Set on the corner of Indian Creek Drive and 67th Street is the small and impressive Miami Project 5—the fifth edition Miami Project with 19 galleries produced by Art Market Productions and headed by Jeffrey Wainhause and Max Fishko.

Inside, we found a relaxing atmosphere full of diverse works, and were first drawn into the gaze of tanning ladies from Peter Mendenhall Gallery (California) and the submissive and subliminal messages within a work presented by Cardoza Fine Art (Houston). From there, we saw strokes of brilliance in Giant Summer and Giant Summer II by Jane La Farge HamillShe Knows by Howard Fonda, and the newly famed piece that was recently published in The New York Times’ “Sunday Review” by Dan Gluibizzi titled Now Wait—all presented by FMLY (NYC). We were struck around the corner by a piece by Ti-Rock Moore appropriately titled Flint at Jonathan Ferrara Gallery (New Orleans). Showing discolored water pouring from a public water fountain, the piece, above its horrid stream of undrinkable water, showed the moving words “Colored People.”

At Hal Katzen Gallery (New York), we caught some large wall piece by Richard Serra and Alex Katz’s sculpture titled Chance of women holding half beach balls. Close by, Gary Snyder Fine Art (New York) showed several of Vivian Springford’s wonderful acrylic on canvas works, and around the bend, we got lost in the warps of Crystal Wagner’s Paroxysm Bloom II at Hashimoto Contemporary (California). From there, we caught ourselves smiling at the sweet California Bicycle by Mersuka Dopazo and Teresa Calderón and the glorious landscapes by Laurence Jones at Rebecca Hossack Art Gallery (New York). The two characters in Rob Matthews’ work at David Lusk Gallery(Nashville & Memphis) then had us questioning gender roles and multitasking abilities, and in Julian Lorber’s This Is How We Play Now at Nicole Longnecker Gallery had us dodging steel spikes in the art world dugout.

Taking shelter, the sweet washes in Mike Smalley’s oil and graphite on linen works had us back at ease, ready to take in a few of our final favorites on the way out: the gift shop’s THANK YOU TOTE, produced in San Francisco by Open-Editions and designed by artist Lauren DiCioccio—an effort to ban the single-use plastic shopping bags; unique pencils, prints, pins, erasers, and books by a variety of eclectic artists; and the newsstand—topped off with The Wall Street Journal, Miami Project 5’s special handout, and on the top left, our Whitewaller Miami art fair guide.

50 Must-See Artworks at at UNTITLED, Art Miami, NADA, PULSE, and More

Caroline Larsen Bananarama, 2015 Oil on board 20”x 16”


As Miami fair week approaches and galleries from around the globe begin to fill tents and convention centers all over the city, it’s important to strategically approach your itinerary. How else can you hit all the fairs—and artworks—you hope to see? Beyond the main event, Art Basel in Miami Beach, a crop of satellite fairs offer the opportunity to discover even more work, often by younger artists and at a lower price point. We’ve scoured the previews of Miami’s six strongest satellite fairs—UNTITLED, Art Miami, NADA, PULSE, CONTEXT, and Miami Project—to bring you 50 artworks you won’t want to miss on your 2016 tour.

Miami Project


This boutique fair, now in its fifth year, will host tightly curated presentations from 20 international galleries. Located just next door to NADA, the small—but very strong—fair juxtaposes both new and storied work from young, mid-career, and iconic creatives alike. Case in point: David Lusk Gallery’s booth brings together a surprising, stimulating combination of artists, highlights being a set of 1970s and ’80s still lifes by William Eggleston, new and haunting figurative canvases by Rob Matthews, and recent patchwork wooden panels by Greely Matt. Exciting new finds include Caroline Larsen’s hypertextural compositions depicting cornucopic bunches of fruit at FMLY as well as Gregory Euclide’s detailed dioramas of lush, unattainable Edens at Hashimoto Contemporary.


ART ZEALOUS : Inside Clark Goolsby’s Colorful, Geometric, & Energetic World

Inside Clark Goolsby’s Colorful, Geometric, & Energetic World
March 9, 2016 by Caitlin Confort

As the Art Zealous team poked around the Art on Paper fair this past weekend in New York, we were show-stopped by the radiant and luminous work of Clark Goolsby in FMLY Gallery’s booth. We were engulfed by Goolsby’s world of illuminating shapes splashed with color and delighted by the quirky names of his pieces (i.e. Boogie Woogie).

