Annual Interest 2015

Annual Interest 2015

GUERRA DE LA PAZ | Nefelibata – Cloud Walker
SRI PRABHA | Orbiting Cathedrals

ART RAFFLE | Original Works by Acclaimed Artists:

Alejandra Artistizabal / Francie Bishop Good / Mimi Botscheller / Leah Brown / Nicole Burko / Adrienne Chadwick / Caroline Collette / Katerina Friderici / Henning Haupt / Francesco Lo Castro / Sebastian Masuda / Christopher MacFarlane / Ben Morey / Margi Nothard / Gustavo Oviedo / Tara Penick / Sri Prabha / Lisa Rockford / Sarah Michelle Rupert / Mindy Shrago / Alexandra Snowden / Ali Spechler / Peter Symons / Michelle Weinberg / More to be announced!


Members & Students: $25
General Admission: $50
Raffle Ticket: $300 (includes admission)

Christopher Ian Macfarlane

Christopher Ian Macfarlane

Self taught multimedia artist, painter and prolific muralist was recently commissioned by Young At Art to paint a mural in the museum’s Knight Gallery. This mural is to run in conjunction with Young At Art’s traveling exhibition, JAPAN: Kingdom of Characters on display from July 5,- September 7, 2014.





Annual Interest 2014

Annual Interest 2014
Annual Interest 2014

MAY 23, 2014   |   7:30 – 11pm   |   ART RAFFLE   |   YOUNG AT ART MUSEUM

Lindsey Steinberg   /  954 – 424 – 5022   /

CURATOR   |  Zack Spechler       CREATIVE DIRECTION   |  Ben Morey       PROJECT MANAGERS   |   Anthony Delgreco  /  Edwin Guevara
EXHIBITION ASSITANCE   |   Ali Spechler  /   Anthony Ferrari  /   Caroline Collette  /   Tara Penick

SPONSORED BY   |    Kids Can  /   Funding Arts Broward  /   Kogan Prober, P.A.  /   The Law Offices of Adam Steinberg P.A.  /   Bank United  /   The Bascombe Brokerage  /   Whole Foods of Pembroke Pines & Plantation  /   Ron Barcelo Aged Rum  /   South Florida on Tap  /   D’Angelo  /   Totally Bananas  /   Artisan Foods
Culinary Affairs  /   Knucklehead Burgers  /   Onli  /   Pop Lab  /   Around Town Magazine  /   Walmart  /   Yelp

Counting Backwards

OPENING:  11/09/2013      |    7:00pm / 11:00pm   |    Young At Art Museum   |    751 SW 121st Ave, Davie, FL 33325

We are all still here, until we are not. Science has yet to yield the option of agelessness and supercollisions may not decode infinity before the earth continues upon its trajectory without us. While we wonder if the future ever came our days are being numbered by the accelerating subversion of human communication, geopolitical relationships, climate stability and our ability to picture a world in which we exist as we do now, if at all. This fact can either cripple or elicit the kind of creative responses collected to form Counting Backwards: reactions to inevitability by four of South Florida’s most pioneering contemporary artists.

4. Samatha Salzinger

The intricate constructions within Samantha Salzinger’s large-scale dioramas are photographed in such as way as to simultaneously mimic a vision of true nature and present an entirely fabricated reproduction. Each vignette is pieced together with man-made materials and a handful of natural elements to create the illusion of an actual landscape that could have been witnessed pre and/or post-humanity. Devoid of mankind, they conjure and question our innate desire to control and predict nature during a time when the realization that this is an impossible feat is becoming painfully clear all around us.

3. Margi Glavovic Nothard

Visual artist and Environmental and Architectural design innovator Margi Nothard offers a unique perspective of the Young At Art Museum as its designer and one of the leading forces behind its structure and construction. In her ambitious, site-specific new work Groundwater_ Latent Systems Nothard will invite the public to focus on of the most noticeable yet misunderstood features of the Museum’s grounds. Thousands traveling past daily are separated from the building by a retention pond, quietly rising with rainfall and lowering in its absence, which could easily pass as a simple visual enhancement to landscape. To change our relationship to and understanding of the relevance of this body of water to the museum, the community and the surrounding ecosystem, temporary observation platforms will be built on the water’s edge to invite viewers to contemplate systems that we generally ignore until our impact is irreversible. During this period actual data recordings will be collected from observers on the state of the pond and ground water issues, presented via audio to those present in the space until the show’s closing when the structure will be dismantled and recycled.

2. Andrew Nigon

Each sagging, deflated balloon and inedible handful of cotton candy within Andrew Nigon’s ominous installations offers a set of opposing propositions: reflect on the end of a time of naïve celebration and a false sense of comfort or attempt to keep the party while the ship gradually sinks deeper. Celebratory items are cast to highlight their absence and hung in a weighted and despondent manner as if the festivities themselves began to get existential and introspective. In the silence around these sculptures Nigon captures the moment the buzz begins to fade and the sunrise pours over garbage on the dance floor illuminating the reality that we willingly forgot until finally facing the aftermath.

