Marsha Silverman, Grey vase with etchings, won in a CLM auction
A song of Enchantment I sang me there, In a green—green wood, by waters fair, Just as the words came up to me I sang it under the wild wood tree.
Widdershins turned I, singing it low, Watching the wild birds come and go; No cloud in the deep dark blue to be seen Under the thick-thatched branches green.
Twilight came: silence came: The planet of Evening’s silver flame; By darkening paths I wandered through Thickets trembling with drops of dew.
But the music is lost and the words are gone Of the song I sang as I sat alone, Ages and ages have fallen on me— On the wood and the pool and the elder tree.
“In our increasingly repressive present, where recognition collapses into surveillance and the individual is powerless to advance toward the political horizon she yearns for, desire has shifted its sights, revising not only its object but its subject. So we continue to fall in love with comrades here and elsewhere, with ships, drawings issued from the hands that try to play it through, with signs of life. And love, specific and depersonalized, is, as Assata Shakur reminds us, the very contraband in the hell we are living in. They don’t want us to have it, and for good reason.”
? Bakehouse turns 40 — and our Art Deco building turns 100!
We’re throwing a party to celebrate this double milestone with art, music, food, and dancing ?
? Artists’ Proof | 40/100 features:
• Exhibition Preview – “Bakehouse at Forty: Past, Present, Future”
Wilkie D. Ferguson, Jr. United States Courthouse, Miami, Florida. [Washington, D.C. : General Services Administration, Public Buildings Service, 2007. Arquitectonica and Hellmuth, Obata & Kassabaum. via babel.hathitrust
Flutter, 2005 Wilkie D. Ferguson, Jr. Federal Courthouse, Miami, FL 459’ x 105’ x 3′ tall
The artwork … is … her response to the boat-like imagery of the building. She envisioned creating a series of grassy waves that the building “floats” upon.
Visitors are able to walk through this rippling grassy landscape. This work typifies the artist’s interest in the ambiguity of form, creating a rippling wave that is equally reminiscent of a drifting sand dune.
Mahara+Co is pleased to present No Place is Far Away, a solo exhibition by Cuban photographer Evelyn Sosa, on view from May 10 – June 6, 2025. In this deeply intimate and political series, Sosa constructs a living archive of the migratory experience. The exhibition emerges from a project supported by the Cuban Migrant Artists Resilience Fellowship, granted by Artists at Risk Connection (ARC) and PEN International.
Rooted in a seemingly simple question — “What object did you take with you when you emigrated?“ — Sosa opens a window into memory, loss, and the emotional gravity of displacement. Each image in the series portrays a personal belonging filled with history and significance: a piece of clothing, a photograph, a letter, a seed. These modest, almost minimal objects serve as emotional anchors — fragments of home that persist across time and distance. They are not merely material remnants, but silent witnesses to identities that refuse to vanish.
Far from a purely documentary approach, No Place is Far Away delves into the sensory and emotional dimensions of migration. Photography becomes a mode of listening: portraits of objects are interwoven with fragments of real-life testimonies, creating a liminal space where past and present gently meet. As Paul Ricoeur once wrote, “memory is not a neutral archive,” a sentiment Sosa affirms in each image — each one an act of evocation, resistance, and care.
While firmly rooted in the Cuban migratory experience, the series resonates on a universal level. In a world increasingly shaped by displacement, this body of work asks: How does identity transform when territory disappears? What remains when everything else is gone?
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