth to me at Mount Sinai Hospital, and my father turned himself in in exchange for being able to see me. After what I assume was a short stint in jail, he acquired The Surfcomber Hotel on South Beach, no doubt through some unscrupulous business dealings. This was probably 1984-85, South Beach was not glitzy or glamorous. It was a tired town, filled with retirees and newly arrived Cubans. These were my first years in the Magic City. 

We later moved to “El Norwess” just outside the airport when I was about six years old. My parents split around that time, and I lived exclusively with my mom. My mother was strict and a bit of an isolationist. I experienced little outside of my neighborhood. For this reason, I believed Miami was 99.9% Latino, and Spanish was the primary language. It wasn’t until my freshman year of high school that these perceptions changed.

On my first day of high school, I attended all my classes. On my second day, I cut math. On the third day, I didn’t show up at all. I had my first taste of freedom. I wouldn’t return to a classroom for about three months, only after CPS knocked on my door.  What did I do this entire time? I’d get dressed for school every morning. I’d meet with the same group of friends outside our school at the 711. We’d then hop on the bus or train without a plan and just see where we ended up.

I often wonder what people thought when they saw us, fourteen-year-olds in JNCOs and green hair, on the train during school hours. The streets of Miami had become our classroom. We would take the train to Dadeland and eat all the free samples at the food court since we had spent our lunch money on public transport. We’d go Downtown, wander each dirty street, and enter each electronics store. We once took the Tri-Rail to West Palm Beach only to realize we only had enough time to ride it back home to ensure we’d be home when we were expected. We explored every neighborhood we could and would hang out with whoever would engage with us. It was the Grove that won my heart, though. 

The first time we ventured into the Grove, we ended up at the Hare Krishna temple. They fed us, gave us candies and flower leis. They were beautiful people who shared wisdom with me that I still draw on today. The hippies smoking pot in the street often talked about politics, the ever-changing world, music, love, and art. I loved getting lost in the canopy-lined streets and finding old bungalows and cottages adorned in wacky colors and an assortment of lawn ornaments. It was the Grove that I kept wanting to return to day after day. I vowed that if I stayed in Miami, this is where I wanted to live, and ultimately I did. 

The years passed, and I saw the Grove I fell in love with slowly dying. Tiny bungalows were replaced with cold concrete boxes. Trees destroyed. Hippies were replaced by yuppies. VW Vans replaced by Tesla’s. Hare Krishna replaced my women in Lulelemon and Cartier bracelets. I then pulled back and realized much of Miami had gone this way. I don’t want to say I am disillusioned, but it feels like the Miami I grew up in is just a memory. I want to love this new version, but it’s hard not to reminisce about what was. I hope to cultivate a new relationship with Miami through this course, enjoy some of my favorite places, and learn new things about our beautiful home.

Historic Miami/Overtown as Text

“In The Name of Progress” by Anai Fonte of FIU, January 28th, 2024

Photograph by Anai Fonte // CC by 4.0

There is no artist I enjoy listening to more when I am in the throws of a creative fit than Otis Redding. His vinyl, Lonely & Blue, is spinning as I write this. Indeed, no other genre puts me into flow quite like soul. Knowing my topic today, I wondered if Otis had ever performed in Overtown. A Google search brought me to his performance on October 10th and 11th, 1964, at Clyde Killens Island Club in Overtown’s Little Broadway. This would have been just after I-95 tore through the neighborhood while segregation was still part of everyday life. Although before my time, I knew about the vibrant entertainment hub Overtown once was and that I-95 had played a critical part in the decline of the neighborhood. However, it was a distant, abstract historical event in my mind, that is, until I heard Mrs. Godfrey speak.

We visited with Alberta Godfrey, a long-time Overtown resident, at the Greater Bethel church, founded before the City of Miami in 1896. She shared a moving and personal account of what Overtown used to be, standing just in front of where Dr. Martin Luther King Jr. delivered a speech about the importance of not limiting access to polls and his vision of equality in 1958. There is something in being in a physical space with someone when they retell a story that makes it come to life in a way that a YouTube video never will. You feel the energy of their words; you share the emotion with which they deliver their message. It’s moving, and we shared with her, at that moment, the importance of Greater Bethel and Overtown. The city turned its back on Overtown in 1957 when it chose to run I-95 straight through the neighborhood, and it continues to turn its back by allowing the demolition of iconic buildings in the community and the lack of acknowledgment of previous wrong-doings. Some 70 years later, can we say our local politics have improved?

I recall a quote by Dr. Martin Luther King Jr., “We need leaders not in love with money but in love with justice. Not in love with publicity but in love with humanity. Leaders who can subject their particular egos to the pressing urgencies of the great cause of freedom…..a time like this demands great leaders.” Like Mrs. Godfrey said, she is not opposed to progress, and I agree progress is critical to a city’s prosperity, but so is preservation. Miami sells its history to the highest bidder with secret handshakes and backhand deals. The little history we have is being paved over for yet another “luxury” high-rise only wealthy Miami part-timers can afford. Places like Greater Bethel need to be supported and preserved for our children and our culture as a city. As we all gathered in the church, just across the street where Overtown’s first schoolhouse stood a few months before, another massive development was underway. The only legacy our local government seems interested in preserving is corruption and destruction. Dr. King knew back then that what we need is great leaders. Where are Miami’s great leaders?

