Miami-based artist Maximo Caminero, 51, hurled himself into the media spotlight when he dropped a vase that was part of Ai Weiwei’s According to What? retrospective currently at the Perez Art Museum Miami. The shattered item was one of 16 vases that make up “Colored Vases” (2006–12), which was created by the Chinese artist from what are believed to be ancient Chinese vases.
Caminero visited the museum on Sunday, February 16, and proceeded to destroy part of the work.
The artist is being charged with criminal mischief, which can be punishable by up to five years in prison when the property damaged is valued at more than $1,000. Caminero refused to answer questions from the Associated Press but told them that “he will have an afternoon news conference Tuesday. ‘I’m going to answer all the questions,’ he said.”
The artist told Miami New Times that “he had no idea Weiwei’s work was worth $1 million. ‘I didn’t know that it was that amount,’ he says. ‘I feel so sorry about it, for sure.’”
He explained his motives to the New Times:
“I wanted to draw attention to the fact that there are many foreign artists like myself and others who have been here thirty years and have never received attention or support from MAM or now PAMM and other local museums,” he continues. “We are all taxpayers here and PAMM used $200 million of public money on its building and opened with Weiwei’s work to draw attention to itself and as always continues to ignore local artists.”
Born in the Dominican Republic, Caminero lives and works in Miami, and he is represented by JF Gallery in West Palm Beach, Florida, which maintains a Facebook page with images of his work. According to Miami New Times, Caminero has also shown at the Babacar M’Bow Multitudes Contemporary Art Gallery and the Fountain art fair. His work appears deeply influenced by the work of 20th-century Cuban painter Wifredo Lam.
Caminero’s action evokes Ai Weiwei’s well-known work “Dropping a Han Dynasty Urn” (1995) that shows the artist destroying an ancient vase by dropping it, though Caminero has not yet claimed that himself.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Define American has named the fourth cohort of its annual fellowship, which gives grants and career development opportunities to five artists.
The site of Michelangelo’s famous frescoes has a strict no-photos policy.
Guest curated by Alison Burstein, An Asterism* at the school’s Kellen Gallery in NYC features the work of 15 multidisciplinary artists, on view from May 16 through May 27.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
In the artist’s new exhibition, Black moves away from her signature representation of commercial goods to celebrating the labors behind everyday life.
Over the past decade, the Taos-based artist has outfitted two vintage RVs with hundreds of cast glass pieces that collect light from the desert sky.