The Bakehouse Art Complex has invited Quinn Harrelson, a very young, emerging curatorial voice, to curate its next exhibition, which opens to the public on November 3, 2018. “Collectivity” features new site-specific works selected from an open call to the organization’s resident artists. At Quinn’s request, Ade Omotosho, curatorial fellow at Pérez Art Museum Miami, and Stephanie Seidel, associate curator at the Institute of Contemporary Art Miami, participated in the jurying process. “Collectivity” remains on view at Bakehouse, 561 NW 32 Street, Miami, FL, through March 2019. The exhibition, generously sponsored by Westdale Wynwood LP and Matthew Whitman Lazenby, is open to the public admission-free.

Per Cathy Leff, Bakehouse Acting Director, “The Bakehouse is at a pivotal point in its 30-plus year history, as it is planning its next phase of growth and development. Its assets are increasingly more valuable, as Miami-based artists, paradoxically, have not always benefitted from Miami’s rapid and successful urbanization. Bakehouse, always, has aimed to support the most promising talent, so Quinn was an obvious curatorial choice—and voice—for the institution as it embarks on this new chapter. The exhibition metaphorically explores the conceptual power of the individual and the collective as it relates to the past, present, and future of Bakehouse. The organization’s birth was, and its future is, dependent on the collective good will and efforts of the artists it serves, the community it aims to engage, and the generosity of the public and private sectors who believe in its potential to be a place where great art is made.”

“The exhibition is interested in the failure to chart the rapidly dematerializing line between the individual and the collective,” says Harrelson.
“I am thrilled to contribute to Bakehouse’s growing importance as a platform for Miami’s promising talent. I am happy to sponsor this ‘made in Miami’ show, which strengthens Miami’s creative voice,” added Lazenby.

Michelle Lisa Polissaint’s photographic epic “The Ballad of Me and You” examines the point at which the individual dissolves into a relationship, while Robert Chamber’s “Gretzel: The Empress’s Castle” decodes the societal implications of collective mythologies, like the fairy tale Hansel and Gretel and a secret 14th-century Japanese castle. The artist collective Midnight Thrift’s group exhibition, within the larger exhibit, attempts to undo the collective by questioning the entanglement of individual identities and the extent to which the collective has become an individual itself. Troy Simmons’ “Berchemia” takes residence in and on the building’s support structure, standing in for the real collective of artists-in-residence at the Bakehouse over the past three decades. Simmons is interested in the ways in which the collective, always shifting, has acted both as a stabilizing and destabilizing foundation for the institution. A.G. will release the sixth edition of LSD in a mid-century modern reading room, constructed for the publication’s consumption in the Bakehouse’s entry.

Christina Pettersson’s durational installation investigates the history of industrial bread-making in South Florida. She writes, “Because wheat does not grow in the tropics, traditionally bread was made from arrowroot, a starch derived from the Coontie plant, which was cultivated by indigenous people here for thousands of years. Commercial production (using roots gathered from wild plants) occurred in South Florida from the 1830s until 1925, when the FDA banned the practice. The last commercial “Coontie starch” factory in Florida was destroyed by the 1926 hurricane. That same year, American Bakeries Company (now Bakehouse Art Complex) opened its doors, distributing bread made from imported wheat that was no longer connected to the land upon which it sat.” Over the course of the show, Petterson will cultivate Coontie root on the Bakehouse campus, which will culminate in an historic breaking of bread.

Domingo Castillo’s sculpture co-opts the means and economies of musical production, sound, and stage. This new work contains the just-completed soundtrack of Castillo’s forthcoming feature-length film Tropical Malaise, which centers around a speculative post-human future.

Sterling Rook and Nicole Salcedo, collaborating for the first time, will produce a line drawing from fiber installed throughout the Bakehouse’s snaking hallways, “weaving new stories using objects tethered to over-lapping and sometimes conflicting imaginaries” to examine our accidental hostility to collective natural life.

Performance artist Cara Dodge will present a haunted house that seeks to pervert systems of dehumanization, drawing in equal parts from the Victorian macabre and the horrors of industrialization to examine the power of the shared collective experience as it relates to death, fear, and illusion.

On November 2, 2018, from 7-10pm, Bakehouse will host a fundraising preview, with a special performance by Tara Long, a.k.a. POORGRRRL. A number of Miami artists and curators will offer DJ sets. Tickets for individuals are $200pp; $50 for working artists. For ticket information, contact Amanda Bradley at Bakehouse’s 50+ artist studios will be open during the exhibition preview.

“As recent stakeholders in the Wynwood area, we are happy to support Bakehouse and the more than 50 artists working there, making art central to our neighborhood, “commented Westdale Wynwood’s representative Yoni Bornstein.

About the Curator

Quinn Harrelson is a 17-year old curator and writer living and working in Miami, Florida. Founder of Current Projects, an experimental exhibition space in Little Haiti, Harrelson has organized exhibitions at BBQLA, Los Angeles, and curated public programs at the Bass Museum of Art. Current Projects exhibitions have been reviewed in the Los Angeles Times, Artforum, AQNB, The Miami Rail, Artfcity, and Hyperallergic.

About the Jurors

Ade Omotosho is an art historian based in Miami. He is the inaugural Ford Foundation

Curatorial Fellow at the Pérez Art Museum Miami. Prior to PAMM, he was the Mellon Undergraduate Curatorial Fellow in the department of photography at the Museum of Fine Arts, Houston. He holds a BA in art history from the University of Texas at Austin.

Since joining ICA Miami in 2016, associate curator Stephanie Seidel has been responsible for a number of exhibitions, including the co-curation of German artist Thomas Bayrle’s major retrospective “One Day on Success Street,” Tomm El-Saieh’s and Diamond Stingily’s first solo museum presentations, and “The Everywhere Studio.” Forthcoming exhibitions include “Judy Chicago: A Reckoning.” Before joining ICA, Seidel was a curator at the Neuer Aachener Kunstverein, Germany.

About Bakehouse

Founded in 1985 by artists and for artists, in a former industrial Art Deco-era bakery, Bakehouse Art Complex provides coveted studio residencies, infrastructure, and community to enable the highest level of artistic creativity, development, and collaboration for the most promising talent. It currently provides studio spaces for approximately 50 artists.

From its inception, Bakehouse has provided emerging and mid-career artists with the opportunity to creatively explore and develop their artistic endeavors. It provides an engaging environment for artists to inspire and encourage each other and inform and attract new artists.

Bakehouse now is positioned for its next stage of development and to play a critical role in the collective efforts to build a strong and sustainable ecosystem in Miami in which artists and the arts can thrive. A master plan is currently underway to determine the highest and best use of its impressive 2.5-acre campus to better serve the needs of Miami’s cultural community.

Bakehouse receives support from Miami-Dade County Department of Cultural Affairs, Florida State Division of Cultural Affairs, and the Knight Foundation. This exhibition is sponsored by Westdale Wynwood, LP and Matthew Whitman Lazenby. For further information on Bakehouse, see

Bakehouse Art Complex
561 NW 32nd St.
Miami, FL 33127