In the slightly disjointed and slightly bedraggled piece I wrote the day after returning from Art Basel Miami Beach last week, I called out Scott Lawrimore as a master impresario whose installation at the Aqua hotel ruled the day.

Yesterday, Lawrimore sent out images of said installation, complete with the bar he lugged down to Miami and stood behind, serving drinks and changing videos (showing under the bar’s glass top); connective “n” sculptures by Cris Bruch, and the closet mess that accompanied Charles LaBelle’s gritty LA street photo and found video. Since folks near and far have been asking me for images from some of the Miami installations (I only have images of works from galleries!), I thought I’d at least post these.

It’ll be like you were there …

That last one is a view of the Lead Pencil Studio video from their summer installation Maryhill Double, which I’ve written about extensively and which was a large part of why we gave Annie Han and Daniel Mihalyo this year’s Visual Art Genius Award. It’s worth pointing out that MAN (blogger Tyler Green) is head over heels for these two Squire Parkers.

On that subject, I couldn’t agree more with him. And as Betsey over at Hankblog pointed out, I couldn’t disagree more with him on the subject of the “Red Eye” exhibition of LA art at the Rubell Collection in Miami. Peter Schjeldahl agreed with me in a piece The New Yorker put out yesterday. Unfortunately for me, I couldn’t understand several of Schjeldahl’s other conclusions (can someone please explain “money, like virtue, is as it does” and “I disliked the nineties. … I missed the erotic clarity of commerce—I give you this, you give me that—and was glad when creative spunk started leeching back into unashamedly pleasurable forms. Then came this art-industrial frenzy, which turns mere art lovers into gawking street urchins. Drat”?).

Another Miami shout-out coming up.