1. Jillian Mayer

Jillian Mayer steeps her artistic practice in the verisimilitude of a generation that came of age in the 1980s. Within her drawings, photography, video, online experiences, installations and performances scenarios of apathy, dysfunction, and disillusionment are created in response to the digitization of human experience. Indoctrinated into expectations of upward mobility, instant gratification, and the succinct finesse of a television sitcom and web experience, Mayer critiques the dissonance between her childhood optimism and the state of contemporary culture with an erudite playfulness. Counting Backwards collects her most recent series of objects and tangential installations emerging from her full-length, Sundance recognized film #PostModem present the public with interactive spaces, telephone hotlines, music videos and kinetic sculptures that present very real possibility of a disconnected, computerized society through the lens of tongue-in-cheek internet meme humor, fusing serious social commentary with comedy until the two are inseparable.

Counting Backwards opens November 9th with surprise occurrences celebrating the beginning of the end amongst the exhibition and beyond the walls of the museum. The show will close at the end of the calendar year with a yet to be announced event preceding its finale at which time limited edition “apocalypse kits” will be issued to the first 50 patrons to reserve them at the opening reception.

We Own Your Imagination


Art Fallout   |   October 5th, 2013   |   520 North Andrews Ave. Fort Lauderdale, FL 33309

Young At Art Museum’s contemporary arts group Bedlam Lorenz Assembly (BLA) invites the general public to participate in the production of a public artwork during Art Fallout 2013. On the grounds of 520 North Andrews Avenue in downtown Fort Lauderdale a multi-tiered obstacle course consisting of a makeshift playground turned military training facility with two large geodesic spheres will be erected in the week leading up to its one-day all access event, marking the primary activity area. The entirety of the space will be painted white to serve as a blank canvas for the public, who, under the guidance of BLA representatives, will be granted access to an expansive arsenal of water balloon paint bombs and paint pistols. Using this pseudo-weaponized painting medium, those that enter the space will contribute to the production of a flux of 2 and 3-dimensional action painting, the aftermath of which will result in a mural to stand alone following Art Fallout’s conclusion.

We Own Your Imagination is a play on violence as sport, taking aggression and synthesizing it into the driving means to a productive end: a cumulative record of literal blast fallout in paint distilled from an instance in which public art became the right of the public to create. Over a soundtrack of heavy metal midi instrumentals, digitally synthesized audio explosions and a variety of unconventional adaptations of The Star Spangled Banner each artist / volunteer will enact a series of war games centered around the creation of a collaborative art object.

WOYI’s title speaks for anticipation and indefinite promise, particularly within the extended moniker: The Physical Possibilities of Art’s Falling Out from the Spatial Boundaries of Perception in the Mind of Someone Reading this Title: a satire on the absurdity of celebrity artist Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living, his gratuitously well-known taxidermied shark on monofilament line in an aquarium. The reference to this iconic and controversial work, as introduced in the collection of media mogul Charles Saatchi, suits such an occasion of calculated propaganda and hyperbolic titling applied to ominous and intangible subjects.

The award-winning Chef Z. Schwartz’s SFT Bistro will be on site for the duration, hosting a freshly prepared garden picnic on the sidelines. In addition, all surplus and byproduct artworks created from the event’s proceedings will be available for purchase.

BLA named “Best Curator” by New Times

From the “Best Of 2013” Issue of the Broward and Palm Beach New Times:

“The Bedlam Lorenz Assembly is the perfect example of what happens when South Florida produces motivated, artistically inclined talents and they don’t jump ship for New York or L.A. Composed of seven young movers and shakers in the art scene, the BLA first came together to help raise funds for the new Young at Art Museum in Davie. In the beginning, they promoted pop-up events in places like Fort Lauderdale’s up-and-coming FAT Village arts district, and now the group helps steer some of YAA’s programming, organizing events, artist workshops, and exhibitions. Together, BLA chair Zack Spechler, cochair Ali Spechler, art director and curator Rory Carracino, designer Ben Morey, project managers Anthony Delgreco and Andrea Trejo, and photographer Tara Penick have already produced three group exhibitions since 2011, including two that had auctions as fundraising components. They’ve also organized six artist lectures and workshops this past March that were open to the public with regular museum admission. In short, Bedlam Lorenz Assembly functions like the awesome teenaged sibling who has an ear to the ground, scouting contemporary art, street art, and interactive and hands-on projects, then figuring out how to creatively present and reinterpret it for kids or use it to raise money for the museum. By staying in South Florida and focusing their creative talents, the Bedlam Lorenz Assembly is helping to curate a more robust and exciting local art scene for the future.”

See the article here.

The Assembly would also like to congratulate The Young at Art Museum which received the title of “Best Museum”, Margi Northard (architectural designer of YAA and featured artist in our upcoming, Novemeber exhibition) who received “Best Architect” and BLA collaborators Leah Brown and Henning Haupt who have both received the 2013 South Florida Cultural Consortium Visual and Media Artists Fellowship.



