Tuesday, November 29, 2016

The big ABMB Week Art Dance starts tonight!




Alida Anderson Art Projects invites you to the

VIP Opening Receptions of

CONTEXT ART MIAMI

Tuesday, November 29th @ 5:30-10pm


Alida Anderson Art Projects is proud to participate for the fifth year in a row, in this year's CONTEXT ArtMiami fair, taking place November 29 - December 4 in the Wynwood Design District of Miami.



The gallery will feature work by Dulce Pinzón (Mexico), Jodi Walsh (Canada), Alma Selimovic (Bosnia), Elissa Farrow-Savos (US), Tim Vermeulen (US), Georgia Nassikas (US), Audrey Wilson (US) and F. Lennox Campello (US via Cuba).  We are located in booth 326, near the fair’s center collectors’ lounge.

Intemperance Detox Simulation... by Audrey Wilson - Context Booth 326 (Photo by @peted301)
The gallery is also proud to sponsor a gorgeous public art spaces installation by New York City artist Matthew Langley in space SP10. On display are 35 of his small artworks – the largest presentation ever!

Detail from Matthew Langley installation
We are also at the SCOPE ArtFair in Miami Beach, where we’re showcasing a solo booth by Washington, DC artist Tim Tate. His work is in booth D29 at SCOPE. Their VIP opening is also Tuesday, November 29 from 4-8PM.

Tim Tate at SCOPE Art Fair
The gallery has a few complimentary passes for the art fairs left, please contact us at info@alidaanderson.com for more information.

Monday, November 28, 2016

Let me count the ways...

How Do I Love Thee? (Sonnets to The Portuguese) Charcoal on Paper by F. Lennox Campello
How Do I Love Thee? (Sonnets to The Portuguese)
36x36 inches, circa 2016
Charcoal on Paper by F. Lennox Campello

How Do I Love Thee? (Sonnets to The Portuguese) Charcoal on Paper by F. Lennox Campello
How Do I Love Thee? (Sonnets to The Portuguese) - Detail
36x36 inches, circa 2016
Charcoal on Paper by F. Lennox Campello
Come see it at the CONTEXT ART MIAMI fair in Wynwood - booth 326!

Sunday, November 27, 2016

Context Art Miami... booth 326

We are wild, beautiful things II by Elissa Farrow-Savos

Art Scam Alert!

Be aware of this SOB trying to steal artwork from artists!
From: John Marcus
Greetings
My name is John Marcus from NC. I actually observed my wife has been
viewing your website on my laptop and i guess she likes your piece of
work, I'm also impressed and amazed to have seen your various works
too, : ) You are doing a great job. I would like to receive further
information about your piece of work and what inspires you. I am very
much interested in the purchase of the piece (in subject field above)
to surprise my wife. Kindly confirm the availability for immediate
sales. Thanks and best regards, John Marcus
Greetings
My name is John Marcus from NC. I actually observed my wife has been
viewing your website on my laptop and i guess she likes your piece of
work, I'm also impressed and amazed to have seen your various works
too, : ) You are doing a great job. I would like to receive further
information about your piece of work and what inspires you. I am very
much interested in the purchase of the piece (in subject field above)
to surprise my wife. Kindly confirm the availability for immediate
sales. Thanks and best regards, John Marcus

Raul Castro is just as bad (if not worse)

The man being tied to a tree by Fidel Castro is a Cuban peasant from the Sierra Maestra. He refused to give his crops to the Cuban revolutionaries, and was "condemned" to execution for refusing. The man covering his eyes is Raul Castro.

Here he is being executed. The man firing the rifle is Raul Castro

The aftermath of the execution - all duly recorded by the camera. The man standing in the background by the collapsed victim is Fidel Castro. The man to the left of Raul Castro is Che Guevara.
And before anyone starts justifying or explaining - this execution (one of many) was well documented by the Castros in the official history of the Revolution - they didn't "back away" from the murder, but used it as an example to those unwilling to cooperate with the regime.

At Scope installating

It all starts today as Audrey Wilson begins installation of Tim Tate's pieces at the Scope Art Fair in Miami Beach!

Come see his new work in booth D29!

A Silence Opens 2016 by Tim Tate. 24 x 18 x 4, silver plates and colored frame, mirror, ceramic, LEDs

Saturday, November 26, 2016

Finally, he's dead!

It had to happen, after all, the old Celt was in his ninth decade, and yet, it was still somewhat of a surprise when the announcement came that the world's longest reigning dictator, Fidel Castro Ruz was dead.

