Thread of Life: Mariko Kusumoto

Transcription

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on iew
FLORIDA
F E B R U A R Y/ M A R C H 2 0 1 2
Thread of Life:
NARRATIVE TEXTILES
AT T H E M U S E U M O F F I N E A R T S , F S U , TA L L A H A S S E E
PLUS
Beyond
REALITY:
Hyperrealism & American Culture
AT T H E V E R O B E A C H M U S E U M O F A R T
AND
Mariko Kusumoto:
UNFOLDING STORIES
AT T H E
MORIKAMI MUSEUM
A N D J A PA N E S E G A R D E N S ,
D E L R AY B E A C H
CONTENTS
Fe b r u a r y/ M a rc h
2012
V o l . 2 , N o .6
ON THE COVER :
LANNY BERGNER,
FOREST HOLLOW (DETAIL), 2011,
STAINLESS STEEL MESH,
GLASS FRIT, WIRE, 33 x 15 x 10”
RIGHT:
LINDA PIGMAN FIFIELD,
HILLS OF HOME SERIES,
GLASS BEADS ON ARMATURE,
10 x 12” AND 3 x 4”
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FLORIDA
F E B R U A R Y/ M A R C H 2 0 1 2
Thread of Life:
NARRATIVE TEXTILES
AT T H E M U S E U M O F F I N E A R T S , F S U , TA L L A H A S S E E
PLUS
Beyond REALITY:
Hyperrealism & American Culture
AT T H E V E R O B E A C H M U S E U M O F A R T
AND
Mariko Kusumoto:
UNFOLDING STORIES
AT T H E
MORIKAMI MUSEUM
A N D J A PA N E S E G A R D E N S ,
D E L R AY B E A C H
2
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42 Tallahassee
THREAD OF LIFE: NARRATIVE TEXTILES
Weavers, painters, sculptors and needleworkers have created exciting
narratives and statements, ecological landscapes and installations
addressing such subjects as civil rights and imprisonment, the sweatshop,
natural and man-made disasters, and the human narrative from birth
to poetic elegy. Their efforts are the inspiration behind Thread of Life,
at the Museum of Fine Arts, Florida State University.
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Fe a t u r e s c o n t i n u e d . . .
56 Vero Beach
68 Lakeland
HYPERREALISM
SKETCHES & STEEL
BEYOND REALITY:
AND AMERICAN
CULTURE
Vero Beach Museum
of Art is hosting an
eye-popping display of
American art closely
associated with the
concept of photo-realism as well as ultraillusionistic paintings
and sculptures that add
an expressive dimension to the understanding of realism.
78 Daytona Beach
ALBERT PALEY:
VINTAGE BLENDS
The blending of
Polk Museum of Art’s contemporary voices
exhibition of sketches with historical underand sculptures by
pinnings is a distinAlbert Paley, provides a guishing feature of
unique glimpse into the three new shows at
thought processes of
the Southeast Museum
the renowned sculptor. of Photography.
96 Delray Beach
MARIKO KUSUMOTO:
UNFOLDING STORIES
Morikami Museum
and Japanese Gardens
invites you to enter the
enchanting world of
Japanese metal sculptor,
Mariko Kusumoto, to
view her extraordinary
and intricate metal
sculptures and fantastical constructions.
TOP (LEFT TO RIGHT):
LINDA BACON, GRAB YOUR
PARDNER, 2007, OIL ON LINEN,
COURTESY OF BERNARDUCCI.MEISEL.
GALLERY; ALBERT PALEY, EPOCH
STEEL MODEL, COURTESY OF PALEY
On View Destination:
STUDIOS LTD. ; CURTIS WEHRFRITZ,
ART BASEL MIAMI BEACH 2011
RIGHT:
INSTALLATION VIEW;
EDWARD TYLER NAHEM FINE ART,
NEW YORK; COURTESY
OF MCH SWISS EXHIBITION
(BASEL) LTD.
SECRET HEART, COLLABORATION
114 On View presents highlights from the
10th edition of Art Basel Miami Beach—a four
day art extravaganza which took place in
December. In case you missed it, check this out...
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WITH LISA MANN, DAGUERREOTYPE
IMAGE, ©CURTIS WEHRFRITZ;
MARIKO KUSUMOTO, BLOOMINGDALES
(BOX EXTERIOR), NICKEL SILVER,
STERLING SILVER, BRASS,
COPPER, DECAL, DIAMOND, 2007,
PHOTO: DEAN POWELL
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CONTENTS
Fe b r u a r y/ M a rc h
2012
Vo l u m e
2,
No.6
5
COMMENTARY
6
MUSE
Through the Brush:
Artist, Patton Hunter,
shares her inspirational journey.
In addition to striking
works on paper, elaborate
lithographs and amusing
sculptures, Mark Licari
also creates dramatic wall
drawings that transform
entire rooms.
38
GALLERY
A selection of
gallery artists and
exhibitions
Retrospective
Profile
ROMARE BEARDEN
PHILLIP ESTLUND
PICTURED:
Phillip Estlund’s witty and disquieting
images combine nature-made
with man-made and are infused with
beauty and playfulness.
Adventures in Interior Design 5,
2009, Collage on wood,
13.5 x 8.25”, Courtesy of the artist
and Gavlak Gallery, Palm Beach
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106
Phillip Estlund
Ma
At the age of 100, renowned artist and printmaker, Will Barnet, still
possesses the continuous
capacity for reinvention
and new perspectives.
MARK LICARI
Museum
exhibitions
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WILL BARNET
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CALENDAR
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A master of collage,
Romare Bearden’s
thematic narratives reflect his native South,
a source of inspiration
throughout his career.
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Hearts & Flowers
M A G A Z I N E
I nspired by S t . V alentine ’ s D ay , we ’ d like to
share a few events that are sure to delight the senses:
The Florida Museum for Women Artists in
DeLand is hosting a culinary arts workshop
on February 11th, where participants will create
enchanting edible valentines (http://bit.ly/apHylu).
The Henry B. Plant Museum in Tampa is featuring a collection of antique valentines from the
late 19th and early 20th centuries, on display February 1st-29th (http://bit.ly/b86S7J).
On Valentine’s Day, savor the sultry sounds
of jazz under the stars at the Fairchild Tropical Botanic Garden in Coral Gables (http://bit.ly/
sIVjvu), or enjoy an evening of dining, music and a
romantic moonlit stroll through the Butterfly Rainforest exhibit at the Florida Museum of Natural
History in Gainesville (http://bit.ly/A7ehaj).
Floral art springs to life with Ringling in Bloom
at The John and Mable Ringling Museum of Art
in Sarasota, February 23rd-26th. View inspired floral creations by area designers, enjoy a presentation
by celebrity floral designer, Remco van Vliet, and
preview the Lilly Pulitzer Spring 2012 Collection
(http://bit.ly/yDyhXj).
Excitement is in bloom at Disney’s Epcot International Flower & Garden Festival, March 7th-May
20th, with fantasy topiaries, designer presentations and
live music from the ’60s and ’70s during the Flower
Power Concert Series (http://bit.ly/9uP1q). Enjoy!
Editorial
Publisher & Creative
Director
Diane McEnaney
Contributing
Editor
Paul Atwood
Editorial
Assistant
T h e r e s a M av r o u d i s
Adver tising
Marketing & Sales
Director
Paul McEnaney
Contact
Editorial
[email protected]
Advertising
[email protected]
On View is published on-line,
six times per year,
by On View Magazine, LLC.
No portion of this
publication may be reproduced
without prior
permission of the publisher.
www.onviewmagazine.com
Diane McEnaney
Publisher & Creative Director
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5
MUSE
Through the
Brush
I
B Y PAT T O N H U N T E R
N 2011,
I was fortunate
to not only be named among the top 10 artists in America
(over age 60) by Artist’s Magazine (March 2011), but was
also included as one of 10 emerging artists to watch by Watercolor Magazine (December 2011). When I think of these and
other awards I have achieved over 18 years of painting, I realize that they are the result of a concentrated effort to survive
a very difficult period of time in my life.
Several years after my husband was diagnosed with
Alzheimer’s Disease, I began to create a new life for us, one
that would enable me to keep him at home with me as long
as possible—I started to paint. And what I thought would
MUSE
“
Painting is my language, and I’m striving
to become fluent. The journey is joyful!
”
become a hobby and an emotional release for the inevitable
fears and frustrations of care-taking, became an obsession.
Within a year of taking lessons, I began to teach at local
art centers and later, taught at the University of
Florida’s Lifelong Learning program. I continue
to commit to ongoing classes as a student for the
benefit of critique and the stimulation of working
alongside other artists, which drives me to continuously explore.
After my husband passed away, I moved into a loft
in downtown St. Petersburg, FL. The diversity and
energy of the city has been a great influence on my art
LEFT:
the sweeper, acrylic on canvas,
30 x 40”
BELOW :
patton hunter
images courtesy
of the artist
career, casting a little of its bright light on my work.
I am inspired by other artists and also by circumstances. In 2003, I crossed the Atlantic as first mate
on a 43-ft. sailboat and cruised the coast of Europe,
the British Isles and Ireland, for two years. I dreamed of the boat
being my floating studio, but my painting efforts were stymied
by wind and constant movement. Upon my return to Florida,
I created my most successful figurative work, inspired by the
photographs I had taken on my voyage.
Each of my paintings, abstract or representational, is an
emotional response that comes from the total of my life expe-
to view more
works by
patton hunter,
visit her
website at:
www.pattonhunter.com
riences. Painting is my language and I am striving to become
fluent. The journey is joyful! O n V iew
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{S P E C I A L
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•
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B Y
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CALENDAR
*Exhibitions and dates are subject to change.
02-03.2012
BOCA RATON
ples of American art
from the 19th to the
late 20th centuries,
featuring a virtual
who’s who of American masters.
03.27-10.14.12
Thru 03.18.12
American
Treasures:
Masterworks
from the Butler
Institute of
American Art
Boca Raton
Museum of Art
www.bocamuseum.org
American Treasures
includes a selection
of significant exam-
Contemporary
Glass: The 50th
Anniversary of
the Studio Glass
Movement
Boca Raton
Museum of Art
www.bocamuseum.org
Celebrating the 50th
anniversary of the
Studio Glass Movement in America, this
display showcases art
glass representative
of the full breadth of
this defining period in
contemporary glassmaking and focuses
on unique objects
that explore ideas by
leading glass artists
such as Dale Chihuly,
Dan Dailey, Michael
Glancy, Harvey
Littleton, Concetta
Mason, William
Morris, Jay Musler,
Toots Zynsky and
others.
ents 48 arresting,
large-format images
that challenge the
viewer to question
topics such as selfrepresentation, celebrity and photographic
honesty as well as
the impressive explanatory power of
Thru 03.18.12
Martin
Schoeller:
Close Up
Boca Raton
Museum of Art
www.bocamuseum.org
This exhibition pres-
portrait photography.
(See story in the December 2011/January
2012 issue on pg. 56.)
1. Frank Weston Benson, Red and Gold, 1915, oil on canvas, 31 x 39”, courtesy of The Butler Institute of American Art 2. Martin Schoeller, Jackson, 2005,
C-Print, ©Martin Schoeller, courtesy of the artist, Ace Gallery and August Agency
8
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C A L E N D A R
{ P g. 2 o f 3 0 }
Boca Raton continued...
Boca Raton
Museum of Art
www.bocamuseum.org
From the pensive gaze
of Georgia O’Keeffe in
profile, to the powerful
punch of Mohammed
Ali’s fist, this exhibi-
Painting and
Printmaking
Boca Raton
Museum of Art
www.bocamuseum.org
Natura Morta (Still
Life) features 18 color
photographs by one
of Italy’s most interesting and controversial photographers.
Included are works
from three portfolios:
Attesa silente (Quiet
Wait), Cenci (Rags)
and In Carne ed Ossa
(In Flesh and Blood).
To mark the 100th
birthday of pioneering
painter, printmaker and
educator, Will Barnet
(b. May 25, 1911), this
exhibition of nearly
50 works explores the
momentous evolution
of Barnet’s art, from
realism to abstraction,
during one of the most
distinguished careers
in American art. (See
tion presents more than story on pg. 108.)
50 images in all media,
exploring the intimate,
as well as very public,
faces of artists,
celebrities, politicians
and everyday people.