(n.d.). October 10-11, 1964 Island Club, Miami, FL. Concert Fandom. https://concerts.fandom.com/wiki/October_10-11,_1964_Island_Club,_Miami,_FL

(n.d.). Clyde Killens’ House. Going Overtown. https://goingovertown.org/listing/clyde-killens-house/

Weaver, J. (2023, September 23). FBI investigates developer’s payments to Miami’s mayor as SEC digs into company’s finances. The Miami Herald. https://www.miamiherald.com/news/local/article276193691.html

Garcia, D. (2023, June 1). Miami Commissioner Joe Carollo found liable in federal civil case, ordered to pay $63M. WSVN. https://wsvn.com/news/local/miami-dade/miami-commissioner-joe-carollo-found-liable-in-federal-civil-case-ordered-to-pay-63m/

Beard, E. (2016, Jan 18). On Leadership: Dr. Martin Luther King, Teaching, and Alpha Phi Alpha. Teach for America. https://www.teachforamerica.org/one-day/ideas-and-solutions/on-leadership-dr-martin-luther-king-teaching-and-alpha-phi-alpha#:~:text=“We%20need%20leaders%20not%20in,like%20this%20demands%20great%20leaders.”

Deering Estate as Text

“Time Travel” by Anai Fonte of FIU, February 10th, 2024

Photo by JWBailly of Anai Fonte // CC by 4.0

We could not have asked for a more perfect South Florida day to embark on a hiking adventure. The mosquitos were nonexistent due to the recent cold nap. The skies were blue and the air crisp. These are the days all the North Easterners moved here for. It is January 31st, the last day of the month, and we are visiting The Deering Estate in Palmetto Bay. Living in Miami my whole life, I have only ever been here a handful of times. In truth, I had little knowledge of the vastness of the property. I believed it to be a historic home on the water and not much else. However, we adventured past a restricted sign and onto a barely marked trail, and I was immediately consumed by the density of forest with which the home shares its land.

When you think of Florida, I do not believe most people would associate the state with the Mesolithic or Neolithic era, yet here I stood at the Cutler Dig Site, which contained traces of human activity from just then. To reach the site, you traverse a dense hardwood hammock forest and many, many spider webs. You then come upon a deep hole in the limestone, which I estimate is no more than 20-25′ in circumference. Excavators have found sabertooth tiger teeth in this ancient hole, an animal believed to have gone extinct 10,000-12,000 years ago. However, there is no proof that the humans of the area interacted with these ancient animals. The proof of human inhabitation of the area came from small game remains that were scorched and cut, evidence of having been cooked and eaten by our prehistoric ancestors. 

I’m a sucker for pretty water; it mesmerizes me. What an incredible delight to find a crystal blue pocket amongst the mangroves. It was the unmistakable indicator of a headspring. Where there is fresh water, there are humans. At this point, I am starting to understand the magic of this place. Just a few feet from the spring, you find evidence of human inhabitation. This area was home to the Tequesta, the indigenous people of South Florida who no longer existed by the 1800’s. Their tools, fashioned out of shells, can be found all along the forest floor. In the absence of iron, a conch shell made for a valuable material to assist with various tasks. 

We now ventured into what I will remember as the “squishy” part of the hike. I wore water shoes, but since the water had receded entirely, I was walking on what felt like a wet sponge, with each step, water, and muck squirting through the holes of my water shoes. It was a sensory experience, for sure. As we continue to walk, we begin to see slivers of what appears to be a sizeable manmade object. It is difficult to discern what it is exactly until you are within steps of it. A plane. A crashed plane in the middle of a mangrove forest. We are told that the passengers and pilot must have survived since no human remains were found with the wreck. It is believed to have been a drug-running plane. I could hear the Scarface theme song as I moved around it, peering in windows to see if the drug runners left anything interesting behind, but the swamp had claimed the plane, or more correctly and less dramatically, the mangrove forest. 

We walked over five miles through 10,000 years of history and nine ecosystems in just over five hours. It was a wild ride from Mesolithic dinner tables to evidence of Miami’s main import of the 80s and so much more I couldn’t share in just five hundred words. A truly epic day I will cherish, and I am incredibly grateful for. 

Austin, Daniel W. (1997). “The Glades Indians and the Plants they Used. Ethnobotany of an Extinct Culture.” The Palmetto, Retrieved February 10, 2024

Saber Tooth Surprise. (n.d.). National Geographic. Retrieved February 10, 2024, from https://www.nationalgeographic.com/science/article/saber-tooth-cats-surprise-fossils-redraw-picture-of-big-cat#:~:text=Her%20team%27s%20comprehensive%20study%20also,10%2C000%20to%2012%2C000%20years%20ago

Dig This: Public Archaeology in South Florida. (2017, February 21). Retrieved February 10, 2024 Site file: Cutler Fossil site. Dig This! Public Archaeology in South Florida. https://digthispublicarchaeology.wordpress.com/2017/02/21/site-file-cutler-fossil-site/

Vizcaya as Text

“Dona præsentis cape lætus horæ ac linque severe” by Anai Fonte of FIU, February 14th, 2024

Photograph by Anai Fonte // CC by 4.0

It is Valentine’s Day, and although I did not know that morning when I was rushing out the door, it was the perfect day to set the stage for our visit to the Vizcaya Mansion and Gardens. The day is sunny, and the air is crisp, and I am excited to revisit this Miami icon. I had only ever been there once before, residing it to something tourists do, and I was twelve then. I can’t say much stuck in the way of any history about the property from that visit, but I have always wondered why his bed was so short. That definitely preoccupied my twelve-year-old mind. What consumed me this visit was absolutely different. I was not anticipating that I would fall in love with this place or be carried away in intoxicating fantasies, envisioning what life would have been like as a guest of James Deering at one of his lavish parties. 

The Vizcaya Mansion sits on the edge of Biscayne Bay and is perfectly nestled between Coconut Grove and Brickell. It is the transitory space between the lush, spacious landscapes of the Grove and the densely urban Brickell. In many ways, the home itself has always been an institution of transition. When it was built in 1914, it was the vehicle that transitioned South Florida from the harsh tropical and wild place it was to a luxurious, hedonistic party hub, much like it remains today. I fully agree that James Deering, the owner and visionary of Vizcaya, should be named the patron saint of Miami. Long before Versace on South Beach, Deering paved the way for this city’s visitors and residents’ seemingly insatiable appetites for all vices. 