Goolsby has drawn and painted his entire life – he couldn’t imagine a life where he wasn’t making art every day. His hard work and passion have certainly paid off as his work has been exhibited in: Johanssen Gallery Berlin, Germany; Mirus Gallery, San Francisco; Contemporary, Dallas, TX; and POVevolving Gallery, Los Angeles.

Art Zealous sat down with Clark Goolsby to discuss his Art on Paper experience as well as his creative vision.

Art Zealous: Hometown?
Clark Goolsby: I grew up in a small town in Northern California called Santa Rosa.

AZ: Coffee or tea?
CG: Coffee. In large quantities.

AZ: What is your creative process like?
CG: I primarily make paintings, but also dabble in sculpture as well. My paintings are very time and labor intensive. I paint directly on canvas and also on paper that I later cut up and collage back into the paintings. Contrary to the aesthetic, my painting process is pretty fluid, and I try to leave a lot of room for evolution and happy accidents in the process.

AZ: I love the use of color in your work – why do you gravitate towards such bright colors?
CG: I want my paintings to balance on the line between order and chaos. Whether used harmoniously or discordantly, color can help to create both of those feelings in a painting. Also, I just really love color.

AZ: How do you use lines and shapes to contribute to the mood or meaning?
CG: Lines and shapes play a similar role to color in my paintings. I love playing with shape and perspective to create paintings that feel solid and tangible, but also totally implausible at the same time.

AZ: If your artwork were music, what would it sound like?
CG: Like the love child of Prince and Animal Collective.

AZ: Tell us about your exhibition at Art on Paper this past weekend, we loved it!
CG: It was really a great experience. Working on paper or with paper has always been a huge part of my practice, so Art On Paper felt like a natural fit for my work. I exhibited with FMLY gallery for the first time, and they have a program I really admire. They only do solo shows at fairs, which I think is the best way to present work in that context. Since it was going to be a solo booth, I made a body of new work specifically for the fair. I was really happy how the pieces turned out.

AZ: What can we expect to see from you in the future?
CG: I’m opening a solo show of new paintings at Mirus Gallery in San Francisco on March 19th. I’ve been working on the show for the last year, and am very excited to share the new work.

JUXTAPOZ MAGAZINE Clark Goolsby at Art on Paper

CLARK GOOLSBY @ ART ON PAPER Mar 03, 2016 - Mar 06, 2016 FMLY, New York City

We have been checking out the schedule of events coming up during Armory Week in NYC (March 3—6, 2016, and we will have a booth at Armory, come see us), and the Art On Paper fair is always something we check out while out there. Clark Goolsby will have a solo show at the FMLY booth at Art On Paper, and he was kind enough to show us a preview of the work. . .

Obscura Magazine

The anonymity that people can retain in the digital world has given them courage to express themselves in a way that they would not have dared in real life. “The keyboard warriors”, as they call it, are those who make judgmental statements online, claiming on what they feel to be justice and righteousness. This has doubtlessly created interesting pools of dialogue, but it has also, inevitably, caused people to go hyperactive in the sharing of taboos, particularly, on the sharing of sexual materials which are provocative and at times outrageous to look at.


But as I see it, the truth always resides in the perspective of the perceiver, and artist Dan Gluibizzi has perceived such information as his gold mine. By taking full advantage of these pools, he has transformed them into his source of inspiration. Based in Portland, Gluibizzi is obsessed with Tumblr. As he told Juxtapoz, he sees these Tumblr users as being “wonderfully obsessive”, as they “meticulously organize digital scrapbooks of their favorite sub-genres of pornography. Many offer the widest range of poses and body types I have ever found.” This has allowed him to fully utilize the information age, and at the same time, exercise his analog creativity.


The reason why his works are not as challenging to look at as their sources might be, is not only because he renders them in a transparent-like texture, but also because he extracts these figures from their contextual forms, shifting them into pure subjects instead. He further enhances these images with intriguing colors in pastel. Even though some of the figures that he depicts are really interacting in “animalistic acts”, the details that he includes attract viewers, just like the sweet juices from a piece of bubble gum. His works allow people to visually ‘chew’ on them for a very long time, so that these lifeless depictions are given with more than just the connotations of promiscuity and physical desires.