Thru 05.13.12
03.27-05.20.12
Portraits from
the Permanent
Collection
Will Barnet
at 100: Eight
Decades of
Thru 03.18.12
Natura Morta:
Photographs by
Patrizia Zelano
Boca Raton
Museum of Art
www.bocamuseum.org
CORAL GABLES
12.01.11-05.31.12
Will Ryman
Fairchild
Tropical Botanic
Garden
www.fairchildgarden.org
Sculptor, Will Ryman, has designed a
series of larger-thanlife fiberglass and
stainless steel flowers
and insects for the
Fairchild’s 2011-2012
art season. Viewers,
young and young
at heart, will enjoy
Ryman’s organic and
playful sculptures
set amidst the Fairchild’s lush tropical
gardens. (See On View
1. Patrizia Zelano, In Carne ed Ossa [In Flesh and Blood]#6 Caravaggio, 2008, archival digital print on dibond and plexiglass, 23.6 x 35.4”, courtesy of the
artist 2. Andy Warhol, Muhammad Ali, 1979, silkscreen on Strathmore Bristol paper, edition no. 3/150, 4 panels, 40 x 30” each, Permanent Collection,
gift of Dr. Richard Golden 3. Will Barnet, Midnight, 1983-1984, oil on canvas, 49 x 29”, Private Collection, Naples, FL 4. Rendering of Icon (with Petals)
by Will Ryman, 2011, at Fairchild Tropical Botanic Garden, ©WR Studio Inc./photo by Kirkland Hyman, courtesy Fairchild Tropical Botanic Garden
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Coral Gables continued...
veys the development
of the Lowe’s Permanent Collection
from its earliest history to the present day.
Destination in the
December 2011/
January 2012 issue
on pg. 108.)
Thru 03.25.12
From the Vault:
Building a
Legacy, Sixty
Years of Collecting at the Lowe
Art Museum,
University of
Miami
Lowe Art
Museum,
University of
Miami
www.lowemuseum.org
This exhibition sur-
Thru 09.23.12
called retablos, used
primarily by Mexican
peoples as objects
of veneration and to
seek favors, are
on exhibit for the
first time.
Thru 04.22.12
Saintly Blessings
from Mexico:
The Joseph D.
and Janet M.
Shein Collection
of Retablos
Lowe Art
Museum,
University of
Miami
Women,
Windows
and the Word:
Diverging
Perspectives
on Islamic Art
Lowe Art
Museum,
University of
Miami
www.lowemuseum.org
The complex theme
of Islamic art is examined in 3 intertwining themes: Muslim
women as creators and
subjects of art, Western
views of the Islamic
world, and decoration
and the written word.
(See story in the December 2011/January
2012 issue on pg. 88.)
CORAL
SPRINGS
02.11-04.21.12
All Aboard:
An Artistic
History of the
Railroad—
Photography of
O. Winston Link
Coral Springs
Museum of Art
www.csmart.org
Guest Curator, Dr.
John Childrey, who
has a passion for
trains, history and
www.lowemuseum.org
Painted devotional
images of saints,
1. Mary Van Cline, The Healing Passages of Time, 1988, photosensitive glass, sandblasted glass, wood and paint, 51-3/4 x 38 x 18-1/4”, gift of Myrna and
Sheldon Palley, 2009, ©1988 Mary Van Cline 2. El Alma de Maria, image courtesy of Lowe Art Museum 3. Aphrodite Désirée Navab, I Am Not a Persian
Painting, 2000-2001, gelatin silver print, 18-5/8 x 14-7/8”, gift of Dr. and Mrs. Harold Steinbaum, ©2001 Aphrodite Désirée Navab
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Coral Springs continued...
writing, brings to
light the historic
photographs of O.
Winston Link. Also
featured are painting collections, train
memorabilia and
a fully operational
small gauge train set.
02.24-04.21.12
Candy Childrey,
Cesar Barroso,
and Nester
Guzman
Coral Springs
Museum of Art
www.csmart.org
This exhibition
showcases images by
Cesar Barroso, a native Brazilian with an
extraordinary ability
to capture light and
shadows, as demonstrated in his series
of botanicals and
skylines; photographs
by Candy Childrey,
whose favorite subjects are nature, birds
and old broken down
vehicles; and abstract of-a-kind exhibition of
marble sculptures by 19th Century Impressionist art created by
internationally known
artists, Henri ToulouseLautrec, Mary Cassatt, Alphonse Mucha,
Edgar Degas, Edouard
Manet, James Whistler,
Columbian born artPierre-Auguste Renoir
ist, Nester Guzman.
and other notable
Thru 02.11.12
Impressionists.
ToulouseLautrec and
His 19th Century
Mentors
Coral Springs
Museum of Art
www.csmart.org
Coral Springs Museum
of Art presents a one-
Collections
Together with
Illuminated
Manuscripts:
From the
Collection of
Ronald
R. McCarty
Museum of Arts
& Sciences
www.moas.org
The iconic visions
of Russian and
Greek saints, and
the historic stories
of the saints themselves, are beautifully and strikingly
represented in
Sacred Icons, depicting both miraculous
DAYTONA
BEACH
Thru 03.18.12
Sacred Icons:
From the
MOAS and
Private
1. O. Winston Link, image courtesy of Coral Springs Museum of Art 2. Nester Guzman, image courtesy of Coral Springs Museum of Art 3. Henri de
Toulouse-Lautrec, Divan Japonais, 1893, lithograph, printed in color, 31-5/8 x 23-7/8” 4. Image courtesy of Museum of Arts & Sciences
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Daytona Beach continued...
stories of the past
and the rich heritage
of both nations.
In Illuminated
Manuscripts, the
art of embellishing
hand-scribed books
and manuscripts
with colored, gold
and silver margins
and pictorial ornamental letters is
exquisitely presented
in a rare collection
of text leaves,
Biblical miniatures
and Books of Hours.
English artist, George
Morland, are featured
in addition to bronze
and marble portrait
busts, delicate porcelains, daguerreotypes
and the perfection of
French and American framed miniature
portraits.
Thru 03.25.12
03.02-05.02.12
Thru 04.01.12
Historic
Portraits from
the Collection
Museum of Arts
& Sciences
www.moas.org
Oil paintings from the
historic international
scene by Eastman
Johnson, Thomas
Sully and the famed
Reflections I, which
debuted at MOAS in
2009, Reflections II
presents a broad, fullcolor survey of watercolors of Florida
in a range of styles,
including examples
within Realism, Impressionism, Post-Impressionism, Ashcan,
Regionalism, Modernism and varieties
of Abstraction.
Reflections II:
Watercolors of
Florida 18352000, From the
Collection of Cici
and Hyatt Brown
Museum of Arts
& Sciences
A Tale of Two
Cities: Eugene
Atget’s Paris
and Berenice
Abbott’s New York
Southeast
Museum of
Photography
www.moas.org
A stunningly beautiful follow-up to
www.smponline.org
More than an exhibition of architectural photography,
this show examines
the work of two artists
who were inextricably
linked to each other
and to the development of modern photography.
Thru 02.19.12
Douglas
Kirkland
Retrospective:
Fifty Years
of Photography
Southeast
Museum of
Photography
www.smponline.org
Renowned for his
work in photojournalism, celebrity portraiture and film photography, Douglas Kirkland’s retrospective
is a compelling look
into a career spanning
1. Laura Woodward, Royal Poinciana at Lake Worth, Florida, 1889 2. Eugene Atget, Untitled (Along the Seine), ca. 1921-1926, © Eugene Atget, courtesy of
the Syracuse University Art Collection
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www.smponline.org
over 5 decades. With
just under 200 images, this exhibition
features portraits of
celebrities alongside
iconic stills taken on
the sets of acclaimed
films. (See story in
the October/November 2011 issue on
pg. 74.)
Work in the Fluidrive series spans over
six years and is concerned with forms
of lyrical and allegorical story-telling.
Wehrfritz’s daguerreotype images are
very much concerned 03.02-05.02.12
with an overt theatri- [hyphen]cality and an implied Americans:
Thru 04.22.12
SurfLand:
Joni Sternbach
Southeast
Contemporary
Museum of
Tintype Portraits Photography
by Keliy
www.smponline.org
Anderson-Staley Far from typical surfer
Southeast
action shots, the comMuseum of
bination of historic
Photography
process and contemwww.smponline.org
Thru 04.22.12
Fluidrive:
Modern
Daguerreotypes
by Curtis
Wehrfritz
Southeast
Museum of
Photography
each alludes to the
hyphenated character
of American identities—Irish-American,
African-American, etc.
(See Vintage Blends
on pg. 78.)
narrative structure
in the events, scenes
and characters that
are depicted. (See
Vintage Blends on
pg. 78.)
Featured in this survey are portraits of
contemporary Americans, each one made
as a unique and unreproducible tintype
image using a technology and a technique
from the middle of
the 19th century, and
porary subject yields
direct and timeless
images of individuals
standing on the verge
of sea and land. The
1. Douglas Kirkland, Elizabeth Taylor, 1961, ©Douglas Kirkland 2. Curtis Wehrfritz, Poe Raven Heart (detail), daguerreotype, ©Curtis Wehrfritz
3. Keliy Anderson-Staley, Helen, 2009, ©Keliy Anderson-Staley 4. Joni Sternbach, Wayne & Brandon, Santa Barbara, CA, 2008, ferrotype on aluminum,
©Joni Sternbach
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resulting images catalogue a highly diverse
and eclectic tribe of
mariners that has long
fascinated the photographer. (See Vintage
Blends on pg. 78.)
D e LAND
02.11-04.01.12
White
Mountain
Women
(1840-1940)
This exhibit features
an assortment of
works by women artists associated with the
Hudson River School,
who stepped out into
the vast, rustic landscape to conquer and
appreciate the wonders of nature while
steadfastly securing
their place in history
among the prodigious
artists of the White
Mountains.
Morikami
Museum
and Japanese
Gardens
www.morikami.org
crafted sculptural
vignettes, comprising
a mélange of objects,
present a wide range
of whimsical, often
surrealist, scenes
reminiscent of various places and times,
from Victorian-era
Boston to 1950s
Tokyo. (See story
DELRAY BEACH
on pg. 96.)
02.07-05.06.12
Florida
Museum for
Women Artists
www.floridamuseumfor
womenartists.org
Mariko
Kusumoto:
Unfolding
Stories
Morikami
Museum
and Japanese
Gardens
www.morikami.org
Mariko Kusumoto’s
meticulous, hand-
02.07-05.06.12
Old Techniques,
New Interpretations: Japanese
Prints from
the 1950s to the
21st Century,
from the
Collection of
Paul and
Christine Meehan
Featured in this exhibition are more than
60 prints that celebrate over 40 years of
sosaku hanga masters
from Kiyoshi Saitō
(1907–1997) to Toko
Shinoda (b. 1913),
among many others.
DUNEDIN
Thru 02.05.12
The Miniature
Art Society
of Florida Dunedin Fine
Art Center
www.dfac.org
1. Josephine Bradstreet, image courtesy of Florida Museum for Women Artists 2. Mariko Kusumoto, Self-Entertainment Kit (interior detail), 2009, nickel
silver, brass, copper, sterling silver, resin, decal, found objects, photo: Dean Powell 3. Image courtesy of Morikami Museum and Japanese Gardens
14
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Museum of Art /
Fort Lauderdale,
Nova Southeastern
University
GAINESVILLE
Thru 06.03.12
A Singular
Vision: Recent
Gifts from the
Freundlich
Collection
Harn Museum
of Art
www.moafl.org
The 37th Annual
International Miniature Art Society
Exhibition returns
featuring another
stunning array of
works by the finest
calligraphers, painters and sculptors
working worldwide
in miniature today.
Featuring tapestries
and paintings by some
of the greatest artists
of the Renaissance
and Baroque periods,
this highly-acclaimed
exhibition includes
paintings by Sandro
Botticelli, Parmigianino, Alessandro
Allori, Luca Giordano
and Lorenzo Monaco,
www.harn.ufl.edu
Primordial:
Paintings and
Sculpture by
Isabel De Obaldía,
1985–2011
Museum of Art /
Fort Lauderdale,
Nova Southeastern
University
www.moafl.org
FORT
LAUDERDALE
Thru 04.08.12
Offering of the
Angels: Old
Master Paintings and Tapestries from the
Uffizi Gallery
Thru 05.27.12
selected by Antonio
Natali, director of
Florence’s famous
Uffizi Gallery.
Demons, gods, ghosts
and beasts are the
subjects of this midcareer retrospective
of the work of Panamanian-based artist,
Isabel De Obaldía,
who explores the art
of ancient cultures.
Among the highlights
of this exhibit are nu-
merous drawings from
artists’ sketchbooks
that relate to larger
finished works such
as paintings, sculpture, prints or mural
projects. Artists represented include Milton
Avery, George Bellows, Childe Hassam,
1. Lynn Ponto-Peterson, The Nutmeg Lantern, watercolor, 3 x 3” 2. Alessandro Di Mariano Filipepi (called Sandro Botticelli), Madonna with Child
(Madonna della loggia), ca. 1466-1467, oil on panel, collection of the Uffizi Gallery, Florence, Italy 3. Isabel De Obaldía, Blue Idol (Idolo azul), 2008,
sand cast glass, 17 x 8 x 5”, Mary-Anne Martin Fine Art, NY 4. Kenneth Hayes Miller, Leaving the Shop, n.d., lithograph from the collection of
Dr. August and L. Tommie Freundlich
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Gainesville continued...