Dona præsentis cape lætus horæ ac linque severe, Take the gifts of this hour joyfully and leave them sternly. This is the inscription of the sundial above the entrance to the mansion. The early 1900s version of what happens in Vegas stays in Vegas, except it’s Vizcaya. A reminder to all his guests arriving that this is a place to delight in the present. 

Looking across the way from the sundial is a barge constructed as a breakwater, but in typical Deering fashion, it could not be just a boring breakwater, and just like that, Miami had its first “party boat.” 

This place captures your imagination. I see myself in a long, flowy gown, running into the gardens to escape the crowd. It’s a cool and breezy Miami winter night. The sky is clear – you must have been able to see all the stars, even the Milky Way. You can hear loud laughter and music in the distance and are in pure euphoria. You stumble into one of the secret gardens and find two lovers whose union, for whatever reason, would be considered inappropriate, in full coitus. Scandals of the Gilded Age and still everyday debauchery in Miami.

Today, I saw a side of Vizcaya I never knew. When I visited as a kid, I doubt much of what we learned about secret love meetings and passes that connect bedrooms would’ve been discussed. Time was sadly limited, so we never made it to the bedrooms. Where I am sure we would’ve learned about more steamy rendezvous, but I am left wondering why his bed was so short?

Everglades as Text

“Restore the Flow” by Anai Fonte of FIU, March 17th, 2024

Photograph by Anai Fonte // CC by 4.0

When I was first considering whether or not I should join the honors college, this course, Miami in Miami, and the photo of a student hiking in the Everglades gave me the final push to join. Although I started my honors journey with the Art in Miami course, I eagerly anticipated this class in particular. The Everglades is a place I hold close to my heart. It is the other side of home. On the one hand, we have the tropical, vibrant, busy city, and on the other, the slow-moving, natural wonderland of the Everglades. I grew up fishing in these waters and riding skiffs in the shallows amongst spoonbills, sawfish, and many other unusual creatures you’re unlikely to see anywhere else. 

Even though I spent a great deal of time adventuring in the Everglades, I had never gone Slough slogging. It was something that, for a long time, intimidated me. I’d ask friends to come along, but there were no takers. I knew if I ever wanted to experience this, I would have to go alone, but I am not that daring. Luckily, Clyde Butcher, the photographer best known for his black and white images of the Everglades and ghost orchids, raffled off a guided slough slog on his beautiful property bordering Big Cypress National Preserve, and I won. It was a wonderful hike that made me confident in pushing myself further to explore on my own. 

The guided tour with the Everglades National Park Ranger, Trent, differed. Both were wonderful. Clyde’s tour focused on the local ecology, while the Ranger-led one shared a little of everything, including history. Trent was such an engaging speaker, and I learned so much from him, including that human activity in the area predates the Everglades. I had always thought of the Everglades as an ancient place and had no idea how young it was. When he read the poem as we stood in knee-high water just within the cypress dome, it will be a memory I cherish forever. 

One of the most spectacular things about the Everglades is how quickly it changes and how, with every visit, you see something new. Before our trip there, I had been there just a couple of months before. I had pulled up to the side of the road to sketch a couple of deer I saw in the field. I sat in the back of my truck for an hour, sketching the deer, dragonflies, wildflowers, and plants. I then drove off to another area to see what else would catch my eye and continued my day. We returned to where I was just at and hiked in a few feet. There was a substantial water-filled hole I had missed the last time I was there. Absolutely incredible. 

The Everglades is the lifeline to South Florida, providing water to millions of residents. A few years ago, we started experiencing problems with algae blooms, creating record fish kills and spewing toxic gasses into the air, forcing seaside resorts and restaurants to close. I spend a lot of time on the water, from fishing to diving and paddling. This was something that impacted me deeply. I started looking at what could be causing this and found a non-profit organization, Captains for Clean Water. Before we developed South Florida, water would flow freely from Lake Okeechobee through the Everglades; this is something Trent touched on. Once Agriculture spread in this area, primarily big sugar companies diverted water for their use; additionally, the areas were being developed for housing. For this reason, the Okeechobee Lake no longer flows, and when the water gets too high, polluted water is discharged East and West, causing massive problems for the coastal communities. The solution is to restore the natural flow of the Everglades. 

The Everglades’ importance cannot be understated. From its biological diversity and many ecosystems to being the source of drinking water for millions of people, we must protect and conserve this glorious river of grass. 

Chicken Key as Text

“Cruelty-Free” by Anai Fonte of FIU, March 30th, 2024

Photograph by Anai Fonte // CC by 4.0

We’re back at Miami’s magical Deering Estate. Instead of exploring the lush woods on the property and the over ten thousand years of history, we are heading to the water this time. Chicken Key is just a mile off land, a small nature preserve part of the Deering Estate. It was a windy day, and the paddle was a tough one. We followed close to the mangroves to block the wind, and about halfway to our destination, we took a reprieve in a gorgeous mangrove tunnel. The water is crystal clear; we would learn that the water flowing here comes from the Everglades. We stopped for some photos and to take in the glimmers of sunlight filtering through the dense mangrove branches overhead. Unfortunately, a few of us were new to canoes and ran right into Professor Bailly, who was the first to take a swim that day. Everything was recovered except a water bottle that was now impossible to locate because the water was churned up. We set across the bay, leaving the wind barricade provided by the mangroves and braved open water to our final destination, Chicken Key. 