APRIL 6  /
MAY 18

T H E   Y O U N G   A T   A R T   M U S E U M

Hugo Moro / “La Charada Del Monstruo”, Rachel Henriques / “To a Brave New World I & II”, Gustavo Oviedo / Hugo Moro & Installation View


YAA / BLA celebrates a unique group of artists with disparate aesthetic vocabularies as varied and unique as the myriad verbal languages
of the human tongue, presenting text, glyph and abstracted message based works that transcend traditional modes of communication.

Ruben Ubiera / “Sapien Experiments” Series, Ricardo Agudelo / “Light Texture”, Gustavo Oviedo / Installation View of “Microscopic”, “Invisible Sights”, “Broken Boat Parts ‘Reminders'”, “Colladas”, “Periodic Table” & “Particles”

Lexicon spans the entirety of the new, 55,000 square foot Young at Art Museum, infiltrating the Knight Gallery and meandering through the angled walls of the building’s main corridor. Light and video-based artist Ricardo Agudelo expands this by sending his architecturally mapped projections into the rafters of the museum and onto surfaces integrated into current, permanent installations. Hugo Moro, a multimedia jack of all trades, presents both the museum and the conjoined library with sculptural works including his slip-cast series of hyper-realistic branches, Capilla de Los Palos, dipped in gold luster and presented on velvet pillows for viewers to examine the cryptic text incised within the bark. Moro’s La Charada Del Monstruo invites participants to interact with his rice paper and graphite mural based of pictograms based on a traditional Chinese game played in Cuba.

Henning Haupt / “The Return of the Magenta”, Hugo Moro / “Mirror for a Delicate Groom”, “Cornucopier”, Rachel Henriques / “Happy Little Clouds”, “As Free as the Clouds”

Further into the museum a diverse installation of Gustavo Oviedo’s grid-like accumulations of photographed surfaces and invented, cartoonish alphabets looms across from the arrestingly direct gaze of one of several serious, yet playful gorillas by muralist and painter Ruben Ubiera. Bookending the exhibition are Rachel Henriques’ haunting, text-driven prints which wander up the museum’s walls in contrast with Henning Haupt’s The Return of the Magenta which physically envelops the entirety of the Knight gallery in undulating panels of chromatic abstractions.

Hugo Moro / “Twelve Great Feasts”, Detail of “Capilla de Los Palos”, Gustavo Oviedo / “Periodic Table”, Hugo Moro / Detail of “La Charada Del Monstruo”

CURATORS   |    Rory Carracino  /  Zack Spechler       CREATIVE DIRECTOR   |  Ben Morey
PROJECT MANAGERS   |   Anthony Delgreco  |  Ali Spechler  |   Andrea Trejo       PHOTOGRAPHER   |   Tara Penick


The Cypress Bay High School Marching Band procession / Grand finale in Henning Haupt’s “The Return of the Magenta”

Lexicon culminated in a Finale on May 18th, 2013, structured to reflect the diverse creative vocabularies of the six artists represented within the exhibition. In an absurd homage, a disparate variety of foods (oreos, pickles, bacon/donut sandwiches) were all deep fried and served to viewers. Visitors were also invited screen-print their own posters and shirts and create unique woodblock prints as a souvenir of their experience. To celebrate the artists and the finite temporality of the exhibition the Cypress Bay High School Marching Band led a surprise procession through the main corridor of the museum, bringing the show to a climactic end with a performance inside of Henning Haupt’s The Return of the Magenta.




1.  Light Texture  |  3D architectural video
2.  Symmetry City  |  video, after effects
3.  02HH20  |  DSLR, after effects



4.  The Return of the Magenta  |  oil and crayon on plywood


5.  As Free as the Clouds  |  oil, wax and  silkscreen
6.  Happy Little Clouds  |  oil on paper
7.  Happy Little Clouds  |  oil & wax on canvas
8.  To a Brave New World I  |  monotype with collage
9.  To a Brave New World II  |  monotype with collage



10.  Capilla de Los Palos   |   ceramic on velvet pillows
11.  Cornucopier  |  matador jacket with lights
12. Port-au-Prince Power & Light  |  mixed media
13.  La Charada Del Monstruo  |  graphite on rice paper
14.  Mirror for a Delicate Groom  |  milk of magnesia and gesso on vintage mirror
15.  Twelve Great Feasts  |  faux-etchings



16.  Miami Beach Inscriptions  |  photographs, doors, resin
17.  Microscopic  |  ink on paper
18.  Invisible Sights  |   video
19.  Broken Boat Parts ‘Reminders’  |  boat parts, furniture
20. Colladas   |  plastic bags, empty collada cups
21.  Periodic Table  |   sharpie on canvas
22. Particles  |  ink on paper



23.  A Slice of Time  |   mixed media on wood
24. Sapien Experiments – Legal   |    acrylic, newsprint
25. Sapien Experiments # 6   |    acrylic, newsprint
26. Sapien Experiments – Illegal  |   acrylic, newsprint
27.  Hanging Around  |   mixed media, acrylic, records
28.  Present  |   mixed media, acrylic, newsprint
29.  Selected works from Urban Decay