Leon Kroll, Gaston
Lachaise and Marguerite Zorach.
generous donors and
academic interests.
02.11-11.04.12
Thru 05.27.12
David A. Cofrin
Asian Art Wing
Harn Museum
of Art
Sebastião
Salgado: World
Witness
Harn Museum
of Art
www.harn.ufl.edu
www.harn.ufl.edu
Opening 03.31.12
The inaugural exhibi- Considered one of
tion of the new David the most highly recognized photojournalists in the world,
Salgado focuses
on people who are
politically, economically and culturally
excluded from the
promise of global
development. In this
exhibition, Salgado
documents famine in
A. Cofrin Asian Art
Africa and manual laWing will showcase
bor around the world.
the Harn Museum’s
02.07-04.29.12
Asian art collection
Vanishing
and honor 20 years
Points: Paint
of collecting history
and Paintings
made possible by
from the Debra
and Dennis
Scholl Collection
Harn Museum
of Art
www.harn.ufl.edu
Vanishing Points
reflects and imagines
a world transformed
by contemporary
science, technology
and media. In the
exhibition, 24 artists
mirror and assimilate the strategies of
technology and the
media. In doing so,
they embrace multiple perspectives and
challenge the limits
of paint and painting,
as applied to canvas,
sculpture and found
objects.
Verdant Earth
and Teeming
Seas: The
Natural World
in Ancient
American Art
Harn Museum
of Art
www.harn.ufl.edu
This exhibition highlights the Museum’s
collection of ceramic
figures and vessels,
stone sculptures and
jade ornaments from
Ancient America—
primarily Mesoamerica, Central America
and the Andes.
1.Ooka Umpo, Japanese, 1765–1849, With Crane on Blossoming-plum Stream, 1844, hanging scroll, ink and color on silk, 6’ x 18-5/8”, Museum
Purchase, funds provided by donors in memory of Dr. David A. Cofrin 2. Carla Klein, Untitled (detail), 2005, oil on canvas, courtesy of the Debra and
Dennis Scholl Collection, Miami, FL 3. Moche people , Stirrup-Sprout Bottle of Crab God with Fanged Feline Mouth , early intermediate period,
Moche III phase, 200–300, burnished red-slipped ceramic, Museum Collection, University Gallery purchase
16
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Moira Holohan’s
practice focuses on
experimentation
through layering of
several media—assemblage, video
animation and collage. Presented in
this exhibition are
animated video works
inspired by the four
classic elements of
HOLLYWOOD
02.11-03.11.12
Christina
Pettersson:
The Sentinel
Art and
Culture Center
of Hollywood
artandculturecenter.org
Christina Pettersson’s drawings
examine the self not
as one lives it, but
as one’s imagination creates it. The
Sentinel focuses on
Florida as a tropical
locale that is almost
always remaking
itself through what
she calls “the alluring mystery of faraway places.”
02.11-03.11.12
John DeFaro:
Trawler
Art and
Culture Center
of Hollywood
“Trawler” is the
name given to a boat
or vessel used for
trawling. John DeFaro’s site specific
installation combines
activism and environmental concerns
with visual art as a
communicator.
03.24-05.27.12
Moira Holohan
Art and
Culture Center
of Hollywood
nature—earth, air,
water and fire.
is Phillip Estlund’s
first solo exhibition in
Broward County. The
contemporary visual
artist is presenting
sculptures and twodimensional collages
that inhabit the psychological and physical terrain left behind
by man-made and
natural disasters.
(See story on pg. 106.)
JACKSONVILLE
03.24-05.27.12
Phillip Estlund:
Subprime/
Subtropics
Art and
Culture Center
of Hollywood
Subprime-Subtropics
02.03-04.01.12
Joe Forkan:
Paintings from
the Lebowski
Cycle
Museum of
Contemporary
Art, Jacksonville
1. Christina Pettersson, The Sentinel, 2011, graphite on paper 2. John DeFaro, image courtesy of Art and Culture Center of Hollywood 3. Moira Holohan,
Untitled (Water) [still], 2011, video, 2 minutes 4. Phillip Estlund, Orange Crush (detail), 2007, collage on wood, courtesy of Gavlak Gallery
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Ja c k s o nv i l l e c o n t i nu e d . . .
Known for his unconventional and large
sculptures, this Los
Angeles-based artist creates interactive
constructions made of
www.mocajacksonville.org plexiglass, plywood
Drawn to the symbol- and wall polish, simulism and attention the
taneously playful and
Coen brothers brought
to the film The Big
Lebowski, Forkan has
attempted to translate
that very energy into
The Lebowski Cycle,
replete with art historia series of paintings
cal references.
and drawings exploring layered narratives,
03.24-07.08.12
using masterpieces
Project Atrium:
of western art and the
Coen Brothers’ film as Mark Licari
Museum of
a point of departure.
installation include
Andy Warhol,
Pablo Picasso and
Roy Lichtenstein.
ings, created on-site in
the 7 days leading up to
the exhibition opening.
(See story on pg. 110.)
Thru 04.08.12
ReFocus:
Art of the ’60s
Museum of
Contemporary
Art, Jacksonville
Thru 08.09.12
Beyond Ukiyo-e:
Japanese Woodblock Prints and
their influence
on Western Art
The Cummer
Museum of Art
& Gardens
www.cummer.org
The Cummer Museum
of Art & Gardens
www.mocajacksonville.org presents a collecThis is the first of a
tion of 19th century
3-part series examin- Japanese woodblock
ing contemporary art prints that showcases
in the 1960s,’70s,
many aspects of this
Contemporary
uniquely expressive art
Thru 03.11.12
Art, Jacksonville
form and provides a
Project Atrium:
www.mocajacksonville.org
wide-ranging view of
Gustavo Godoy
For his show at MOCA,
the styles and themes
Museum of
Jacksonville, Mark
encompassed by this
Contemporary
Licari will tansform
vibrant genre, each in
Art, Jacksonville the gallery space with
and ’80s. Featured
its own way illumiwww.mocajacksonville.org his dramatic wall draw- artists for the ’60s
nates an understanding
1. Joe Forkan, Supper at Emmaus (After Caravaggio) [detail], 2006-2010, oil on linen, 96 x 38” 2. Gustavo Godoy, Fast-formal Object: Big Blue,
2010, mixed media construction, 18 x 32 x 19’ 3. Mark Licari , Motorcycle with Roses, 2008, ink, watercolor and colored pencil on paper, 42 x 64”
4. Roy Lichtenstein, Crak!–Now, Mes Petits…Pour La France!, 1963, collage
18
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Ja c k s o nv i l l e c o n t i nu e d . . .
exhibition illustrate
the emergence of Impressionism in 1870s
France, its evolution
to Post-Impressionism
and its later influence
on American artists.
02.16-05.06.12
Impressionism
and Post
Impressionism
from the High
Museum of Art
The Cummer
Museum of Art
& Gardens
www.cummer.org
Thru 02.26.12
www.polkmuseumofart.org
& Gardens
Richard
Chamberlain:
The Year
of the Sheep
The Cummer
Museum of Art
& Gardens
www.cummer.org
www.cummer.org
The Cummer unveils new acquisitions made through
gifts and purchases
in honor of the
Museum’s 50th
Anniversary.
LAKELAND
Günter Wirth
Polk Museum
of Art
Thru 07.08.12
Impressionism and
of 19th century JapaPost Impressionism
nese culture.
from the High Museum of Art showcases
Thru 08.15.12
almost 50 paintings,
50 Forward:
drawings and prints
New Additions
by such renowned
to the Permanent artists as Claude
Collection
Monet, Camille PisThe Cummer
sarro, Pierre-Auguste
Museum of Art
Renoir, Mary Cassatt
of the Sheep illustrates
the power art has to
transform and heal.
Chamberlain’s images
explore the conflicts
between good and evil,
light and dark, and the
seen and the unseen,
in vivid yet abstracted
and John Singer Sargent. The works in this compositions. The Year
Günter Wirth is a
German artist who
has dedicated his
artistic career to the
exploration of geo-
metric forms, primarily rectangles and
circles.
Thru 03.24.12
Hunt Slonem:
An Expressive
Nature
1. Artist Unknown (Japanese), Untitled, 19th century, woodblock print, 8-7/8 x 10-7/8”, purchased with funds from the Cornelia Morse Carithers
Endowment Fund 2. Claude Monet, Houses of Parliament in the Fog, 1903, oil on canvas, 32 x 36-3/8”, purchase with Great Painting Fund in honor of
Sarah Belle Broadnax Hansell, courtesy of the High Museum of Art, Atlanta 3. Richard Chamberlain, Year of the Sheep #19, 1989, enamel and oil
on canvas, ©Richard Chamberlin 4. Günter Wirth, Berlin Wall I, Collage No. 523 (9/10), 1995, screenprint with collage, Polk Museum of Art Permanent
Collection, gift of Günter Wirth
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Lakeland continued...
acquisitions, including photographs by
Ansel Adams, André
Kertesz and Alfred
Eisenstaedt, a sculpture by William Kidd,
a seascape by Richard
Currier and a small
Rembrandt etching
Polk Museum
of Art
As a youth in Hawaii,
Slonem developed
an early affinity for
nature, especially the
various species of
tropical birds living
on the island. These
natural forms ultimately became the
subjects for his art.
Thru 03.24.12
Recent
Acquisitions Polk Museum
of Art
Art & History
Museums,
Maitland
www.artandhistory.org
almost lost sense of
gravity as unfurled and
animate forms construct massive works
of art. (See story
on pg. 68.)
MAITLAND
donated by William
and Norma Roth.
03.31-06.23.12
Albert Paley:
Sketches & Steel Polk Museum
of Art
Thru 02.26.12
Borders of
Paradise: The
New World
in the Eyes of
Explorers
Imagined and exaggerated portrayals of the
Americas are presented
through maps, etchings, engravings and
lithographs from the
17th through 19th centuries, depicting tales
of mysterious, lost
paradises and fantastic
creatures from evolving primitive worlds.
02.03-04.15.12
EMERGE!
Molly Chism
Art & History
Museums,
Maitland
www.artandhistory.org
Albert Paley’s use of
steel can be described
www.polkmuseumofart.org as industrial poetry.
This exhibition show- His large sculptures
cases some of the
combine an apparMuseum’s newer
ent heaviness with an
An accomplished
emerging painter,
Chism has exhibited her dreamlike,
atmospheric paintings across Florida.
1. Hunt Slonem, Lories, 2011, oil on canvas, 60 x 70” 2. William Kidd, Still Life with Red Poppies, 2011, clay with low-fire glaze 3. Albert Paley,
Splayed Bench, 1992, forged and fabricated steel with mahogany, PMoA Permanent Collection 4. J. Trentsensky (After Jacques le Moyne de Morgues),
Floridaners of 1500, ca.1825 (le Moyne original ca.1564), lithograph on paper, on loan from the Museum of Arts and Sciences, gift of
Kenneth Worcester Dow and Mary Mohan Dow
20
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Maitland continued...
all three artists work
within made and found
forms, conceiving possibilities that allow for
reworking, acknowledged errors, purpose
and process.
Foosaner Art
Museum
www.foosanerartmuseum.org
Based in landscape,
the work is a formal
tour-de-force, evoking new realities.
MELBOURNE
Thru 03.18.12
Many artists have
been drawn to things
dark and fantastic, but
few have probed the
human condition with
the insight and truthfulness found in these
images, which include
Castellon’s lithographs for Edgar Allen
Poe’s The Masque of
the Red Death and
Goya’s etchings from
Los Disparates (or
The Proverbs).
MIAMI
02.24-04.01.12
Fear and Folly:
The Visionary
Prints of
Francisco Goya
and Federico
Castellon
Mapping Time
and Space
ArtCenter/
South Florida
www.artcentersf.org
Curated by Lauren
Wagner, Mapping
Time and Space fea-
Thru 03.04.12
tures works by Nick
Vaughan and Jake
Margolin, Carrie Sieh,
Amanda Serrano, Lucinda Linderman, Regina Jestrow, and Rosa
Naday Garmendia
Erwin Wurm:
Beauty Business
Bass Museum
of Art
www.bassmuseum.org
Erwin Wurm: Beauty Business made its
debut during Art Basel Miami Beach 2011.
Thru 02.19.12
Wurm combines varPotential Amend- ious art forms into a
ments: Jenny
unique personal view
Brillhart, Vincent of the everyday world.
