Breadbytes comprises four site-specific installations that showcase two artist collaborations and two individual artists, all part of Bakehouse Art Complex’s “Next Generation” initiative to physically and programmatically serve art making in the digital age.

Drawing from her interest in both the formal properties and ecological implications of polystyrene or plastic #6, commonly referred to by the brand name Styrofoam, architect and multi-disciplinary artist Gabriela García creates an immersive, site-specific exhibition, Disposability Disrupted. Using sculptural and photographic components, the artist showcases the material’s aesthetic qualities, while also considering its environmental impacts.

New Topographies: 25.7617° N, 80.1918 W° by Gabriela Gamboa is a grouping of digital prints on aluminum panels that depict el Cerro B, a mine located in the southern state of Bolívar in Venezuela. In this multi-site installation, on view at Bakehouse Art Complex and The Deering Estate, the prints are a combination of archives, photography, and found material the artist brings together to explore how particular landscapes relate to and influence memory.

In Temple, Rock, Cloud, interdisciplinary artist Chris Dougnac reimagines Gallery 825 in the Louvre Museum in Paris, France, which houses select "masterpieces” by French Baroque artist Nicolas Poussin. Through installation, painting, sound sculpture, and performance, Dougnac transforms the gallery space into an immersive site and meditates on chroma key green screen paint, commonly used in film and TV to isolate a subject from their background, and its implications as a technological medium charged with potentiality.

Drawing from her experience as an artist of Dominican descent and fascination with technology, Cynthia Cruz creates fictional environments and characters using patterns and imagery influenced by animism, folklore, and science fiction.

This group exhibition brings together the work of four Miami-based artists, whose practices address ecological concerns around the natural and historical landscapes of Florida. The first in a series of exhibitions showcasing artists from Bakehouse Art Complex in the Design District, Parrots in the Kiln features poignant work by Beatriz Chachamovits, Morel Doucel, Christina Pettersson, and Lauren Shapiro.

In celebration of its 35th anniversary season, Bakehouse presents Viewpoints: Expressions of an artist community, a group exhibition co-curated by visual artist Edouard Duval-Carrié and Bakehouse Curatorial + Public Programs Manager, Laura Novoa. The exhibition showcases twenty-five Bakehouse artists working predominantly in two-dimensional media, including painting, drawing, print-making, photography and video.

Bakehouse Art Complex is proud to present Fresh Goods for Sale, our first in-person activation for Fresh Goods Gallery. The exhibition presents exceptional pieces from two distinct bodies of artwork placed within a dynamic exhibition design created by Bakehouse artist Philip Lique.

Bakehouse has commissioned a collaborative public art project by poet Arsimmer McCoy and visual artist Chris Friday that responds to the organization’s legacy of serving as a sanctuary of production—from its time as a bakery producing Merita bread to its past three plus decades as an important center of artistic and cultural production. Located on the north-facing wall of our campus along NW 33nd Street, the work will feature words written by the poet in honor of the institution’s anniversary interwoven with monumental visuals created by the artist.

A Reflection of the Times, by Chire “VantaBlack” Regans, is a memorial exhibition of portraiture that underscores the ways in which activist art exists as a site of resistance and embodies a social justice framework. Here, the artist creates a space for collective remembering and healing for families and the community.

Chire "VantaBlack" Regans presents Say Their Names: A Public Art Memorial Project, a large-scale mural on the western facade of our building along NW 6th Avenue. This public memorial recognizes over 250 lives that have been lost due to gun violence, police violence, hate crimes, gender violence, and domestic violence. The wall will serve as a site for collective mourning, as well as a public archive for the ongoing work that the artist is doing to honor victims of systemic racism and societal injustice.

On a platform situated just outside the Bakehouse Art Complex’s Audrey Love Gallery, artist Amanda Linares presents Between Islands and Peninsulas. The piece is comprised of three interconnected sculptural tables, each accompanied by an artist book that represents her journey from Havana to Miami in 2013. Through the use of text, images, poetry, and found objects, Linares reflects on the immigrant experience and explores themes of identity, memory, displacement, absence, and reconnection.