When we arrive at Chicken Key, there is no beach or dock, so we tie our canoes to a few low-hanging branches. It didn’t always look this way. In an 1899 survey, S.H. Richmond recorded a maximum elevation of three feet and that it was characterized by a sand beach and low dunes. The island was formed by ocean currents moving quartz and limestone sand deposits. The dunes were destroyed by dredging in 1940, which elevated the island from three feet to ten feet. Nonetheless, the island is beautiful and uniquely untouched by development. 

We start to venture into the island, and just a few feet from the shore, we walk into a scene of chaos. A mountain of trash surrounds the small firepit where a humble campsite used to be. A deflated raft, sign posts still on their concrete bases, and even an above-ground pool ladder. No doubt, these were items that had already washed ashore and were collected to create a makeshift shelter for a group of partygoers. We pull up our sleeves, grab some bags, and get to cleaning. 

From where we entered, I followed the shoreline to the island’s opposite end. I pick up little items as I walk along: plastic bottles, cups, caps, lots and lots of plastic. There were also several mangroves entangled with buoy ropes, which I cut them free from. Amongst the more interesting finds were these lavender snail shells and a tiny cocaine bag with some still in it—no worries—that got tossed, too. But I think the one thing that I picked up that I found profound was a label from a vegan, cruelty-free product, free from harmful chemicals, organic, etc., the list rattled on. Here it was, this “innocent” and “safe” product label contributing to the pollution in a natural environment; the irony was not lost on me. 

Chicken Key is a special place; it is a sanctuary for endangered butterflies, a rookery, and a natural habitat of which there are less and less of so close to urbanization. It was my absolute pleasure to do my little part in helping keep it pristine. The campsite was revealed after the garbage mound was cleared, and if you can believe it, Professor Bailly found the water bottle. If that wasn’t epic enough, Manatees were waiting to greet us back at Deering Estate. Perfect day. 

South Beach as Text

“The Miami You See in the Movies” by Anai Fonte of FIU, April 10th, 2024

Photograph by Anai Fonte // CC by 4.0

It’s another gorgeous Miami day to explore, and this time, we visit a personal favorite: South Beach. Unusually running late this morning, I made up for missing my morning run by sprinting from the Seventh Street garage to South Pointe Pier, arriving just a touch late and a sweaty mess. The stress from the run and being late was quickly forgotten when I absorbed the view: the expansive beach and endless ocean. In the distance and across the jetty, we can see our next destination, Bill Baggs State Park, better known locally as El Farito. Closer to us is Fisher Island, the wealthiest zip code in the nation. We pulled up Zillow as we set out for our walk on Ocean Drive to pick which homes on Fisher Island we’d be putting offers on; three milly, no biggie. 

South Beach is known worldwide for its neon lights and Art Deco. It’s been featured in countless movies and music videos. While most people can recognize the iconic style of architecture as Art Deco, few know its origins. Even I, as an art major, didn’t fully know the story. For most of history, we have been looking back for architectural inspiration to the Romans or Greeks. However, in 1922, when the tomb of King Tut was discovered, the world was made aware of a whole new aesthetic unlike anything anyone had seen before. This, paired with the Industrial Revolution, gave birth to the Art Deco style, making it unique. Now that I know this, I’ve connected the schematized facades and ziggurat roofs. I cannot unsee it! I also learned that the other dominant architectural style in Miami and South Beach is MiMo, pronounced My-Mo, not Mee-Mo, which I’ve been saying wrong for a long time. 

On the walk, we stopped at a bust of Barbara Baer Capitman. It was my first time hearing of her, but I was fascinated to learn about yet another woman pioneer of Miami. In 1976, Capitman formed the Miami Design Preservation League, ensuring that Miami Beach’s iconic art deco buildings would not be torn down and built over, as so much of Miami has, but preserved. The mainland could use someone like her right now. 

I had the most awesomest lunch at La Boulangerie and then went on to finish our day on South Beach at the Jewish Museum. The building was the first and only synagogue in Miami Beach in 1929. At the time, Jews were not allowed to live beyond Fifth Street. The Jewish community grew so much that the synagogue built another building directly next to the original to keep up with demand. As you walk through the old alleyway that used to separate the buildings but now is enclosed, hung on the walls are vintage anti-Semitic propaganda, images, letters, and items. It is surreal. You look at dates and realize this was not that long ago. In light of all that’s happening today, I applaud the museum for ensuring we do not forget the world many once lived in.

Final Reflection as Text

“I See You Now, Miami” by Anai Fonte of FIU, April 20th, 2024

Photograph by Unknown // CC by 4.0

It’s hard to believe we’ve come to the end of the semester this quickly. It was just a blink, and here I am writing my final reflection. As I type these words, I can’t help but feel some sadness but, at the same time, a tremendous amount of gratitude. When I first started this semester, I approached this class from the perspective of a Miami lifer. Which, of course, I still am. There has been one fundamental change in my perception of Miami, though. One I would not have arrived at had it not been for what I learned about our Magic City through the course of the semester, which was truly unexpected. 

Over the last few years and especially since COVID, I have seen our city change in ways that the Miami I loved seems but a sliver of itself. Miami has become the hottest place to live for people from California and New York, and it has drastically changed the landscape and culture, and not in ways I feel are an improvement more like a death of all that I loved. I will not lie; this has made me salty, and I have struggled to accept this new Miami. 

About a year ago, I was living in a duplex and shared a wall with an incredibly nice older man who, like me, was a Miami native, except he was 70 and had seen even more changes than me. The wall we shared was not very thick, and often, I could overhear his conversations. On one of these occasions, I overheard him talking on the phone, and he was saying how all the Latinos in Miami now know what it feels like to have their city overtaken by outsiders. I didn’t know how to feel about that at the time.  