Hemphill and
Drawing on history,
Moira Holohan
humor and philosophy,
ArtCenter/
South Florida
www.artcentersf.org
This show is based
in structure, form
and mark-making—
1. Molly Chism, The Dead Meat of Convention, acrylic on canvas, 48 x 48” 2. Federico Castellon, Stop Him and Strip Him I Say, 1968, lithograph/collection
of the Kalamazoo Institute of Arts, Director’s Fund Purchase. Fear and Folly was organized by Kalamazoo Institute of Arts, Kalamazoo, MI 3. Nick
Vaughan and Jake Margolin, Double Self Portrait: Pennsylvania (detail), 2010 4. Erwin Wurm, Little Big Earth House, 2003/2005, silverplated bronze, 7-7/8
x 13-3/8 x 9-7/8”, courtesy of the artist; Xavier Hufkens, Brussels; Galerie Thaddaeus Ropac, Salzburg and Paris; and Lehmann Maupin, NY
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Miami continued...
he creates light-hearted
artworks with, at times,
serious messages. (See
story in the December
2011/January 2012 issue on pg. 102.)
Thru 02.12.12
Portrait of a
Young Man:
Laurent Grasso
Bass Museum
of Art
tions that become reflections on the past,
from a contemporary
viewpoint.
Thru 02.26.12
Dana Schutz:
If the Face
Had Wheels
Miami Art
Museum
Miami Art
Museum
www.miamiartmuseum.org
Bringing together
artists from around
the world who have
Thru 03.18.12
worked with records
Focus Gallery:
as their subject or
Marcel Duchamp medium, this groundMiami Art
breaking exhibition
Museum
examines the record’s
www.miamiartmuseum.org
This is a rare opportuwww.bassmuseum.org
nity for audiences to
Grasso juxtaposexperience the seminal
es historical works
French artist’s work
from the Permanent
firsthand. Among the
Collection with his
works presented is
www.miamiartmuseum.org MAM’s edition of De
own series of paintings, sculptures, vid- Schutz combines fan- ou par Marcel Ducheos and neons to form tasy and reality, and
amp ou Rrose Sélavy
humor and horror,
unexpected connec(Boîte-en-valise) [From
to create figurative
or by Marcel Duchamp
paintings that abound or Rrose Sélavy
with expressionist en- (Box in a Suitcase)].
ergy and a distinctive
visual style character- 03.18-06.10.12
The Record:
ized by vibrant color
Contemporary
and raw and tactile
Art and Vinyl
brushwork.
transformative power,
from the 1960s to the
present, through sound
work, sculpture, installation, drawing, painting, photography, video
and performance.
Thru 02.29.12
Mangrove Coast:
Photographs of a
Native Son by
Barry Fellman
1. Laurent Grasso, 1610 (detail), 2011, neon tubes, transformer, ed. of 5 & 2 A.P., courtesy Sean Kelly Gallery, NY 2. Dana Schutz, Swimming, Smoking, Crying, 2009, oil on canvas,
collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS, gift of Marti & Tony Oppenheimer & the Oppenheimer Brothers
Foundation, courtesy of the artist & Zach Feuer, NY 3. De ou par Marcel Duchamp our Rrose Sélavy (Boîte-en-valise), Series D, 1941/1961, ed. 1/30, collection Miami Art Museum, Museum
Purchase with funds from Lang Baumgarten & Mimi Floback & Sally Ashton Story in memory of Jon Ashton, photo: Sid Hoeltzell, ©2011 Artists Rights Society (ARS), NY / ADAGP,
Paris / Succession Marcel Duchamp 4. Jeroen Diepenmaat, Pour des dents d’un blanc éclatant et saines, 2005, record players, vinyl records, stuffed birds, sound, courtesy of the artist
22
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Miami continued...
Miami Science
Museum
www.miamisci.org
Fellman’s photographs
reflect the South
Florida coastline’s
mangrove ecosystem
and its beauty, rhythms
and patterns. Images
of hundreds of species,
nurturing a wide range
of marine life, amphibians, birds and mammals are highlighted.
to receive a solo show
at MOCA, North
Miami in March
1996. He has since
achieved major international recognition
and has become an
important role model
for Miami artists. (See
story in the October/
Mark Handforth:
Rolling Stop
Museum of
Contemporary
Art, North Miami
www.mocanomi.org
Mark Handforth was
the first Miami artist
conceptual work, in
which the spectator is
a participant as well as
part of the work itself.
Thru 02.19.12
Thru 04.01.12
Annette Turrillo:
A Thought
for the Planet
The Patricia
& Phillip Frost
Art Museum
Color on Color
The Patricia
& Phillip Frost
Art Museum
http://thefrost.fiu.edu
November 2011 issue
on pg. 104.)
03.15-05.06.12
Thru 02.19.12
and the changes in her
work that occurred
through her immersion into Western
culture.
A Thought for the
Planet seeks to unite
us through one of the
simplest and most personal means: thought.
Turrillo’s goal is to
create an interactive,
Rita Ackermann
Museum of
Contemporary
Art, North Miami
Color on Color presents works by different
artists in which the
use of color is not used
as a representation,
but as the essence of
the artwork.
www.mocanomi.org
This survey exhibition examines the
artist’s paintings
throughout her career
Thru 04.01.12
Maria Thereza
Negreiros:
Offerings
1.Image courtesy of Barry Fellman and Miami Science Museum 2. Mark Handforth, Rolling Stop, 2008, aluminum, vinyl and acrylic, 96 x 96”, courtesy
of the artist and Gavin Brown’s enterprise 3. Annette Turrillo, Verano (Summer) [detail], 2011, 77 x 38”, oil on canvas, courtesy of Ninoska Huerta Gallery
4. Karina Peisjovich, Color Making Machine (Eight-Movement Suite), 2010, light projection, installation view at Theories at Recoleta Cultural Center,
courtesy of MACBA
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Miami continued...
The Patricia
& Phillip Frost
Art Museum
The Patricia
& Phillip Frost
Art Museum
Inspired by Brazil’s
tropical rainforest,
Negreiros works
with rich colors, deep
foliage and mysterious habitats filled with
birds, animals and
strange vegetation. Her
personal experiences
bring nature to life on
monumental canvases
handled with extraordinary virtuosity.
Thru 03.18.12
Qin Feng:
West Wind
East Water
Qin Feng continually
researches and experiments with
new approaches to
contemporary ink
painting, resulting
in works that speak
the language of
diverse cultures
within a personal
symbolic lexicon.
Even with oil painting, acrylic painting
and Western mixed
media techniques,
he uses Eastern
elements to show
off the expression
of ink painting.
03.07-0701.12
The War We
Have Not Seen
by Juan Manuel
Echavarría
The Patricia
& Phillip Frost
Art Museum
The 24 paintings included in this exhibition were created
by men and women
who participated in
Colombia’s war. All
35 participants were
rank and file soldiers
who spent two years
painting their personal experiences,
illustrating the rural
tragedy.
Thru 03.18.12
Tour de France/
Florida: Contemporary Artists from France
in Florida’s Private Collections
The Patricia
& Phillip Frost
Art Museum
This exhibition features paintings
by French artists
Christian Boltanski,
Sophie Calle, Annette Messager and
Bernar Venet—many
of which have never
before been presented
to the public.
Thru 03.26.12
Liberty, Equality
and Fraternity:
French Design
for Living
1. Maria Thereza Negreiros, Jungle Fires, Offering, Module VII, 1995, oil on canvas, 71 x 71” 2. Qin Feng, Desire.Landscape, 2011, 24-3/4 x 9-3/4”,
acrylic on silk and cotton paper, courtesy of the artist 3. Christian Boltanski, Untitled (Reserve), 1989, clothes, black and white photographs and lights,
111 x 64 x 7”, ©Christian Boltanski / ADAGP, Paris, courtesy of the Rubell Family Collection
24
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Miami continued...
The evolution of Studio Glass is traced in
this delightful exhibition, which includes
a wide assortment of
exquisite work from
www.wolfsonian.org
Naples Art
the leading AmeriAssociation at
Witness how artists
can glass artists of
manifested in their work The von Liebig
the past half century,
the most profound and Art Center
including Marvin Liwww.wolfsonian.org
www.naplesart.org
mundane aspects of
pofsky, Dale Chihuly
This exhibition exAmerican life through Simpson is an “imag- and many others. (See
amines the changing
this display of Ameri- inist” who has worked story in the December
in nearly every medipolitical, economic
can paintings, sculpum, including woodand cultural contexts in
working, painting,
which French design
printmaking, clay,
is created and dissemiwoodcarving, booknated. Objects on dismaking, jewelry—
play include furniture,
and even prose. (See
industrial design and
craft created by some
2011/January 2012
of the most celebrated tures and prints from
2011/January 2012
French designers of the the 1920s to the ’40s. issue on pg. 106.)
issue on pg. 44.)
past and present.
The Wolfsonian–
Florida
International
University
Thru 08.2012
Manifest and
Mundane: Scenes
of Modern
America from
the Wolfsonian
Collection
The Wolfsonian–
Florida
International
University
NAPLES
Thru 02.27.12
Tommy Simpson:
Hand, Heart,
Home
Thru 04.01.12
03.01-05.20.12
Evolution/
Revolution
Naples Museum
of Art
Juan Genovés:
A Retrospective
Naples Museum
of Art
www.thephil.org
www.thephil.org
1. Martin Szekely, chaise lounge, Pi, 1984, Galerie Néotù, Paris (producer), steel, aluminum paint, leather, foam, Centre national des arts plastiques,
France, ©Martin Szekely/CNAP/photo: Jean Tholance/Les Arts décoratifs, Paris 2. Torvalt Arnt Hoyer, Barn, 1938, produced for Federal Art Project,
Works Progress Administration, Illinois, oil on board, The Wolfsonian–FIU, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, photo: Silvia Ros
3. Tommy Simpson, Bonhomie, 2010, mixed woods bench, 26 x 39 x 15”, photo: Brad Stanton 4. Leah Wingfield, Chance Meeting = Love, 2010, cast
glass, 17 x 17.5 x 4”, courtesy of Habatat Galleries, MI
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Na p l e s c o n t i n u e d . . .
One of Spain’s bestknown contemporary
artists, Juan Genovés
is celebrated for
his provocative expressionist paintings,
which explore issues
of social and political realism.
An exciting new selection of works from the
Museum’s American
Modernism Collection are on display,
representing all of the
important movements
in American art during
the first half of the
20th century.
more intimate wood
sculptures.
scores of pictures not
seen in decades.
02.12-04.07.12
Thru 03.25.12
Memories of
World War II: Photos From the
Archives of the
Associated Press
Naples Museum
of Art
Manolo Valdés
Naples Museum
of Art
Thru 05.20.12
www.thephil.org
Thru 06.30.12
Leaders
in American
Modernism
Naples Museum
of Art
www.thephil.org
Louise Nevelson
Naples Museum
of Art
www.thephil.org
This insightful exhibition features a
remarkable variety of
works from throughout
Nevelson’s prolific
career, ranging from
massive wall pieces to
This compelling presentation includes a
spectrum of AP photographs from all theaters
of World War II and
the home front, ranging
from familiar scenes of
Japan’s attack on Pearl
Harbor to Joe Rosenthal’s classic Iwo Jima
flag-raising in 1945 to
www.thephil.org
Featured in this stunning retrospective is a
variety of paintings and
sculpture that demonstrate the range and
singular talent of internationally renowned
Spanish master, Manolo Valdés.
Thru 06.30.12
Modern Mexican
Masters
1. Juan Genovés, Anudado, 2011, acrylic on canvas on board, ©Juan Genovés, courtesy Marlborough Gallery, NY 2. Arthur B. Davies, Facades, oil on
canvas, 23 x 28”, collection of the Naples Museum of Art, Museum Purchase 3. Louise Nevelson, Mirror-Shadow VII, 1985, wood painted black,
9’ 9” x 11’ 7” x 1’ 9”, photo: G.R. Christmas/courtesy The Pace Gallery 4. Victor Jorgensen, US Navy/AP Archives, Sailor and Nurse Kiss, Times Square
(New York City), August 14, 1945, black and white photograph, 20 x 16”, courtesy of the Associated Press 5. Manolo Valdés, Retrato de una Dama
con Collar, 2009, mixed media on canvas, 76.8 x 70.9”, ©Manolo Valdés, courtesy Marlborough Gallery, NY
26
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Na p l e s c o n t i n u e d . . .
Naples Museum
of Art
www.thephil.org
Naples Museum
of Art
www.thephil.org
The colors, vibrancy,
beauty and mystery of
Mexico are reflected
in this new installation, which includes
works by David Alfaro
Siqueiros, Miguel
Covarrubias and José
Clement Orozco.
Thru 04.15.12
Prendergast
to Pollock
Featured in this
survey are key works
from some of the
most important artists
of the first half of the
20th century, including Maurice Prendergast, Mark Rothko,
Arthur Dove, Ashile
Gorky, Jackson Pollock and more.
