Shana Beth Mason

Shana Beth Mason is an art consultant and critic based in Miami, Florida. She holds a Master of Arts Degree in the History of Art & Connoisseurship (Modern and Contemporary Art) from Christie's Education London. For the past two years, she has been vigorously involved in the steadily expandin... Read more

Shana Beth Mason

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George Sánchez-Calderón on Iconography, Miami, Tomorrowland
02/08 | Shana Beth Mason

From his Downtown Miami studio (close to his forthcoming gallery space, Tomorrowland), Sánchez-Calderón reflects on current projects and the development of contemporary art in Miami.

Introducing Miami's Locust Projects
01/13 | Shana Beth Mason

A cutting-edge non-profit space in the Miami Design District, Locust Projects galvanizes the city's contemporary art community with established artists like Jim Drain and Liam Gillick, as well as emerging artists like Leyden Rodriguez-Casanova and Drew Heitzler.

Miami and Pop
03/21 | Shana Beth Mason

The academically-minded contemporary art community in Miami agrees that Romero Britto equals blasphemy. His obnoxiously loud, empty designs ripping off every cultural staple from Mickey Mouse to Jesus Christ have landed on hundreds of tourists’ hard-case luggage and have gone as far as earning a shelf in the gift shop of the Louvre. This appears to be the trigger for a noticeable hint of hesitation or outright resistance against pop art in the Miami art world.

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The Faithful and the Exalted
07/31 | Shana Beth Mason

We’re familiar with the "looking at lookers" concept within visual art thanks to Thomas Struth, Francis Alÿs, and most famously Hans Haacke. But it would be unfair to lump the work of Peruvian artist Sandra Gamarra into that category simply because she paints museum-goers: rather, Gamarra has touched upon the dialogue between religious ritual and institutional art.

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What It Takes to Be Kenton Parker
10/24 | Shana Beth Mason

Vacillating between vagrant, guerrilla artist, scruffy flâneur, and academic observer, Los Angeles-based multimedia artist Kenton Parker inhabits multiple identities with a single purpose: to reveal his native surroundings’ inherent ugliness and veneer of superficial beauty. Parker’s prolific body of work as an artist and curator includes graphic design stenciled on city walls, shiny tongue-in-cheek trophies depicting police brutality and civilian violence, and films referencing drug use and car chases while mocking late 1950s informational programs. Parker discusses his practice and his latest show It Takes All This to Be Me at Primary Projects, Miami.