This issue of TAS has three articles. Aimee Rubensteen, who hails from South Florida, has written about the Jewel Box, an architectural work commissioned by Barcardi with an annex to the main building designed by Igancio Carrer-Justiz. I am very grateful to Aimee for bringing this building to my attention. This annex, added in 1973, is literally a box of stained glass cantilevered on a red rectangular support box 47 feet off the ground, with an overhang of 24 feet from the central core. However, it is the blending of architecture and art in this historic building that I find most compelling.
I am delighted that Marea Haslett has joined the community of TAS writers. Here, she writes about Lenka Clayton’s exhibition at The Fabric Workshop and Museum in Philadelphia, Pennsylvania and her project at the Guggenheim Museum in New York City this past summer. Lenka asked curators, artists, art historians, and critics to answer a decades old letter concerning the relative value of similar works of art, one by Brancusi, the other by an unknown artist. I was asked, and I answered as part of Clayton's project. If you would like to read my answer to the letter, click here.
I have written about the Dark Palette works of American artist Mark Rothko. This body of Rothko's work raises questions concerning his use of color and the choices and influences of an artist. Rothko's importance is vast, and I think the moment is right for spending time with his work now.
Wishing you all a wonderful autumn equinox.
Deanna Sirlin is an artist. Her recent book is She's Got What It Takes: American Women Artists In Dialogue was Published by Charta Art Books 2013.
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Bacardi Building Cube Miami Architect Ignacio Carrera-Justiz 1973