We started the semester in Overtown, where we met Alberta Godfrey, who has been in Miami longer than my previous neighbor and I. She shared with us how Overtown had transformed from this bustling, growing neighborhood into a shell of what it was once with the construction of I-95 through the heart of it. At Deering Estate, we learned about how the Spaniards pushed out the original natives and Tequesta. James Deering of Vizcaya introduced decadence and debauchery to what was a wild and untamed natural area at the time. In the Everglades, I learned this magnificent landscape was only 10,000 years old, having been birthed at the end of the last ice age. More recently, South Beach has gone through several re-births of its own. 

So, how have I changed? What was the unexpected thing I learned? I’ve spent the last few years holding on to my version of Miami as if it was the one true version, as what I believed it to be is the only thing it was. I was wrong. If one thing is true of Miami, it is ever-changing by new waves of people coming here. This is the truest Miami there is. It’s not my 80s Latin run version of it, not the previous predominantly Anglo-Fisherman Village version of it, or any before that. Miami is in constant flux, and I have grown to respect and appreciate it. 

Thank you infinitely, Professor Bailly, for the ways in which you have transformed the way I see our city, art, and myself in both. 

Anai Fonte: Art in Miami as Text Fall 2023

Photograph of Anai Fonte // CC by 4.0

I am a Senior at FIU completing my BFA. My art practice has been mostly in drawing, but I am expanding that into ceramics and installation art. I am returning to complete my degree after many years out of school. I’ve spent that time mostly on entrepreneurship.

Art Encounter As Text

“Miami, Art & Myself” by Anai Fonte of FIU, August 25th, 2023

Photograph by Anai Fonte of Artwork by Anai Fonte // CC by 4.0

How well do I know the art culture in Miami? The art culture in Miami and I have an interesting history. If I were to answer this question with today’s art scene in mind, the answer would be superficially. I’ve gone to a few art museums. I go to a few galleries and shows during Basel. I support friends when they’re exhibiting, but I’d say not as well as I would like or should. Especially given that I am an artist myself.

That was a little embarrassing to admit, so let’s digress. I was born in Miami and had what you could call a colorful history. We will save that for another day, but I can recall standing in front of a mirror at just three years old and telling myself, “Eres una artista,” “You are an artist,” while covered in paint, hopefully, lead-free, this was the 1980’s, that my father let me throw all over the walls of my bedroom. My father wasn’t crazy; It had already been planned that my room would change colors. From that day to today – that is who I’ve always seen in the mirror.

Up to when I started at FIU, what I knew about the Miami Art scene revolved mostly around Graffiti and some spinoffs of it. I spent a lot of my teenage years around some of Miami’s most prolific graffiti artists, some of whom are still out there creating and well-known. Miami in the late 90’s did not have an art scene like today. I have literally seen it spring up around me. In the 20 years from then to now, I did not do as much as paint a dot. My sketchbooks from years of Yonder were chucked in a waste bin, and I was committed to not being a starving artist; I felt I had already done my time in the starving department but truly I just lacked the courage.

Let’s flash forward. This is my fourth semester at FIU, and if you asked me what I know about contemporary art, my biggest revelation is that it is not modern art. Aside from that, I could and have filled pages with what I’ve learned about Expressionism, Abstract Expressionism, Minimalism, Street Art, Neo-Dada, and more.

I look forward to having all that theoretical knowledge brought to life and practicing recalling it all. When I saw the class Art in Miami, I thought it was the perfect opportunity to explore the Miami Art Scene, which I am so eager to, and meet interesting and like-minded people. This course gave me the nudge I needed to join the honors college.

If I had to choose one place I am most excited to be visiting, it is the Basel event. The energy that time of year and at these events is bar none. However, I am genuinely excited about all the places we’re visiting. Aside from the PAMM, they will all be new experiences for me. To be able to explore these incredible museums and have the accompanying lectures to bring it all to life is something I am very grateful to have the opportunity to participate in.

PAMM as TEXT

“Portals” by Anai Fonte of FIU at PAMM, September 9th, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

I am walking through the courtyard of the PAMM, making my way to the entrance at 90 degrees and 100% humidity. I walk through the doors and feel that blissful rush of cool air over me. I head towards the open-door elevators to ensure the moisture and heat haven’t distorted my polished hair. I glance over; have you ever looked at yourself in the mirror and seen no one looking back at you? 

PAMM is Miami’s flagship art museum. It boasts a rich and diverse contemporary art collection and aims to encourage its guests to see art as an incentive for genuine human interaction. Leandro Erlich’s exhibit Liminal does precisely this. It is September 1st, 2023, the first of the month, the entrance day to a whole new month, and we are stepping into the portals cleverly crafted by Erlich.

Leandro Erlich, originally from Argentina, is known for his large-scale, lively installations. Elevator Maze would be the first installation of his I would experience. When my mind finally caught up with my eyes, I realized these are not actual elevators, but what is it? My brain is tickled. Where my reflection should be, there is nothing, and then, someone else curiously peered through an opening where a mirror and my reflection would normally be. I am actually seeing six open elevators whose walls are joined with “windows” into each of the carts. Erlich is taking an everyday object and shifting how we interact with it—challenging our notions of what is ordinary and what these objects mean in our own lives and our relationship to them. Instead of telling us what it is meant to convey, he allows our experience to unfold and reveal. This introduction conjures a kid-like curiosity in me, and I am primed to play. 

Our tour guide, Tom, walks us over to the next artwork by Erlich we will experience. Having seen it saturating my Instagram feed for months, I was already somewhat familiar with Swimming Pool. This installation is an everyday object, a structure built to appear like a swimming pool, converted into a portal to shift the viewers’ perspective. The design is a hole in the ground with a clear plastic panel covering it with a few inches of water flowing over the transparent panel. The cavity underneath is a blue room the audience can enter, giving viewers a perspective from “underwater.” In 2001, Erlich represented Argentina at the Venice Biennale with Swimming Pool. This installation is part of the permanent collection at The 21st Century Museum of Art of Kanazawa in Japan. At the PAMM, it is part of the longest-running exhibition in PAMM’s history. 