Collection, including
new and recent acquisitions and art never
before displayed in
the Museum.
Thru 06.30.12
www.thephil.org
Throughout the season, the Museum will
feature rotating exhibitions of selections
from the Permanent
NEW SMYRNA
BEACH
02.11-06.16.12
The Art of
Doris Leeper
Atlantic Center
for the Arts
Thru 06.30.12
Selections from
The Patty &
Jay Baker Naples
Museum of
Art Permanent
Collection
Naples Museum
of Art
is a treasure trove of
intimate-sized works
from some of the giants
of 20th century art.
This delightful exhibition recreates the environment of Hirshhorn’s
art-packed home in
Washington, known as
“The Mouse House.”
www.atlanticcenter
forthearts.org
This retrospective surThe Mouse House: vey includes paintings
Works from the
and three-dimensional
Olga Hirshhorn
works by artist, enviCollection
ronmentalist, visionNaples Museum
ary and founder of the
of Art
Atlantic Center for
www.thephil.org
the Arts, Doris Leeper
The Mouse House
(1936-2001).
1. Pedro Friedeberg, Cualquier Lado Por Arriba (Any Side Up), 1975, acrylic on board mounted on wood, 29 x 29”, collection of the Naples Museum of Art,
gift of Harry Pollak, ©Pedro Friedeberg 2. Jackson Pollock, No. 34, 1949, enamel on paper mounted on masonite, 22 x 30”, Edward W. Root Bequest,
Munson-Williams-Proctor Arts Institute Museum of Art, Utica, NY, photo: Williamstown Art Conservation Laboratory, ©2011 Pollock-Krasner Foundation /Artists Rights Society (ARS), NY 3. Alfred Eisenstaedt, Premiere at La Scala, Milan (detail), gelatin silver print, 25-1/2 x 21”, collection of the Naples
Museum of Art, bequest of Herbert & Ruth Abramson 4. Installation view of The Mouse House: Works from the Olga Hirshhorn Collection exhibition
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and Sandro—
The Fantastic to
the Sublime
Appleton
Museum of Art
OCALA
Orange County
Regional History
Center
www.thehistorycenter.org
Orlando
Museum of Art
www.omart.org
Topographies is the
largest retrospective
of work by artist,
Barbara Sorensen,
who is known for her
large-scale installations. Her sculptures
serve as references to
geological forms and
the conceptual notion
of the vessel. (See
Enjoy a rare opportuwww.appletonmuseum.org nity to peek inside the
Included in this exhibit are more than
30 recent works,
including landscapes, still lifes and
portraits by Cuban
Thru 03.11.12
creative genius behind
artists, Vicente HerFor the Love
the theme-park enternandez, Sandro de
of the Sea:
tainment experience.
Watercolors of
Discover how imagiPhilip Steel
nary worlds of unique
Appleton
characters, objects,
Museum of Art
and environments
www.appletonmuseum.org
start with the art and
Steel’s paintings redesign revealed in this
flect a lifelong love
la Rosa and Miguel
exhibition of detailed
of the sea and the
Florido.
drawings, architectural story in the December
people whose lives
plans, set designs,
2011/January 2012
are affected by it.
props and costumes.
issue on pg. 68.)
ORLANDO
02.11-04.01.12
Thru 04.29.12
Thru 04.01.12
Thru 02.12.12
Three from
Cuba: The Art of
Vicente, Miguel
The Serious
Art of
Make-Believe
Barbara
Sorensen:
Topographies
Wendy Babcox:
Landscape
Interrupted
1. Philip Steel, Light In A Storm 2. Painting by Sandro de la Rosa, image courtesy of the Appleton Museum of Art 3. Terra Queen’s bike from the
2005 Halloween Horror Nights at Universal Orlando Resort 4. Barbara Sorensen, Shield de Pyrenees W4-07, 33 x 30 x 4”, stoneware & stones, 2007
28
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Orlando continued...
Museum of
American Art
Ormond
Memorial Art
Museum
& Gardens
www.mennellomuseum.com
Orlando
Museum of Art
www.omart.org
The photographs in
this exhibition come
from an investigation
of form and color in
the landscape. These
works identify the
strange and exquisite
forms that emerge
from the human desire
to shape and control
one’s surroundings.
This exhibit features
paintings portraying
women in many varied
settings—in the garden, at repose, lighting
Chinese lanterns and
attending an outdoor
musical concert. Works
by George Bellows,
John White Alexander
Thru 03.18.12
Style & Grace:
Masterworks of
American Art
from the Collection of Michael
A. and Marilyn
L. Mennello
The Mennello
and Milton Avery are
on display.
www.ormondartmuseum.org
The Mennello
Museum of
American Art
www.mennellomuseum.com
One of the most
important African
American artists of
the 20th century,
William H. Johnson
produced a body of
work that focused
on biblical themes,
Harlem’s energy and
his Southern roots.
ORMOND
BEACH
Thru 03.18.12
William H.
Johnson: An
American Modern
Thru 03.11.12
Speed
2012
The Ormond Memorial Art Museum &
Gardens presents an
exhibition of motorsports and racing
fine art, featuring
images and rarely
seen items from
International Speedway Corporation and
NASCAR. Over 25
private collectors,
painters, sculptors
and photographers
are represented,
including works by
Colin Carter, Alain
Lévesque, Dan McCrary and Doc Pike.
1. Wendy Babcox, Untitled Tent, Long, 2011, archival ink jet print, 19-3/4 x 15-3/4”, collection of the artist 2. Lila Cabot Perry, The Japanese Children, ca.
1900, oil on canvas, from the collection of Michael Mennello 3. William H. Johnson, Aunt Alice, 1944, oil on compressed cardboard, courtesy Morgan
State University 4. Victory Last Time Out (detail), oil on canvas, 4 x 3’
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PALM BEACH
PENSACOLA
Thru 04.22.12
Thru 02.11.12
A New Light
on Tiffany:
Clara Driscoll
and the
Tiffany Girls
The Henry
Morrison Flagler
Museum
Woven and
Wrapped:
Kimonos, Clothing
and Culture
from Early 20th
Century Japan
Pensacola
Museum of Art
www.flaglermuseum.us
A New Light on Tiffany features more
than 50 Tiffany lamps,
windows, mosaics,
enamels and ceramics designed by Clara
Driscoll as well as numerous objects made
under her direction by
the “Tiffany Girls.”
02.04-04.15.12
Recapturing the
Real West: The
Collections of
William I. Koch
The Society of
the Four Arts
BEACH
02.24-04.07.12
Clyde Butcher:
Big Cypress
Swamp and
the Western
Everglades
The Cultural
Center
www.ccpvb.org
www.fourarts.org
This exciting exhibit
features the only existing photograph of
Billy the Kid, as well
as stagecoaches, paintings and sculptures.
Clothing, guns and
photographs illustrate
social concepts that
shaped the era, such as
the power of the brothel and the attitudes that
led to Native American
displacement.
PONTE VEDRA
www.pensacola
museumofart.org
A wide sampling of
kimonos explores
the history, styles
and symbolism of the
traditional Japanese
garment.
In the tradition of
Ansel Adams’ iconic
large-format blackand-white photographs
of Yosemite and
Yellowstone, Clyde
Butcher composes his
works at pristine and
untarnished locations
across the Big Cypress
Swamp, creating arresting compositions
1. Wisteria lamp, designed by Clara Driscoll, ca. 1901, 18-1/2” diam., New-York Historical Society, gift of Dr. Egon Neustadt 2. Photograph of Billy the
Kid, from the collection of William I. Koch, photo: Kyle Bajakian 3. Red Uchikake (bridal) kimono for a young bride, Blair-Murrah 4. Clyde Butcher,
Gaskin Bay 5, 1998, silver gelatin fiber print, 60 x 108”, collection of the artist
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P o n t e Ve d r a B e a c h c o n t i n u e d . . .
that distinctly mark
him as the foremost
landscape photographer of natural Florida.
SARASOTA
02.17-06.03.12
the greatest and most
influential artists of
all time—the Flemish Baroque master,
Peter Paul Rubens
(1577–1640).
ST. PETERSBURG
Ancient Egypt—
Art and Magic:
Treasures from
the Fondation
Gandur pour l’Art
Museum of
Fine Arts,
St. Petersburg
www.fine-arts.org
Mummy cases and sacred works, tomb and
logical exploration and
worldwide fascination
with the rediscovered
ancient culture.
TALLAHASSEE
02.10-03.25.12
New Gifts from
the Archives of
Judy Chicago
Museum of Fine
Arts, Florida
State University
Thru 04.10.12
Thru 04.29.12
Peter Paul
Rubens:
Impressions of
a Master
The John and
Mable Ringling
Museum of Art
temple reliefs, papyrus
fragments, alabaster
vessels and rare objects
comprised of precious
stones make this one
of the most dramatic
shows ever presented
at the MFA.
www.mofa.fsu.edu
Forever in a
Moment: 19th
Century Photographs of Egypt
Museum of
Fine Arts,
St. Petersburg
In early 2011, Judy
Chicago gifted to the
Museum works from
her Birth Project,
which includes a series of 84 needlework
www.fine-arts.org
This exhibition presents photographs of
Egypt created during
the 19th century, a period of great archaeo-
www.ringling.org
Peter Paul Rubens:
Impressions of a
Master showcases
the work of one of
pieces addressing the
subject of birth from
various viewpoints—
1. Peter Paul Rubens, image courtesy of The John and Mable Ringling Museum of Art 2. Lid from an Anthropoid Sarcophagus (detail), wood, gessoed and
painted, Dynasty XXI-XXII, 1080-720 BC, image ©Sandra Pointet 3. Antonio Beato, Travelers at the Great Pyramids (detail), ca.1870, albumen print, gift
of Dr. Robert L. and Chitranee Drapkin from The Ludmila Dandrew and Chitranee Drapkin Collection 4. Judy Chicago, Birth Pattern #3, 1981, ink on
paper, 11.5 x 20.5”, collection of Florida State University Museum of Fine Arts, photo: Jon Nalon
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Ta l l a h a s s e e c o n t i n u e d . . .
the historical, the
mythological, the
symbolic, the spiritual, the real, the painful and the joyous.
02.10-03.25.12
Thread of Life
Museum of Fine
Arts, Florida
State University
tives and statements,
ecological landscapes
and installations that
address such topics
as civil rights, natural
and man-made disasters, and human
narrative from birth
to poetic elegy. (See
story on pg. 42.)
terpretations of the
natural world.
Thru 05.06.12
Don Zanfagna:
Cyborgs
TAMPA
02.10-03.25.12
Thru 02.11.12
Turkomen
Jewelry from
the John and
Mable Ringling
Museum of Art
Museum of Fine
Arts, Florida
State University
Bud Lee’s
America
Florida Museum
of Photographic
Arts
www.fmopa.org
Spanning a career that
began in 1965, Lee’s
www.mofa.fsu.edu
www.mofa.fsu.edu
Thread of Life is characterized by mixed
media, new materials,
digital images from
jacquard looms and
inventive applications
of fabric. Artists have
created exciting narra-
images of celebrities,
war, landscapes and
Americana have appeared in Life, Esquire,
Harper’s Bazaar, Rolling Stone, New York
Times and Vogue.
Exceptional silver
and gilt ornaments
from the Turkomen
tribes of Iran, Afghanistan and Turkmenistan reflect the
Turkomen aesthetic
and relate to their
mythological in-
Tampa
Museum of Art
www.tampamuseum.org
Artist, architect and designer, Don Zanfagna’s
lifework both defies
established categories
and challenges rote notions of the role of the
artist in society. The
thrust of his Cyborg
series is to awaken
viewers to the possible
1. Lanny Bergner, Beneath the Waves 2, 2011, stainless steel mesh, wire, 27 x 18 x 8” 2. Western Yomud Tribe, Articulated Headpiece with
Pendants (Ildirgic), 1880-1920, silver, gold, carnelian, Wilberding Collection of Turkomen Tribal Jewelry 3. Bud Lee, Clint Eastwood
4. Don ZanFagna, Cyborg Notes 56
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Ta m p a c o n t i n u e d . . .
dangers that might
lurk in our futures if
we allow computers to
become too close.
Southern
Recollections
Tampa
Museum of Art
www.ira.usf.edu
www.tampamuseum.org
Thru 05.06.12
John Cage
33 1/3—
Performed by
Audience
Tampa
Museum of Art
www.tampamuseum.org
In celebration of
Cage’s centennial,
this exhibition honors
and reinterprets the
artist’s original audience participation
work entitled “score.”
Museum visitors are
invited to act as DJs
and create a musical mix by playing
records and “performing” the work.
