http://luisabasnuevo.com/

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Luisa Basnuevo was born in Cuba and came to the United States via Spain. Received an M.F.A. from Yale University School of Art and a B.F.A from Florida International University. Her paintings have been exhibited in museums and galleries in the United States and abroad, including the Southeastern Center of Contemporary Art in Winston-Salem, North Carolina and the Musée de Luxembourg in Paris, France. Her work is included in public and corporate collections throughout Florida, including those of the Pérez Art Museum Miami, the John and Mable Ringling Museum of Art in Sarasota, and the Polk Museum of Art in Lakeland. She is the recipient of fellowships from the National Endowment for the Arts/Southeastern Arts Federation, the South Florida Consortium, and the Division of Cultural Affairs, Florida Department of State.

Luisa Basnuevo lives and works in Miami, Florida.

https://brantpip.wixsite.com/pipbrant

BIO

Pip Brant has degrees from the University of Montana  (BFA) and the University of Wyoming. (MFA).  Brant grew up on the western Plains Indian reservations (Sioux, Cheyenne, Assiniboine) where the Bureau of Indian Affairs and Indian Public Health employed her family.  She has taught, herded goats and produced art in Montana, Wyoming, London, England, and Missouri and in 1999 moved to Florida to take a studio teaching position at Florida International University.   She has exhibited in Denmark, Hungary, Ireland, and London as well as nationally, including venues in New York, Los Angeles, Chicago, as well as the western states.  Recently she has been exhibiting in the Basel Art Fair affiliated Ping Pong exhibitions that feature artists from Switzerland /LA/Miami. 

In 1992 she was awarded the Wyoming Visual Arts Fellowship. In 1993 her work in the collaborative art group, Kunstwaffen was awarded a New Forms Consortium Grant for Cattle/Text Interaction.  Brant currently is an associate professor at FIU, teaching painting and fibers. 

 In 2003 she won the South Florida Cultural Consortium for Visual and Media arts. Brant’s work embraces the use of the absurd and humor and cites the plays and philosophy of Bertold Brecht as a major influence.

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At various times and concurrently I have described my practice(s) as conceptual, graphic design, cultural intervention and activist. I have been referred to as a text-based artist despite many of my works not containing text.
In an effort to limit the need for additional storage spaces required to warehouse large works, video has purposely taken on a more prominent role in my practice. Previously I have intentionally created works where the spatial relationship to the environment they are exhibited in and of the observers’ experience of the work was primary. The first time encountering the 21 foot high interior of The Projects in FatVillage for an exhibition Lisa Rockford was curating I immediately exclaimed, “whatever I create for this will have to reach the ceiling”. All the elements of that work, fever in the funk house have been in storage since the closing of that exhibition.
Moreover, I’m philosophically conflicted about the need for more physical anything – seriously questioning, “how much more ‘stuff’ do I want to be responsible for bringing into an already overcrowded world?” Pretty much resigned myself (with notable exceptions) that performance art captured on video may be a workable compromise. Another, related question to round out this equation is this investigation to my artist self: “Does the democratization, and corresponding increased quantity of artistic expression in the age of social media and iPhones affect my understanding of the purpose of my creative output?”  
I’ve recently completed a video project, Burying Racist Presidents, using 3D-printed, marble-like busts of ten racist American presidents. I’m sorry to say, among them are some who, other than their racism, I highly respect for their substantial achievements. None-the-less, the effects of their racist transgressions have placed them in this unfortunate category. The video documents the ceremonial burial of these bust statues.
A recent (2020) activist work was the poster-like Split-face Stickers – a series of 5” x 7” self-adhesive stickers posted to Instagram and offered for free to those who would agree to guerrilla  post them in their neighborhoods and post photos of the guerrilla installations on social media. I printed the stickers on white pressure-sensitive adhesive stock, with patriotic red and blue background overlaid with black high-contrast images. The red right hand side of each sticker had the same recognizable half portrait of Trump’s shouting face, juxtaposed on the left blue side by a historical or present autocrat or icon of evil. Each sticker includes, knocked-out in white bold display font, a unique two to four word phrase expressing a meme-like shared trait, such as: Castro/Trump: TRUST AN AUTOCRAT; Kim Jong-Un/Trump: DEAR LEADER; Capone/Trump: MOB BOSS; Coronavirus/Trump: DEADLY PLAGUE; The Devil/Trump: THE DEVIL WEARS GOP.  