When I exited Swimming Pool, I asked Tom if the artist had given any context to the work. Tom explained that Erlich’s intent is for the audience to interpret the work through their own experience. We discussed how we both shared similar sentiments about the work; being Miami natives and water lovers, Swimming Pool felt blissful. However, he shared that some people who fear swimming or water experience something quite different. This recalled John Jasper’s Neo-Dada work, specifically Semiotics and, in particular, Flag from 1954. Although Swimming Pool and Flag have very little in common aesthetically, Jasper and Erlich’s approach of allowing the viewers’ experiences to shape their interpretation is the same. 

As I navigated through Liminal, it wasn’t all play and bliss. I approached another elevator, but this time, the door was shut. The elevator doors had windows that invited the audience to peer in. I approached with excitement, which quickly became exhilaration—the view, an endless drop down. For someone uncomfortable with heights, this made me uneasy. Elevator would complete my emotional journey. Erlich’s “Liminal” exhibition cleverly turned everyday objects into doorways that reflect our human tendencies, giving us a thought-provoking experience of changing perspectives.

Norton As Text

“It Was All A Dream” by Anai Fonte of FIU at Norton Museum of Art, September 15, 2023

 Photograph by Anai Fonte // CC by 4.0

Norton Museum of Art in West Palm Beach was founded in 1941 by husband and wife Ralph Hubbard Norton and Elizabeth Calhoun Norton. It is a rare jewel in South Florida’s Contemporary Art vastness. The collection boasts art pieces from medieval times through today’s. Conveniently located a 10-minute walk from the Brightline, I took the 9 a.m. train from Miami and was at the front of the gorgeous, dramatic facade of the Norton in about an hour. 

Within the halls and rooms of the Norton, you will see a varying array of artworks created across thousands of years. Of these rooms, the one I was most anticipating was the Impressionist room. The Impressionist movement rose out of the frustration of artists of the time with what was considered the academic standard of tight, controlled brushwork and a heightened sense of realism. The aim of the Impressionists was art for art’s sake, as championed by early avant-garde artists such as Courbet and Whistler. A key figure in the avant-garde movement was, of course, Claude Monet.

Claude Monet, a French painter born in 1840, is arguably the most famous of the Impressionists. He is also my favorite of the Impressionists, not just because of his breathtaking works but because I relate to him in that I, too, prefer being in rural areas, but city life is necessary for life and work. In his country home at his garden in Giverny, Monet created his most famous series of works, Water Lilies. These paintings were groundbreaking in that they were done ‘en plein air’ or in the open air with the advent of portable paint in tubes. 

Nympheas from 1905 is one of the works from Monet’s Water Lilies series on display at the Norton, tucked among other great works by Impressionists like Van Gogh, Cezanne, and Degas. I chose not to photograph the entire painting because I had seen countless photos, and they do not hold a flame to the real thing. The colors of the canvas are rich pastels dabbed in a painterly symphony across the entire canvas. Up close, the brushstrokes appear to be nothing more than dabs, dots, and dashes, making the image incomprehensible, but as you pull away, the scene reveals itself. There is no aerial perspective beyond the reflection of the sky in the water. The lillies get smaller in scale as the scene moves to the top of the canvas, giving the illusion of perspective and distance. There are no clear boundaries. It is like standing in front of a dream. 

The five or so hours spent at the Norton went by in a blink. I could spend an entire day in the Impressionist room alone. I never realized that we had access to this level of collection from a myriad of periods in art history so close to home. Seeing artworks I had only ever seen in books or on a screen in real life was a surreal and moving experience. There is no doubt that Norton is my new favorite local art museum. 

de la CRUZ AS TEXT

“No, but where are you really from?” by Anai Fonte of FIU at de la Cruz Collection, September 29, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

It’s September 29th, 2023, and today’s museum visit is to the de la Cruz collection in the heart of the Miami Design District. The de la Cruz Museum was founded by Rosa and Carlos de la Cruz to share their private collection with the community. As we explored the third floor, it became evident that many artists and artworks on display were stories of artists who grappled with self-identity, a theme that resonates deeply with me. The collection provides a platform for artists like Ana Mendieta and Felix Torres-Gonzalez to illuminate the complexity of heritage and identity. 

Ana Mendieta, born in Havana, Cuba, in 1948, was forcibly separated from her homeland at a young age due to the political turmoil on the island at the time. She was part of the exiled Pedro Pan children. You find a vast collection of Mendita’s Silueta works tucked into its private corner on the third floor. These pieces speak to a yearning to re-establish roots in her heritage that mirrors my own. She uses her body to imprint the earth and create a dialogue between herself and the landscape. Her desire to bridge the chasm between her displaced self and her heritage is evident. I can’t help but imagine, had she lived to an old age, if she would’ve returned to Cuba and created her Silueta’s in her home soil. 

Just like Mendita, I have often struggled with my own cultural self-identity. It’s not been easy to find where I truly belong, and how that has overflowed into different parts of my life is unclear but present. Born in the U.S. to immigrant parents, I am the product of three cultures and often seen as an outsider to all three. When asked, “Where are you from?” I struggle to find an answer that satisfies the asker. Mendieta’s art reflects this thirst we commonly share for belonging, and in that common ground, through her art, I connect to my tribe of un-belongers. 

Previously unfamiliar to me, at the de la Cruz, I discovered Felix Torres-Gonzalez. His minimalist and conceptual works awoke a newfound appreciation for this genre of art. His Portrait of Dad work invited us to share his grief. The work is a conversation about love and loss. Having also lost my parents, this beautifully intelligent memorial profoundly affected me. It’s playful and simple but evokes a deeper connection to how we process the death of those closest to us and the ways we attempt to keep them alive. 