This exhibition spans
the career of Romare
Bearden (1911-1988),
regarded as one of
the most important
African-American
artists who worked in
the US during the 20th
century. Bearden’s
mastery of collage as
well as his development of narrative and
thematic explorations
of his native South are
highlighted. (See story
on pg. 112.)
Thru 03.18.12
William Pachner:
Works from
the 1960s
Tampa
Museum of Art
For decades, Mark
Dion has created
drawings, prints, cabinets of curiosity, archaeological digs and
sprawling installations
about the discrepancy
between perceived
knowledge and scientific inquiry. Mark
www.tampamuseum.org
The Museum celebrates the abstract
works of artist, teacher and visionary,
William Pachner,
a major force in
the development of
the Tampa Bay
region’s art scene.
Dion: Troubleshooting
is a focused survey
of his ecologicallythemed works.
Thru 03.03.12
Mark Dion:
Troubleshooting
University of
South Florida
Contemporary
Art Museum
Thru 05.06.12
Romare
Bearden:
TARPON
SPRINGS
Thru 02.19.12
Telling
Stories
1. Romare Bearden, Carolina Morning, 1974, mixed media collage on board, 30 x 22”, in memory of Elaine Lebenbom and Dr. Miriam Mansour 2. Wiliam
Pachner, The Sacrifice, 1962 3. Mark Dion, The South Florida Wildlife Rescue Unit: The Uniforms, 2006, two mannequins, clothing, custom patches, assorted
gear, dimensions variable, Collection Miami Art Museum, gift of Lin Lougheed
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Ta r p o n S p r i n gs c o n t i n u e d . . .
nized artist whose
paintings and prints
often contain complex
metaphors drawn from
Western art history,
as well as traditional
Japanese art.
Leepa-Rattner
Museum of Art
www.spcollege.edu/museum
Celebrating the 10th
anniversary of the Leepa-Rattner Museum
of Art, this survey of
works recognizes the
contributions of major
donors and the building of the Collection in
various media.
02.05-05.13.12
Beyond Reality:
Hyperrealism
and American
Culture
Vero Beach
Museum of Art
www.verobeachmuseum.org
Beyond Reality
presents American art
that is closely associated with the concept
of photo-realism as
well as ultra-illusionistic paintings and
WEST PALM
BEACH
02.01-02.26.12
02.18-06.03.12
sculpture. (See story
on pg. 56.)
Stephen Knapp:
Lightpaintings
Vero Beach
Museum of Art
02.18-06.03.12
VERO BEACH
colored glass, creating
a stunning display of
light and shadow.
Cycle of
Change: Tom
Nakashima’s
Treepile
Paintings
Vero Beach
Museum of Art
Tom Nakashima is
a nationally recog-
André Masson
(1896-1987)
Ann Norton
Sculpture Gardens
www.ansg.org
French painter, André.
Masson’s versatile
oeuvre includes his
famous sand pictures,
illustrations of books
and stage designs. He
is also considered the
inspiration behind Abstract Expressionism.
Stephen Knapp’s
Lightpaintings seem
to emerge out of deep
space, with varied
hues of light passing through a series
of irregular panels of
03.01-04.01.12
The Art of
Edwina Sandys:
A Retrospective
Ann Norton
Sculpture Gardens
www.ansg.org
1. Davis Cone, Thompson, 1980, acrylic on canvas, 55 x 39”, courtesy of Monica and Richard Segal 2. Tom Nakashima, Westwood Road Nocturne,
2006, magazine collage and chalkline on canvas, 9 x 14’, collection of the artist 3. Stephen Knapp, Inner Vision, 2011, light, glass and stainless steel,
13’ x 12’ x 10”, collection of the artist
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We s t P a l m B e a c h c o n t i n u e d . . .
This English artist’s
appeal lies in her
diverse subject matter and clearly recognizable style, using
positive and negative
images to powerful
effect.
comes from organic,
natural matter. His
sculptures serve as
a play between light
fluid shapes and the
seemingly insurmountable weight of
metal.
has been installed
in the center of the
Museum’s European
galleries, displayed
in the context of Old
Master works—the
inspiration for the
installation. (See
2011/January 2012
issue on pg. 55.)
Thru 05.27.12
Thru 03.11.12
Cocktail Culture
Norton
Museum of Art
www.armoryart.org
The inspiration for
Mehler’s artwork
Thru 03.04.12
Jenny Saville
Norton
Museum of Art
www.norton.org
This selective exhibition of canvases
www.norton.org
and drawings, datDecorative arts, photog- ing from 1999-2011,
raphy, fashionable
brings Saville’s
cocktail attire and
mature work together
accessories by major
for the first time.
designers are included
in this first-of-its-kind, Thru 05.27.12
Studio Glass:
exhibition, which ex-
Thru 04.06.12
Curved:
Herbert Mehler
Sculptures
Armory
Art Center
plores the social ritual
of drinking and entertainment through the
lens of fashion and
design. (See story in
the December 2011/
January 2012 issue on
pg. 78.)
Beth Lipman:
A Still Life
Installation
Norton
Museum of Art
Works from
the Museum
Collection
Norton
Museum of Art
www.norton.org
For this exhibit, the
Museum commissioned Lipman to create a large-scale glass
construction which
www.norton.org
1. Edwina Sandys, courtesy of Ann Norton Sculpture Gardens 2. Herbert Mehler, WV718 & 765 (2006, 2010) 3. Beth Lipman, One and Others
4. Larry Salk, Summer Cocktail Party with English Butler, 1961, watercolor, gouache, ink on paper, gift of Jean S. and Frederic A. Sharf,
Museum of Fine Arts, Boston
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We s t P a l m B e a c h c o n t i n u e d . . .
separated from conventional photographic practice, Tacita
Dean’s photo-based
works are nonetheDramatic works by
less dependent upon
Dale Chihuly, Wilthe found and often
liam Morris and Toots authorless image.
Zynsky, are featured
Thru 03.25.12
alongside other outstanding examples of The Corning
Museum of
contemporary studio
Glass Hot Glass
glass. (See story in
Roadshow
the December 2011/
Norton
January 2012 issue
Museum of Art
on pg. 44.)
Workshop
(1736-1796) Norton
Museum of Art
www.norton.org
Objects in various me-
cfam.rollins.edu
dia, including painting,
Enjoy live demonstra- jade, ceramic, glass
tions of hot glassand metalwork, are on
making techniques,
display—all created
workshops and glassfor the greatest art colblowing performances lector in 18th century
by the world’s preChina, the Qianlong
miere mobile “hotshop.” Emperor.
www.norton.org
02.03-05.06.12
Tacita Dean
Norton
Museum of Art
www.norton.org
Spare, sublime, and
Thru 02.19.12
The Emperor’s
Orders: Designs
from the Qianlong Imperial
Artists from
the Permanent
Collection
Cornell Fine
Arts Museum at
Rollins College
WINTER PARK
Thru 05.13.12
A Room of One’s
Own: Women
This exhibition features paintings by
Grandma Moses
and Jennie Augusta
Brownscombe; prints
by Georgia O’Keeffe,
Faith Ringgold
and Nancy Graves;
and three-dimensional
work by Anna H.
Huntington and
Jennifer Bartlett.
Thru 05.13.12
British &
Modern: Art by
the Bloomsbury
Group and Their
Contemporaries
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
1. Dale Chihuly, Green Macchia with Lemon Yellow Lip Wrap, 1994, blown glass, 23 x 38”, purchase acquired through the generosity of Mr. and Mrs. Frederick Adler, Mr. and
Mrs. Rand Araskog, Mrs. Nanette Ross, Mrs. Frances Scaife, and Mr. and Mrs. Robert Sterling 2. Tacita Dean, Fernweh (detail), 2008, gravure in 8 parts on Somerset White
Satin 400g, 39-1/2 x 46-1/2” each, 90-1/2 x 98-1/2” framed, ©Tacita Dean, courtesy of the artist, Marian Goodman Gallery, NY/Paris and Frith Street Gallery, London
3. Portrait of the Imperial Guard Uksiltu/Keshiki Batu Luwuke Shier (detail), the 29th of 100 portraits of Meritorious Officers participating in the East-Turkestan campaign
(1755-1759), ink on silk, Qianglong seal, dated 1760 with honorific calligraphy in Manchu and Chinese by Liu Tong xun (1700-1773), 60 x 38”, Private Collection
36
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C A L E N D A R
{ P g. 3 0 o f 3 0 }
W i n t e r Pa r k c o n t i n u e d . . .
DC-based artist,
Charles Ritchie, explores the limits of
vision in his intimate
images of dusk, twilight and night.
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
This culminating research project by Ana
Engels, CFAM’s
Thru 04.08.12
2011-12 Fred Hicks
Likewise, as
Fellow, features
Paintings and drawings technical experts, works by the popular
by Vanessa Bell, Dun- but not (at all)
contemporary artist.
by way of culture/
can Grant, and others
an installation
Thru 04.15.12
working in the UK in
the early 20th century, by Leigh-Ann
Pahapill
are on display.
Thru 05.13.12
Dust and Shade:
Drawings by
Charles Ritchie
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
Cornell Fine
Arts Museum at
Rollins College
This site-specific exhibit by Canadian artist,
Leigh-Ann Pahapill,
explores how language
and thought influence
our experiences of
objects and space.
Sam Gilliam:
Contingencies
Opening 02.14.12
Watercolors by
Otto Heinigke—
A Glass Artist’s
Palette
The Charles
Hosmer Morse
Museum of
American Art
www.morsemuseum.org
cfam.rollins.edu
Thru 05.13.12
as well as ancient
African, Asian and
Egyptian harps are presented, along with an
interactive, hands-on
installation and live
musical performances.
Artful Strings – Four Centuries
of Harp Making
The Albin
Polasek Museum
& Sculpture
Gardens
www.polasek.org
American, European
A selection of watercolors by Otto
Heinigke (1850–1915),
a principal in the
prominent Brooklyn
stained-glass firm
Heinigke and Bowen,
includes scenes ranging from Middle-Atlantic farms and forests
to ocean and river
shorelines. On View
1. Vanessa Bell, Portrait of Mary St. John Hutchinson, 1915, oil on canvas, 31 x 21-3/4”, Cornell Fine Arts Museum 2. Charles Ritchie, House: 5 February 2011,
10:30 am, 2011, watercolor and graphite on Fabriano paper sheet/image: 4 x 6”, frame: 12 x 14” 3. Image courtesy of The Albin Polasek Museum &
Sculpture Gardens, photo: Douglas Nesbitt
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MIAMI
Gallery:
Diana Lowenstein
Fine Arts
www.dlfinearts.com
Artist:
DANIEL GONZALEZ
gallery
Gallery Artists & Exhibits
GONZALEZ CREATES
sewn banner-paintings,
embroidered and filled
with sequins. They
carry within them
echoes of the street’s
humors: they get angry,
they protest, they
declare their ideas without the fear of exposing their feelings. They
are advertising flags
for intimate moments
made of thoughts
and emotions.
NAPLES
Gallery:
Gardner Colby Gallery
www.gardnercolbygallery.com
Artist: Kevin Sloan
“AT THE CORE OF MY WORK IS A DEEP CONCERN AND
respect for our planet and especially its “silent inhabitants”—the animals
and plants we share this world with,” says Sloan. “Through allegory and
symbolism, I attempt to express this concern and also remind viewers of
the wonders of this extraordinary world.” Kevin Sloan’s one man show
will be on view at Gardner Colby Gallery February 9th-20th.
From left: Daniel Gonzalez, Happiness Before Civilization - Bird, 2009, hand sewn sequins on canvas, 24 x 24”, courtesy of the artist and
Diana Lowenstein Fine Arts; Kevin Sloan, The Rare Flower, acrylic, 30 x 60”, courtesy of the artist and Gardner Colby Gallery
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G A L L E R Y
{ P g. 2 o f 4 }
BOCA RATON
Gallery:
Pavo Real Gallery
www.pavoreal.com
Artist:
Tim Cotterill
TIM “FROGMAN” COTTERILL’S
beautifully crafted bronze frogs
depict a childlike playfulness with their bright patinas and humorous per- B O C A R A T O N
sonalities. These highly coveted sculptures are sold in more than 200 gal- Gallery:
leries throughout the world. Join the artist for a special appearance at Elaine Baker
Pavo Real Gallery at Town Center in Boca Raton on Feb. 10th and 11th to Gallery
www.elainebakergallery.com
celebrate the 17th anniversary of the gallery showcasing his work.
Artist:
JUN KANEKO
MIAMI
AN EXHIBITION OF
Gallery: Bernice
Steinbaum Gallery
works by Jun Kaneko
opens February 9th
at Elaine Baker Gallery.