Those Celtic people from Iberia's northern mountains last a long time, and Castro's generation was a particularly long-lived ones. "Estan hechos de hierro [They're made of iron]", my mother used to say.

But he's dead, and it sounds like he died in his sleep, or otherwise peacefully, unlike the tens of thousands of Cubans under his boot who died in pain, or under torture, or drowning, or against a firing-squad wall, or while being lobotomized... all because of him, via him, through him, as a result of him... him, him, him.

"El Caballo" was one lucky Celt - he escaped multiple attempts on his life; all while millions of his countrymen also escaped the hell that he made his island into.

After Fidel died, his spirit, as all do, arrived at the Pearly Gates. He stretched his tall frame and started walking towards the gate. To his relief, he noted that they were open. He also noted a tall, bald man standing outside the gates.

"I've been waiting for you," the man said in Spanish... clearly Cuban Spanish from Oriente province.

"Campello?," said Castro, recognizing the man, after all, they once spent many months together in the Sierra Maetra, "Why are you here, outside the Gates?"

My father comes a little closer to Fidel, who is still a little unsure of himself, probably for the first time in his life... ah afterlife. "As I said," repeats my father, "I've been waiting for you." He also stretches himself and he's just as tall as Castro.

Two tall Galicians facing each other.

Castro begins to speak when my father's fist smashes into his mouth, and the meaty part of Castro's inner lip shreds into his teeth. He stumbles backwards, spitting blood and teeth; his inner lip is wedged between his front teeth, making it hard to speak. He looks back, fear in his veins, looking for an escape venue. He then notices that there is a black hole nearby, and that rancid smoke and screams of pain come from within it.

Even Castro knows where that leads - after all, he studied in his youth at exclusive Jesuit schools. A privileged part of his upbringing from the upper class landed gentry of Cuba's Galician blue blood society.

He turns to my father as another fist smashes into his perfectly Aquiline nose; a Roman nose like the ancient statues. It makes a crunching sound, the bone shatters and blood begins to pump out of the nose, joining the blood from his mouth.

This is pain like Castro has never felt before. Suddenly his mind is flooded with thousands of memories of broken noses and broken teeth; all the memories of the Cubans that his henchmen tortured and killed over the decades.

He stumbles a little, trying to avoid my father and at the same time trying to avoid the black hole. He thinks that he hears a melee of voices coming from the hole - they call his name.

His first name, like Cubans once called him.

He cannot defend himself; he was always a coward. Even in the attack against the Moncada on that 26th of July long ago, he was the first to run and only one of a handful who got away. When he was finally caught, the black Cuban Army Lieutenant who captured him, recognized Castro and protected him, as that Lieutenant had once known Castro as children. It saved Fidel's life.

How did Castro repay this honorable man? He was one of the first Cubans executed in 1959. It was clear that Fidel was too embarrassed by his cowardly behavior to leave that man as a witness to it.

He's gotta talk his way out of this, but his lip is still caught and jammed between his front teeth, and his stammers and lisps. The lisp brings to mind the thousands of maricones that he sent to concentration camps for the crime of being gay. Many were accused of being gay simply because of speaking with a lisp, a gruesome logic if one side is armed with guns and power.

"Work Will Make Men Out of You" said the sign to the entrance to the concentration camp for gays and lesbians.

The next fist strikes him on the forehead and he stumbles and falls backwards. Now he feels the heat coming out of the black hole and the voices calling his name grow louder. The soundings inside his injured head is augmented with the images of the tens of thousands of gay men that he ordered "cured" via lobotomies.

He screams in terror and the thin strand of lip meat that has been wedged between his front teeth finally snaps and he's free to beg for mercy, but the blood is now pouring really fast into his throat and lungs, and he gasps for air.

My father's next punch strikes at his throat, and the Comandante begins to choke. Now his brain is filled with the over 60,000 Cubans who drowned at sea while attempting to escape from Cuba. He's drowning in blood and cannot understand how one can die twice.

One can't.

My father looks at him, and whispers the accusation that only Cubans who fought against Batista on the streets of Havana and Santiago and Guantanamo and many other Cuban cities know. Cubans who fought in the mountains of the Sierra Maestra and the Escambray; Cubans who risked their lives, and their families' lives to fight against a bloody tyrant, only to have that tyranny replaced with one a million times worse.

"Traidor", my father whispers as he kicks Castro down the black hole into the waiting hands who want to tear, the waiting teeth who want to bite, the waiting flames, which wait to burn.

There is no scream on the way down.

My father turns and slowly walks through the Gates... he's been waiting for Fidel, and now his wait is over.

"Un hombre puede ser traidor, pero un pueblo... jamas!"