Like loose molecules in space, we drift until we find like-minded souls, creating new bonds and elements within our kaleidoscope of culture. The de la Cruz has created a space for these loose molecules to bind, not just a home for some of Miami’s finest contemporary art but a haven for the voices of those with blurred cultural identities, many of which have ties to Miami and the Caribbean. As I left the museum, I couldn’t help but feel that in addition to discovering some genuinely brilliant artists, I found a piece of my own puzzle within its walls. 

MARGULIES WAREHOUSE AS TEXT

“When does it end?” by Anai Fonte of FIU at Margulies Warehouse, October 19th, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

One of my favorite things about art is the space it creates between what you see and what your experiences, biases, and emotions bring to complete the work. This is a successful piece of art, not one that spells it out for the audience but invites them in to meet it. These are the works that fill the Margulies Warehouse. It is not only a vast repository of photography but a home to large-scale works of which the size is not an everyday scene. It is October 19th, and I am the only visitor at the Margulies Warehouse; that, in itself, is a surreal experience, but it’s the content of the rooms will transport me to another world.

As an artist, I love to work with natural materials, especially clay. Although I admire a fine piece of pottery, it often bores me the practicality of it. So whenever I see clay used in ways I never imagined, it captivates me. Standing at the entrance of the massive 16,000-square-foot room, you aren’t sure what you are looking at. Is the form in the center of the room the artwork or the frames lining the wall, stacked one on top of the other at towering heights? No, the dystopian scene is all one piece of art that will engulf you in feelings of loss, destruction, and dark reverie.

Anselm Kiefer was born at the end of WWII and was raised in the ruins and rubble that remained in Donaueschingen, Germany. He is a multi-medium artist who along with his massive sculptures, has produced many works on canvas that today sell in the millions, making him one of the most profitable living artists of our time. His work, however different in materials, revisits dark themes of loss, war, and destruction, often incorporating natural materials.

In Geheimnis der Farne (Secret of the Ferns) 2007, Kiefer revisits his childhood home and the theme of loss through massive concrete sculptures, rubble, exposed metal, and frames with clay, clothing, and ferns. Ghostly gowns laid flat in lifelike forms within huge frames make you almost see the ghost of the person who wore it beyond it. Dried, cracked red clay and dried flowers, ferns, and other plants are within these frames. You start piecing together how this was a child’s perspective, exploring their home in the aftermath of pure horror.

How does a child process the atrocities of war? For Kiefer, he has dedicated his life to expelling his childhood emotional turmoil into art. Although they recall a world just after WWII, sadly, these scenes do not seem like some distant past reality, given today’s current events. As a mother raising a small child, I couldn’t help but think about the children living these dark realities right now, living among darkness, death, destruction, and rubble. Stepping into Secret of the Ferns, the emotional rawness is overwhelming; you are seeing through the eyes of a child as these broken-down forms and images tower and envelop you. Almost 80 years after the atrocities of WWII, we are still here; we have learned nothing; when does it end?

Anselm Kiefer. Paintings, landscapes, watercolours and sculptures for sale, auction results and history. (n.d.). https://www.christies.com/en/artists/anselm-kiefer?lotavailability=All&sortby=relevance

WOLFSONIAN AS TEXT

“That Time Everything Was Shiny” by Anai Fonte of FIU at Wolfsonian, October 27th, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

Just a few moments after exiting the mainland onto South Beach, you will find yourself at the entrance of FIU’s Wolfsonian. Founded in 1995 by Mitchell “Micky” Wolfson, Jr, not as an art museum but as a collection of interesting objects and art from the Industrial era. The museum only houses works from 1850-1950, showcasing the evolution from agricultural to urban societies. The building itself, which now houses over 200,000 objects, was originally a storage facility for the wealthy residents of early Miami Beach. It was transformed in 1992 by architect Mark Hampton into the beautiful cultural beacon it is today. 

You quickly establish the hopefulness and excitement of the latter half of the 19th century as soon as you walk through the doors. Window Grille from 1929 was originally from the Norris Theater in Chicago. It is grand, decadent, gold, and glorious, embodying the excitement of the time. This “frozen fountain,” a concept initially unveiled in Paris, became an Art Deco staple. It is further highlighted by its new placement at the Wolfsonian. It is at the very end of the main lobby, parallel to the entrance. It sits between a large, reflective pool of water and ceiling windows showing the magnificent beach sky. 

Proceed to the elevators, and you are greeted by Talcott’s enormous sculpture Wrestler, also from 1929, which conveys strength, imagination, exploration, and ingenuity, all the promises of the Industrial Revolution. Standing about seven feet tall with machine-like hands and geometricized form, you are unsure if you are looking at an alien, a human in a suit, or an interpretation of a new robotic human assistant who may or may not turn against its people and start a new world. It’s clearly bred from the sci-fi magazines of the era and an imposing figure when seen off the page and standing just in front of you. 

As you move up the building and enter the landscapes of the first half of the 20th century, you awaken to the realities of pre-war and the death of all the aspirations birthed by the technological advancements now turned into a war machine. You can see this sense of loss and despair in Virginia Berresford’s The City from 1936, a surrealist-like landscape depicting a baron desert, a lone hiker, and a dense urban cityscape in the distance with twisting, leafless trees at the forefront. You get the sense of the disappearing hopefulness of a bright future as humanity heads into one of its darkest periods. 

After exploring the Wolfsonian, it didn’t take long for me to draw parallels between the Industrial Revolution and our current Digital/AI Revolution. Like Window Grille’s creators, we are in the optimistic, hopeful, and excited period. But what can we learn from the errors of the past advancements and the consequences they yielded? They say history repeats itself, and I can’t help but leave with a sense of dread. Places such as the Wolfsonian exist as historical mirrors to guide us through the impacts of progress. They help us reflect on societal shifts and help us better navigate the changing tides so we can do better, and we must do better.