Best known for his
large-scale ceramic
sculptures and installations, Kaneko creates
imaginative pieces
that reflect his strong
command of form and
color, and a longstanding
interest in optics and
perception.
www.bernicesteinbaumgallery.com
Artist: Enrique
Gomez de Molina
AESTHETIC BRILLIANCE IS inter-
twined with sobering undertones of environmental and ethical issues in This Is
Not Taxidermy, an exhibit of fantastical
creatures by sculptor, Enrique Gomez
de Molina, on view through February
29th at the Bernice Steinbaum Gallery.
Clockwise from top left: Tim Cotterill, Penny, copper patina, 2.75 x 3 x 2.5”, courtesy of the artist and Pavo Real Gallery; Jun Kaneko,
Untitled, 2011, ceramic, 100 x 48 x 56”, courtesy of the artist and Elaine Baker Gallery; Enrique Gomez de Molina, Taxidermy Hybrids 7, courtesy of the artist and Bernice Steinbaum Gallery
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G A L L E R Y
{ P g. 3 o f 4 }
MIAMI
Gallery:
Charest-Weinberg
charestweinberg.com
Artist:
FERNANDO
MASTRANGELO CHAREST-WEINBERG
presents Black
Sculpture, on view
through February 29th,
featuring the work of
Fernando Mastrangelo,
who is renowned for
his exploration and
creation of narratives
inspired by politics,
human rights, ancient
history, philosophy and
the environment.
MIAMI
Gallery:
Art Fusion Galleries
www.artfusiongallery.com
Artist:
David Harry
ART FUSION GALLERIES IS HOSTING ODYSSEY 2012,
its premiere exhibition of the new year. On display are the creations of
a select group of forty emerging to mid-career contemporary international artists whose works reflect a vibrant, distinctive and provocative
energy. Eclectic and diverse, this presentation is guaranteed to appeal
to a wide array of contemporary art lovers. The exhibit will be on view
through March 19th.
From left: Fernando Mastrangelo, Untitled, 2009, black and white sugar, 24 x 18”, courtesy of the artist and Charest-Weinberg; David Harry,
Out of the Blue, 2011, acrylic on canvas, 30 x 20”, courtesy of the artist and Art Fusion Galleries
40
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G A L L E R Y
{ P g. 4 o f 4 }
JACKSONVILLE BEACH
BOCA RATON
Gallery:
J. Johnson Gallery
Gallery:
Rosenbaum
Contemporary
www.jjohnsongallery.com
www.rosenbaum
contemporary.com
Artist: Carlos
Betancourt
MIAMI PHOTOGRAPHER,
Carlos Betancourt, assembles
explosive compositions consisting of thousands of photographs
of objects, people, flowers and other elements that occupy the glitzy realm
of beauty for which he is known. His newest works are on view in a solo
exhibition, February 10th-April 6th, at J. Johnson Gallery.
SARASOTA
Gallery:
Dabbert Gallery
www.dabbertgallery.com
Artist:
James Griffin
Artist: BRENDA
HOPE ZAPPITELL
“I OBSERVE EVERYTHING
in my life in great
detail and am heavily
influenced by nature, in
particular the sky. My
mark-making, though
serendipitous, reflects
these influences. I want
the viewer to believe
that my vision expands
beyond the work itself to a
universe I have created.”
DABBERT GALLERY PRE-
sents Luminous Color, A Journey,
on view February 3rd-27th, featuring the work of James Griffin. Griffin’s love of color and design is evident in his paintings, along with vigorous brushwork that reveals his
excitement with paint in all its textural glory.
Clockwise from top: Carlos Betancourt, Re-Collections XVI, 2011, print on fine art paper, courtesy of the artist and J. Johnson Gallery;
Brenda Hope Zappitell, Serendipitous Moment I, 2010, acrylic with cold wax on birch panel, 48 x 48”, courtesy of the artist and Rosenbaum
Contemporary; James Griffin, Mysterious Transformation, 72 x 54”, oil on canvas, courtesy of the artist and Dabbert Gallery
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Judith Content,
Cenote Turquesa
(detail), 2011, silk,
photo: James Dewrance
Fiber artist,
Judith Content,
utilizes a contemporary
interpretation of the
Japanese dye technique,
Arashi Shibori.
Her hand-dyed, quilted
silk wall pieces often
depict elaborate landscapes
that are inspired by
the mystery and
majesty of the Pacific
coastline.
T H R E A D
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02.10-03 .25.12
L I F E :
N A
at the M U S E U M O F
w w w. m o
A R R A T I V E
T E X T I L E S
F I N E A R T S , Florida State University, Tallahass e e
ofa.fsu.edu
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Right: Miriam Schapiro,
Grandma Bolero, 1980, fabric
and mixed media collage,
16 x 20”, courtesy of Flomenhaft
Gallery, New York
A leader in two art movements:
the “Feminist Art Movement” and
“Pattern and Decoration,”
Miriam Schapiro transforms
such commonplace
elements as lace, fabric scraps,
buttons, rickrack, sequins,
and tea towels into sophisticated
compositions she calls
“Femmages,” that speak to women’s
experiences.
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Thread of Life
IN THE LATTER HALF OF THE 20 t h CENTURY,
a powerful movement revolved around the pioneer artists of the
’60s and ’70s who re-claimed media that had been historically
sidelined. Artists such as Judy Chicago, Miriam Schapiro and
Faith Ringgold, among others, brought everything that textile
arts signified into the political consciousness of the contemporary art world. Their efforts are the inspiration behind the
Museum of Fine Arts’ 2012 Spring exhibition, Thread of Life.
“I once worked with an art historian who believed an idea
could rise or fall on its title,” said A. Palladino-Craig, Director
of the Museum of Fine Arts. “That has always seemed like truth
to me, and so Thread of Life, which implies a linear universal
as well as the medium of the exhibition, went through a number
of revisions before our basic premise was distilled down to the
belief that a familiar, unassuming medium can be a triumph of
individual expression, and that the variation in expression can be
as endlessly variable as the artists themselves.”
Weavers, painters, sculptors and needleworkers have cre-
ated exciting narratives and statements, ecological landscapes
and installations addressing such subjects as civil rights and
Above: Faith Ringgold,
Tar Beach #2 (detail), 1990-92,
imprisonment, the sweatshop, natural and man-made disasters,
silkscreen on silk/24, 66 x 65”,
their work, we can draw threads of metaphor and allusion, con-
“Faith Ringgold’s
and the human narrative from birth to poetic elegy. Through
nection, historical precedent and future potential in any direction we choose.
The sampling of works presented on the following pages
illustrates the boundless and diverse range of talent and inspiration among the artists represented.
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courtesy of ACA Galleries, New York
unforgettable Tar Beach
speaks to children’s
rite of passage through
life’s challenges.
It celebrates the freedom
to soar.”
—Viki D. Thompson Wylder,
Co-Curator, “Thread of Life”
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Thread of Life
“Historical narrative associated with
to listeners in a way that s
Audiences like stories and there is more
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Pictured:
Stephanie Liner,
Momentos of a
Doomed Construct,
2009, upholstery,
fabric, foam,
plywood,
live models,
dimensions vary
Stephanie Liner’s
works are volumes
and spaces
energized by pattern
and tint to make
reference to the
human form,
sometimes clothing
a mannequin
shape, sometimes
incorporating
live models.
h an artifact brings home significance
simple text can never do.
e than one story told in this exhibition.”
—A. Palladino-Craig, Director, Museum of Fine Arts
Thread of Life
Above (top to bottom):
Susan Etcoff Fraerman,
Bound For Glory I, 1998,
9 x 6.5 x 3”;
medium: fiber; technique:
off loom bead weaving,
right angle weave,
applied beads
Bound For Glory II, 1999,
9.5 x 5 x 3”;
right angle weave,
applied beads
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The Blues (paired with
form altered for deformity),
2001, 9 x 14 x 4”;
right angle weave, applied beads
Photography by Tom Van Eynde
Susan Etcoff Fraerman creates
delicately beaded shoes, a metaphor
for the life of the wearers.
In some of her sculptures, the shoes
represent lotos-blossom slippers,
those intricately decorated small artifacts
that hid such unbelievable torment
(from the late 10th century until 1911,
when foot-binding was outlawed
in China) in the service of an ideal of
feminine beauty. This oppression,
for Fraerman, is ironically
echoed in the haute couture heels of
contemporary dress.
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Thread of Life
Linda Pigman Fifield,
Kentucky Wild Flower, 2006,
glass beads on armature,
3 x 3.25”
Working with micro-components,
Linda Pigman Fifield
invokes the beaded objects
of Native American
needlework on vessel-shaped
armatures to depict
a clear vibrant imagery.
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Thread of Life
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Lanny Bergner,
Forest Hollow, 2011, and detail,
stainless steel mesh,
glass frit, wire, 33 x 15 x 10”
Unique statement demands
unique imagery:
Lanny Bergner’s “thread”
is the fiber of screen mesh
re-invented in shapes
of nature (cocoons, sea
creatures, conifers), precise and
organic at the same time.
Thread of Life
Laura Breitman,
Autumn Burst, 2011, and detail,
fabric collage, 42 x 39”
Laura Breitman’s astounding
collages are brilliant land- and
cityscapes that use fabric
in the same way that the computer
screen uses pixels. At a
distance they replicate the scenery
the artist has selected,
but up close they are fitted like
mosaics to build the hues
and values of recognizable shape.
O n V iew
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beyond
H Y P E R R E A L I S M
On view
02.05-05.13.12
A N D
at the V E R O B E A C H
Cheryl Kelly, Blue Delahaye, 2011, oil on aluminum panel, 16 x 48”, courtesy of Bernarducci.Meisel.Gallery
reality :
A M E R I C A N
MUSEUM OF ART
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Beyond Reality
Marc Sijan,
Lady in Black, 2009,
polyester with
oil paint, clothing
and accessories,
lifesize, collection
of the artist
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“Beauty, like truth, is
relative to the time when one
lives and to the individual
who can grasp it.”
—G u s tav e C o u r b e t
BEYOND REALITY, AT THE
Vero Beach Museum of Art,
presents a fascinating selection
of American art closely associated with the concept of photo-
realism as well as ultra-illusionistic paintings and sculptures
that add an expressive dimen-
sion to the understanding of
realism. The show demonstrates
connections between contemporary American hyperrealism and
20th-century material culture in
John De Andrea, Tara, 2002, polychromed bronze,
4-1/2 x 13-1/2 x 28”, courtesy of Monica and Rick Segal
Beyond Reality
light of French realist painter
Gustave Courbet’s concept
that “Beauty, like truth, is
relative to the time when one
lives and to the individual
who can grasp it.” Pieces of
art on loan from nationallyrecognized artists as well as
museums and major private
collections include works by
Richard Estes, Duane Hanson
and Robert Bechtle, among
others.
“There’s a wow factor to
the work in this exhibition,
but there’s also much more to
these works of art than meets
the eye. They tell us a lot about
the material culture of America—what we take for granted,
and what we value,” says Jay
Williams, curator of the show.
As an art movement, hyperrealism has spanned a broad
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Above:
Richard Estes, Union Square,
Looking North, 1993, acrylic on
board, 9 x 16-1/4”
Left:
Rackstraw Downes, 69th Street
and Broadway, 1977,
oil on canvas, 15-3/4 x 34”
Images courtesy of
Monica and Rick Segal
range of subject matter, materials and stylistic variations.
The term “hyperrealism” was
first coined by art dealer, Ivan
Karp, and some of his contemporaries, around 1970. The
term appeals to many contemporary art historians because it
comprises all styles of highly
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detailed realism, including
works of art in three dimensions, as in the sculptures
of Duane Hanson, John De
Andrea and Marc Sijan.
Nearly all hyperrealist painters have used photographs for
reference, but some, including Richard Estes and Robert
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Beyond Reality
Below: Susan Sykes,
Red Café no. 2,
2010, oil on canvas,
24 x 36”, courtesy
Bernarducci.Meisel.Gallery
Bechtle, seem to retain more
of the look of a photograph in
their work, while others, like
John Baeder and Davis Cone,
subtly manipulate or exaggerate what was present in their
reference photos.
Highlights from the exhibition include paintings such as
Richard Estes’ Union Square
Looking Northeast (1993),
which have generally been
termed “photorealist.” In
truth, very few cameras and no
human eye can perceive visual reality as it is portrayed in
Estes’ paintings, which appear
to be in sharp focus throughout. The human eye and most
photographs selectively focus
on only a portion of the visual
field, leaving other areas out of
focus or distorted. Moreover,
human beings rarely divorce
Right: Davis Cone,
Lane/Wintry Morning, 2000,
acrylic on canvas,
14-1/2 x 21-3/4”, courtesy of
Monica and Rick Segal
“ There’s a wow factor to
the work in this exhibition,
but there’s also much
more to these works of art
than meets the eye.”