Website: https://randyburman.com

                 Burying Racist Presidents VIDEO: https://vimeo.com/456621704

                                                                            Artist Statement VIDEO for Burying Racist Presidents https://vimeo.com/459647724

https://www.sebaselizondo.com/

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Paris - La Habana - Buenos Aires...

Sin un lugar concreto donde establecer su origen, quizás se acomode mas en una mezcla entre habanero y porteño, ya que de haber nacido en Francia no le queda nada, ni una palabra del francés en su subconsciente.

Con una formación universitaria en humanidades, desde siempre de una manera u otra cerca del cine y la fotografía, 40 años intensamente dedicado a estas dos manifestaciones, en cine desde asistencia de cámara, dirección de fotografía, asistencia de dirección y finalmente editor cinematográfico, en fotografía, ademas de la constante necesidad de llevar la cámara consigo, ha trabajado en la industria discográfica, editorial, y como profesor universitario.

Tengo la idea de que para ser fotógrafo hay que ser sobre todo sensible humanamente, la estética, de por sí me produce vacío, necesito un trasfondo humano, que la fotografía me cuente una historia, me dé un mensaje. Hay formas fotográficas que me contradicen, pero así lo veo. 

https://www.rosanadaygarmendia.com/

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Rosa Naday was born in La Habana, Cuba and immigrated to the United States at the age of eight. Her work is informed by her experiences as a meatpacker, baggage handler and garment worker.

She studied at the University of South Florida, Parsons School of Design, University of Miami, Vermont Studio Center, and the Fort Lauderdale Art Institute. She has participated on international cultural exchanges, artist residencies and exhibition programs throughout the Caribbean, (Suriname, Antigua, Guadeloupe, Jamaica, Belize, and Cuba) with Diaspora Vibe Cultural Arts Incubator.

She is the recipient of the several grants and artist residencies. These include but are not limited to the Wavemaker Grant, Foundation for Contemporary Arts Emergency Grant, Artist Access Grant, The Ellies Creator Award, South Florida Cultural Consortium, Diaspora Vibe Cultural Arts Incubator, Equal Justice Thematic International Residency, Vermont Studio Center, ProjectArt, and Art Center South Florida.

She is a member of Common Field and the National Performance Network and Visual Arts Network, (NPN/VAN). She serves as an artist on the board of Diaspora Vibe Cultural Arts Incubator (DVCAI). Rosa Naday speaks English, Spanish and Haitian Kreyol. She works as a Teaching Artist at the Perez Art Museum Miami since 2008.  

Under the threat of persecution, Haitian-born Carl–Philippe Juste and his politically active family were forced to flee their homeland in 1965, eventually settling in Miami’s Haitian community. Since 1991, he has worked as a photojournalist for The Miami Herald.

Juste has covered national and international stories for the Herald, including assignments in Haiti, Cuba, Pakistan, Afghanistan and Iraq. In addition, he has worked on various documentary projects for the HistoryMiami Museum, including At the Crossroads: Afro-Cuban Orisha Arts in Miami (2001), South American Musical Traditions in Miami (2002), and Haitian Community Arts: Images by Iris PhotoCollective (2006-2007). All were funded in part by the National Endowment for the Arts.

Juste has been a guest lecturer for various national and international organizations and universities. He has received numerous awards for his work, including the Robert F. Kennedy Journalism Award and a shared Pulitzer Prize as a member of the Miami Herald staff. His work has been exhibited in Cuba, Dominican Republic and The United States. As part of his ongoing independent work, in 1998, Juste co-founded Iris Photo Collective.

https://www.lopezramos.info/

Rafael López-Ramos was born in Cabaiguán (1962) and raised in Havana, where he studied at Instituto Superior de Arte (ISA), 1987-1991, and graduated from Academia San Alejandro, 1985. His latest solo shows have been Serendipity (two person show with Natasha Perdomo), Artium Miami, 2017; Chromatic Aporias, Museum of Contemporary Art North Miami, 2015; and Wonderland, The Art Link, Miami, 2013, and 17 Frost Art Space, Brooklyn, NY, 2012.

