Baking History

Past-Forward at Wynwood’s True Artistic Pioneer

Image: High school students’ mural comissioned by the Bakehouse Art Complex in 1986, and one of the first examples of legal street art in Miami.

Image: High school students’ mural comissioned by the Bakehouse Art Complex in 1986, and one of the first examples of legal street art in Miami.

Audrey Love Gallery

On-View Feb 1 - April 7

On February 1st, 1987 a group of enthusiastic creatives cut a ribbon to inaugurate the first artist studios and workshops at the Bakehouse Art Complex. Also in attendance were the fiercely intrepid founders: Faith Atlass, Hélène Muller Pancoast, David Arthur and Natalie Nadel. Their vision was straight forward – they needed “a space to work and mingle without the threat of losing their shirts to landlords.” The former Art Deco bakery had been abandoned for a few years before they acquired the property in 1985 with the help of the City of Miami, Metro Dade County, Flowers Bakery and the County Council of Arts and Sciences. Since then, and with the invaluable input of many other community members, the Bakehouse has become a successful collective project that in return, has represented the visual arts in Wynwood long before it became fashionable.
The Bakehouse Art Complex was one of the first local organizations to embrace and legitimize street art when in 1986 it began commissioning local artists to paint graffiti and murals on its walls. Our early relationship with public art has a long legacy, which we proudly display in the gallery as one of many lasting, tangible impacts of our organization. Now entering its fourth decade and mindful of this pioneering legacy, the Bakehouse strives to find new forms of engagement with the community through public art. This spirit is present in Baking History with the inclusion of sketches, maquettes and photographs of past, present and future public art projects from current and former Bakehouse artists. The show’s timeline depicts relevant events in our history and other notable local, national and international moments and data that provide context.
Far from a finished product, this exhibition is part of an ongoing research project, and serves as an invitation to the community to help fill in our historical gaps. A book has been placed at the entrance of the gallery to capture written memories. Visitors are invited to share their stories of the Bakehouse and the bakery. An oral history program is also in the oven and will be launched soon. Ultimately, this celebration expands to all of the artists’ studios – or as it used to be, the “production floor” of the bakery - because though it no longer offers the famous Merita bread, affordable space for artists is an essential underpinning for every city reliant on the creative economy for long-run sustained growth.


Exhibition features works by Richard Medlock, Gabriel Delponte, Gary Moore, Robert McKnight, Xavier Cortada, Aurora Molina, Christian Bernard, Stephanie Jaffe Werner, Valeria Yamamoto and Troy Simmons. Along with an exhibition of water colors by Lester Pancoast. 

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Lessons In Post-Biology 

The Creations of Judith Berk King and Enrique Gomez De Molina

Swenson Gallery

Creatures And Creation At The Bakehouse

Lessons in Post-Biology Checklist

On-View  Jan 6 - Feb 24, 2017

With this exhibition the Bakehouse Art Complex launches its Baked-in-House series - a program aimed at showcasing recent work by one or more outstanding resident artists, often in dialogue with other creatives outside our organization.

Lessons in Post-Biology brings together BAC artist Judith Berk King’s and Enrique Gomez de Molina’s own bestiaries. From recognizable forms to abstraction, King’s figures resemble delicate, microscopic fossils. Her graphite drawings and digital collages are close in language to those of the first European explorers’ depictions of nature in the New World when imagination filled in the gaps between the known and the unknown. In contrast, Gomez de Molina presents exuberant species where furs, feathers, leathers and other parts of animals that exist today are combined with the mastery of a taxidermist. They are surreal and yet seem to be ready to come alive at any minute.

These new species carry the feeling of the old Cabinets of Curiosities, evading classification. Given the many changes in our natural environment, one wonders if tomorrow’s world will be inhabited by King’s and Gomez de Molina’s post-biology imaginations.