FROST AS TEXT

“Free” by Anai Fonte of FIU at the Frost Art Museum, November 17th, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

Located at FIU’s Modesto Maidique Campus in South West Miami, the Frost Art Museum serves not just students but the community in its mission to “provide transformative experiences through art; collect, exhibit, and interpret art across cultures.” The collection contains over 6000 works of art and objects that span centuries and represent many cultures, particularly those of America, Latin America, and the Caribbean. It’s a beautiful fall day in Miami, and Chief Curator Amy Gaplin welcomes us to the museum. We are very fortunate to have her guiding us through the permanent exhibitions of the museum; then, later, Yady Rivero led us in the exploration of the temporary exhibition of Addie Herder Machines for Living.

Addie Herder did not have a popular career while alive. Although she was very much in the art scene, her work largely remained under the radar. However, her work was appreciated by other artists and collectors. Machines of Living is the first exhibition dedicated to her in over 45 years. The works on display vary in style, themes, and overall aesthetics. There are various mediums, ranging from ceramic tiles to matches on boards. Her constant experimentation and playfulness are evident in her work’s multiple materials and styles. The Machines of Living exhibition will be on view until January 14th, 2024. 

I had never heard of Addie Herder before we visited the Frost Museum, but she will undoubtedly be one of my inspirations in my practice. She was also inspired by Louis Nevelson, whose work I greatly admire. One of the first mediums I worked with was collage. My collage work was what ultimately earned me an acceptance to the New York School of Art and Design, which I eventually never went to, but I appreciated the acknowledgment. I abandoned collaging early on, feeling it was a naive type of work, and it was when I saw Herder’s precise, deliberate, technical aesthetic in her collages I realized the potential in the medium. I was captivated. Furthermore, I was inspired by her exploration of her works. Often, artists are pressured to develop a cohesive aesthetic throughout their body of work; seeing a successful artist whose work varied in such a way was eye-opening.

In Herder’s piece from 1953 Titled Work, you first notice that it is on the larger side of her works. The piece is mostly muted, with natural tones and overlapping paper shards. It has a very organic feel and very little depth. In contrast, her piece titled Femme from 1970 is small, approximately four by three inches, and is constructed from found objects to create an abstract and minimalist geometrical form that looks like female genitalia. Both of these pieces are so different from what I believe to be her more popular aesthetic, the shadow box collages. You find a small work in First Black City from 1961, but still much more significant than Femme. It is colorful, busy, has depth, and is very precise. The overlapping and stacked cardboard creates a miniature abstract scene that gives the sense of looking at building facades in a busy city like New York in the 60s and 70s. 

The Frost Museum’s collection is rich and diverse. For me, it provided a transformative experience, delivering on its promise. I was inspired by the Addie Herder exhibition Machines of Living, seeing an artist having fearless artistic freedom and exploring varying styles successfully. Museums such as Frost inspire and reshape perspectives and are a testament to the enduring power of art. I am grateful to Amy, Yody, and Professor Bailly for allowing me to engage in such a dynamic and thought-provoking exhibition. It has left a lasting imprint on me.

ART REFLECTION AS TEXT

“Full Circle” by Anai Fonte of FIU, November 30th, 2023

Photograph taken and edited by Anai Fonte/ CC by 4.0

At the start of this semester, we were asked to reflect on our personal relationship with art at the time. As an artist, that relationship is, at most times, complex. However, the one thing that I’ve come to accept is that I could blame everything from my parents to my partners or even work that kept me away from my art, but honestly, it was my lack of courage. It would be scary if I needed to hike a mountain or dive at night, but I don’t shy away from these challenges. For me, it’s the fear of putting yourself or something you created out in the world for judgment. That level of vulnerability, and to do this without pretending indifference but standing with conviction, is something I deeply admire and covet. You might ask, how does this tie into my experience with this class?

Art in Miami is undeniably the most engaging, fun class I’ve taken. The people we’ve met and the places we’ve visited were all interesting and thought-provoking. Professor Bailly brings a palpable energy and excitement, bringing lectures to life and making it impossible to be bored or uninterested. Each class and museum we visited was unique, with different artists, works, and themes from the previous. 

At the PAMM, I was enveloped in the playfulness of Elrich’s large-scale installations. Being at the Norton felt like getting to meet Tom Hanks, someone you feel like you know personally but have never actually met. At the de la Cruz, I connected with artists who, like me, struggled with cultural identity. Marguilles highlighted how childhood scars can manifest in art. Wolfsonian was a look into our collective errors of the past and how we can reflect on this for a better future. At Frost, it all came full circle as I stood in a room full of the fearless pursuit of one’s own art practice. 

The Miami art scene I knew in the 90s was the seedling that sprouted this incredible contemporary art world. I still see the familiar roots, but the branches have reached great heights, and beautiful flowers have blossomed. With Basel around the corner, I am beyond excited to explore my city’s art scene with a newfound appreciation. 

Through this course, I’ve developed an understanding and fondness for conceptual art I did not have before. I now understand the depth and immensity of the contemporary art scene in Miami. I better understand the role of museums in the process of art creation and curation. But if I had to choose one thing that will certainly stay with me, it is being exposed to all these artists, all so different from one another with different backgrounds and different challenges, but they created unabashedly and put it out there for the world to see. The kaleidoscope of artistic expression we experienced in this course has ignited a fervent passion within me to surround myself with the unbridled energy of creators who create and model my courage after theirs. I believe this course would immensely benefit any student pursuing a BFA and should be as much of a requirement as any other. It is with deep gratitude I end this journey in Art in Miami.