Since the 1980s his work has participated in curated group exhibitions like The Prodigious Decade, Sagamore Hotel, Miami Beach, FL, 2017; Stealing Base: Cuba at Bate, The 8th Floor, NY, 2013; Killing Time, Exit Art, NY, 2007; Cuban Art outside Cuba, State University of New York at Buffalo, NY, 2006; Junge Kunst aus Kuba, Museum Friedrichshof, Austria; 1er Salón de Arte Cubano Contemporáneo, Museo Nacional de Bellas Artes, Havana, 1995; Nacido en Cuba, Museo de Arte Moderno del Estado de Mexico, Toluca, 1992, and Ateneo de Caracas, Venezuela, 1991; El Objeto Esculturado, Centro de Desarrollo de las Artes Visuales, Havana, 1990. López-Ramos art is discussed in the books Artists in Purgatory -Jorge Reynardus Collection, The Cuban Art Alliance, 2017, and Cuban Artists Across the Diaspora: Setting the Tent Against the House by Andrea O’Reilly Herrera, University of Texas Press, 2011.

His work is part of the MOCA North Miami permanent collection, as well as numerous private collections.

Artist Bio

1984 Graduated as Master Degree in Spanish Language and World Literature, Santa Clara. 1989- Postgraduate on Art History, Grammar & Creative Writing, Havana, Cuba. SELECTED SOLO EXHIBITIONS: 2019 Jan 25 -Feb 22, 2020 "No Landscape is Permanent" at Cowry art Studio, North Miami / 2017, Serendipity, Artium Gallery, Miami, Fl / 2003 Havana Walls. Gastown. Vancouver / 1998 -Transmigraciones. Tsawwassen. BC / 1997 -Walking beside you in the Buddhist Temple. Havana Gallery, Vancouver, Canada. SELECTED GROUP EXHIBITIONS: Salt & Pepper, Abstractions & Landscapes, 2019-2020 at Cowry art Studio, North Miami / 2016, SYZYGY, Museum of Contemporary Art North Miami, Florida/ 2015- OCHO Cuban artists from Havana, Miami and New York. 17 Frost Gallery, Brooklyn, NY / 2014 I will walk for you. Fundraising Art exhibit at Bacardi House & Coral Gables Museum, Miami FL / 2011 Cuban artists- Sangre de Cristo Arts Center: White Gallery Colorado, USA / 2010 -Haitian Art Relief Fund, Arte Americas Art Fair, Miami Beach Convention Center, Miami FL. 2008 -Cafe the journey of Cuban Artists. Temple University Rome Campus, Rome. Italy / 2006 - Cuban Art Outside Cuba. State University of New York at Buffalo, N.Y.​

She was also selected to represent the North Miami Hispanic Community at 2020 Hispanic Heritage Month - Art Unveiling and Proclamation Presentation, City of North Miami.

Fabian Peña (Cuba, 1976) graduated from the Higher Institute of Arts in Havana in 2003. He currently lives and works in Miami, Florida. Through his work in installations, sculptures, and drawings, Peña transforms organic and discarded materials, such as cockroaches’ wings, crushed houseflies, and old books, in order to explore personal and collective memory, identity and displacement, life, death, the grotesque and the sublime. His intricately crafted work has been shown throughout the US, Europe and Latin America. His recent exhibitions include 10-A Decade, at Dimensions Variable Art Space, Miami, The Book, The Egg, and The Fly, at David Castillo Gallery, Miami, and Liquid Sensibilities at Cisneros Fontanals Art Foundation Space, Miami. His work has been reviewed in publications such as The New York Times, ARTnews, Art Nexus, and The Art Newspaper.

https://www.sandraramosart.com/

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1988-1993

Higher Institute of Art (ISA). Havana, Cuba.

1985-1988

San Alejandro Academy. Havana, Cuba

1983-1985

Elementary School of Visual Arts. Havana, Cuba.