Over the past few years, Venezuelan-born photographer Pedro Wazzan has captured formal, carefully staged portraits of Bakehouse artists in their studios. The resulting color-saturated images from his In the Studio series line the hallways of Bakehouse Art Complex and blur the lines between photography and painting.

Arts + Recreation is a large-scale photographic mural by Miami-based artist Maritza Caneca. The work, which is the largest public art project the artist has realized to date, showcases three public swimming pools near Bakehouse Art Complex. By extension, the project connects and places Bakehouse within the larger network of community-serving cultural and recreational resources located throughout Miami’s urban core.

In anticipation of its public reopening, Bakehouse Art Complex commissioned artists Philip Lique and Najja Moon to create Obscured Publications, a project that functions as an engaging way to promote social distancing inside our historic bakery building. The project involves a series of wall-mounted, chevron arrow-shaped book stations that will “point” visitors in the right direction of our one-way indoor circulation path, passing by artists’ studios and leading to our special installations. The books will be obscured by book jackets created by the artists. Visitors are encouraged to see what lies behind each cover.

Bakehouse artist Lauren Shapiro presents Future Pacific, an interactive, site-specific installation that merges art with science and technology to cultivate environmental stewardship in the local community and provide a platform for researchers who work to preserve and protect endangered marine ecosystems. On view in the Audrey Love Gallery, the exhibition comprises a series of large-scale coral-textured, unfired clay sculptures resembling architectural ruins.

Stakeholders: Wynwood Norte is an installation by Bakehouse artist Clara Toro featuring a selection of eighteen images from a larger body of work that documents the single-family residences of Wynwood Norte. Toro’s images of homes surrounded by swings, inflatable pools, toys, tables, and chairs hint at the life of their occupants and capture the essence of the neighborhood over time.

Featuring Bakehouse artists Rose Marie Cromwell, Diana Espin, Mateo Serna Zapata, and Clara Toro.

Curated by Laura Novoa The space in between features the work of four photographers, in residence at Bakehouse, who explore the production of images through stories allied with geography: an abandoned house down Route 66, a vast mountain of fresh snow in Alaska, the abstracted curve of the dancer’s body, and the rubble of a dilapidated building in La Habana...

The exhibition presented the work of four Miami-based photographers: Amanda Bradley, Maritza Caneca, Stephan Göttlicher and Luis Lazo.

The photographers, hailing from diverse cultural backgrounds and working at different stages of their practice, explore common themes within their body of work – the notion of time, place, memory, and history play an important role in the diverse stories related through their photography.

During the project, Taquary set up her temporary studio space in BAC to develop works and create a space where guests will have the opportunity to interact and learn about her creative process. The program included art talks, curator tours, an educational component with a local high-school field trip, and the solo exhibition Oríkì: Bowing to the Head within her space at BAC during Miami Art Week.

November 9, 2019–March 31, 2020

Archeology of Memory: The site and sound of ceramics brings together ten artists working in and experimenting with clay, glass, metal, and cement. The play with texture, color, and form allows for the possibility of expressing their subjective preoccupations through the material – whether it is environmental degradation or racial and gendered implications of beauty. The use of material becomes a mechanism to prompt viewers to consider the works beyond their decorative language and through their engagement as objects with the material culture, utilitarian tradition, and social memory.

Between the legible and the opaque: Approaches to an ideal in place proposes works of various media that incorporate abstraction as both a formal and conceptual framework to render perceptions of place. The use of abstraction facilitates readings of the process inherent in their making. This process involves elements that reference diverse notions of place – its color, materiality, use of language, and instantaneity as landscape. The summation of these notions, a conversation between the work as a whole and its constituent parts, contributes to varying degrees of legibility and evocativeness.

Simmons' installation "BERCHEMIA" physically interacts and connects to one of the main columns in the building, becoming as one with its structural support system.