— Curator, Jay Williams
their emotions or psychological preferences from the
act of seeing. People always
seem to notice details that
appeal to them for one reason
or another—a fact that many
painters use to their advantage. Some ultra-illusionistic
paintings and sculpture add a
subtly expressive dimension to
the viewer’s understanding of
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realism by appealing to their
subjective associations.
None of the painters represented in the show seem
to have been satisfied with
simply reproducing photographic images. Even the
hyperrealist sculptors in the
exhibition who capture the
three-dimensional appearance
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Beyond Reality
64
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Linda Bacon, Grab Your Pardner, 2007, oil on linen, 49 x 84”, courtesy of Bernarducci.Meisel.Gallery
Beyond Reality
of the human form have never
been interested in having their
work seen only as beautifully
crafted reproductions of reality. Their works of art are
often subjective as well, even
though this content operates
on an unconscious level.
Marc Sijan’s superrealistic sculptures are homages to
humanity’s fascination with
its own forms. “The process
of exploring the human figure is deeply emotional,” says
Sijan. His work celebrates the
individual, and in discovering
version after version of the
human figure, he notes, “there
is always something of oneself
lying just under the surface.”
What is it about contemporary life that makes these
works of art so appealing?
And with visual reality all
around us, why do we find
these super-real distillations
of experience so fascinating?
Beyond Reality does not offer
definitive answers, but it does
make us want to return to these
paintings and sculptures again
and again to ponder the relationship of this genre of art to
our society’s values and ideals. O n V iew
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John Baeder, Pullman, 1974, oil on canvas, 60 x 72”, courtesy of the Sydney and Walda Bestoff Collection
ALBERT
Sketches
03. 31 - 0 6. 23.12 at POLK MUSEUM OF
T&PALEY
Steel
F ART, Lakeland •
w w w. p o l k m u s e u m o f a r t . o r g
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Sketches & Steel
Previous pages:
The Sentinel (detail), 2003,
formed and fabricated steel,
stainless steel, bronze, 73’ x 30’ diam.,
Rochester Institute of Technology,
Rochester, NY, courtesy of
Paley Studios Ltd.
Right:
Splayed Bench, 1992, forged
and fabricated steel with mahogany,
PMoA Permanent Collection
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A
Text by
Sandra
Dimsdale
Horan
ALBERT PALEY’S COLOSSAL
sculptures appear at once hefty
and gravity defying, as if steel
shapes were tossed skyward with
abandon to form these massive
structures. And so it is somewhat
surprising to learn that before
starting each sculpture, he completes a number of sketches and
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00
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cardboard models. Sketches
& Steel, a new exhibition at
Polk Museum of Art in Lakeland, focuses on both sides of
Paley’s creative process: the
plan and the sculpture.
“Having the opportunity to
see an artist’s creative process
is so rare, and yet it provides
valuable insight into an artist’s
intention and an artwork’s
Sketches & Steel
artist for more than 30 years
at his studio, Paley Studios,
Ltd., in Rochester, NY. Art
patrons and publications have
called him “the sculptor’s
equivalent of Jackson Pollock” because the diversity
of his work defies categorization. His techniques include
both hand-forging and the use
of hydraulic presses. Whether
“Having the opportunity to see an artist’s
creative process is so rare, and yet it
provides valuable insight into an artist’s
intention and an artwork’s vitality.”
—Adam Justice, Curator of Art, PMoA
vitality,” said Adam Justice,
Curator of Art at PMoA. “To
see a creative mind at work
also reforms our opinions of
not only that artist’s work,
but of the medium in general.
By organizing an exhibition
of sketches and steel sculptures by the renowned Albert
Paley, we will allow our audiences a unique glimpse into
the thought processes of one
of the most important sculptors working today.”
Paley has been active as an
he is building a free-standing
sculpture or an ornamental
gate, his work is often praised
for the way it is integrated
into the architecture and the
location.
Commissioned by both
public institutions and private corporations, Paley has
completed more than 60 sitespecific works, including the
Portal Gates for the Renwick
Gallery of the Smithsonian
Institution in Washington,
DC; a sculpture and plaza
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Tribute to Volunteerism,
2004, installation view,
Lake Mirror in
downtown Lakeland, FL,
formed and fabricated
steel and polychrome,
12’ x 9’2” x 41’,
City of Lakeland
(See artist’s sketch and
model on pg. 77.)
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Sketches & Steel
designed for Adobe Systems
in San Jose, CA; a plaza
sculpture for AT&T in Atlanta, GA; and the main entrance
gates for the Naples Museum
of Art. He also created Tribute to Volunteerism, which
sits at Lake Mirror in Lakeland, FL—just a few blocks
from Polk Museum of Art.
For the Sketches & Steel exhibition, Paley’s initial sketches will be on view alongside the
small scale models or maquettes
he produced to create his large
scale, site-specific pieces. By
understanding Paley’s process,
viewers will gain a new perspective on his constructed steel
creations.
Paley’s use of steel has been
likened to industrial poetry.
He was the first metal sculptor
to receive the American Institute of Architects’ coveted
Lifetime Achievement Award,
the AIA’s highest award to
a non-architect. The AIA’s
announcement called him the
“nation’s most important artist
working in metal today.”
AIA Gold Medalist Kevin
Roche, FAIA, who has incorporated Paley’s sculptures into
his buildings, said of Paley:
“He is an outstanding sculptor, designer and craftsman,
and has created a very substantial body of work which
cannot only stand alone as art
but, at the same time, adds
substantially to the architectural environment in which it
is included. In this regard, he
has no equal today.”
Paley earned both his BFA
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Above and opposite:
Portal sketch and the artist
with Portal sculpture,
Vancouver Sculpture Biennale
2005-2007, forged and
fabricated steel, courtesy of
Paley Studios Ltd.
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Sketches & Steel
Paley’s initial sketches will be o
maquettes he produced to creat
Above:
Epoch sketch and steel model,
courtesy of Paley Studios Ltd.
Epoch sculpture is installed
near the National Portrait Gallery
in Washington, DC.
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and MFA from the Tyler
School of Art in Philadelphia.
He received honorary doctorates from the University of
Rochester in 1989, the State
University of New York at
Brockport in 1996, and St.
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Lawrence University in Canton, NY, in 1997. Paley holds
the Charlotte Fredericks Mowris Endowed Chair at the Rochester Institute of Technology.
He has been widely published
and lectures frequently.
n view alongside the small scale models or
te his large scale, site-specific pieces.
Works by Albert Paley can
be found in the permanent collections of many major museums, including the Metropolitan Museum of Art in New
York, the Museum of Fine
Arts in Boston and the Victoria
and Albert Museum in London.
Polk Museum of Art’s Collection includes Paley’s Splayed
Bench (shown on pg. 70), a
piece of forged and fabricated
steel and mahogany that sits in
the Museum’s lobby. O n V iew
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Above:
Tribute to Volunteerism
sketch and steel model,
courtesy of Paley Studios Ltd.
Tribute to Volunteerism sculpture
is installed at Lake Mirror
in downtown Lakeland, FL
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Vintag
B
The blending of
contemporary voices
with historical
underpinnings is a
distinguishing
feature of three new
shows at the Southeast Museum
CURRENT & UPCOMING EXHIBITIONS...
ge
Blends
SURFLAND:
FLUIDRIVE:
[HYPHEN]-AMERICANS:
Joni Sternbach
MODERN DAGUERREOTYPES
CONTEMPORARY TINTYPE PORTRAITS
Page 82
Curtis Wehrfritz
Keliy Anderson-Staley
Page 88
Page 92
of Photography in Daytona Beach...
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C
Vintage Blends
Curtis Wehrfritz,
Secret Heart,
collaboration with Lisa Mann,
daguerreotype image,
©Curtis Wehrfritz
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CONTEMPORARY PHOTOGRAPHERS
are using the daguerreotype and tintype
processes, along with other out-dated production methods, to move the hands-on aspect of photography back from the brink of
disappearance, towards a more personalized experience. Both spontaneous and unpredictable, these processes produce a distinctive appearance that echoes important
traditions of 19th century anthropological
photography, while also providing the “gift
of chance.”
The raw nature of these methods is
evident in the characteristic flaws that
emerge in the final prints—each unique
marking helps to tell the story of the image capturing process as much as the subject portrayed, allowing an intimacy with
the medium that’s unavailable with digital
photography. For those that embrace this
unpredictability, the world is transformed
in exciting and unexpected ways.
The Southeast Museum of Photography
presents the work of Joni Sternbach, Curtis Wehrfritz and Keliy Anderson-Staley,
three contemporary artists who possess a
passion for the beauty, mystery and evocative qualities of these early processes,
and have shared in the revitalization of an
important era in photographic history.
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Exhibition
SurfLand:
JONI
STERNBACH
On view through
April 22nd
at the Southeast
Museum
of Photography
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LANDSCAPES, SEASCAPES,
and the human imprint on
these views, have engaged Joni
Sternbach over the last decade.
Her vintage process has lured
surfers to pose for her camera
and has resulted in what the
photographer calls “part performance, part laboratory.”
Captured directly on the
shoreline, Sternbach’s images
possess the immediate quality of a singular print, created
then-and-there, as she captures portraits of surfers in tintype, a 19th century technique
little changed since its invenContinued on pg. 87
Kazzie, The Pass, OZ, 2011,
ferrotype on aluminum print, 10 x 8”,
© Joni Sternbach, courtesy of the artist
Vintage Blends
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Vintage Blends: SURFLAND
SurfLand presents
a unique synthesis of
subject matter
and photographic
technique. Using the
instantaneous wetplate collodion
process, Sternbach
creates one-of-a-kind
tintypes that are
imbued with a
feeling of ambiguity,
timelessness and
mystery.
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Steve, Santa Barbara, CA, 2009 (detail), ferrotype on aluminum print,
10 x 8”, ©Joni Sternbach, courtesy of the artist
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Vintage Blends:
SURFLAND
tion and first used during the
American Civil War. The procedure is labor intensive, with
chemistry mixed and applied
to metal plates just seconds
before each exposure, meaning that the chemicals must
be hand-applied, exposed and
developed before the plate
dries. The exposure time is
also very long, requiring stillness on behalf of the subject,
for many seconds.
The large camera appears to
slow down time, so that her
subjects possess a distilled
and timeless grace and beauty that seems so far removed
from the energy, movement
and animation we commonly
associate with the surfing life.
Far from typical surfer action
shots, the combination of historic process and contemporary subject yields direct and
timeless images of individuals
standing on the verge of sea
and land. The resulting images
catalogue a highly diverse and
eclectic tribe of mariners that
has long fascinated the photographer.
Wayne & Brandon, Santa Barbara, CA,
2008, ferrotype on aluminum print, 10 x 8”,
©Joni Sternbach, courtesy of the artist
Exhibition
Fluidrive:
Modern
Daguerreotypes
CURTIS
WEHRFRITZ
On view through
April 22nd
at the Southeast
Museum
of Photography
CURTIS WEHRFRITZ’S
work in the Fluidrive series
spans over six years and is
concerned with forms of lyrical and allegorical story-telling. Wehrfritz’s daguerreotype images are very much
concerned with an overt theatricality and an implied narrative structure in the events,
scenes and characters that are
depicted.
“Fluidrive is focused on the
use of ritual,” says Wehrfritz.
“I am interested in a lyric
image that can be revisited by
As Above So Below - Phillip,
daguerreotype image, ©Curtis Wehrfritz
Vintage Blends
“The modern
daguerreotype plays on
the history of the
photograph and has
the power to re-engage
the audience in a
dialogue about images.
The use of vernacular,
lyric and theater has
been strangely absent
in fine art photography
in recent years and
I think they never
stopped being relevant.”
—C urtis W ehrfritz
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Vintage Blends:
FLUIDRIVE
the viewer in the way one revisits the feelings created in a
song or prose. The daguerreotype is kind of a reliquary that
you can hold in your hands
and use like a prayer box. The
fact that these “mirrors” last
forever and have the ability
to render subjects almost as a
hologram puts us in a discussion with our own memories.”
Wehrfritz is a photographer,
film maker and cinematographer based in Toronto, Canada. His education, experience
and career have been principally in the world of video
and cinema with a number of
awards, accomplishments and
major achievements to his
credit, including a Canadian
JUNO award (the equivalent
of a Grammy) for his video
work with Leonard Cohen.
In recent years, Wehrfritz
has moved his career into
visual art, live performance
and theatrical art and installations. The daguerreotype
work started as a form of
unique documentation for
these performances. His interest in the historical form of
daguerreotypes was initiated
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during a three-year apprenticeship with Mike Robinson, a Toronto native who
is world-renowned for his
expertise in the field. The process dates to the earliest form
of photography and is named
after one of its two inventors.
Pure silver-clad plates are
hand polished and buffed until
they are almost flawless mirrors. Light sensitive halogens
are created by exposing the
silver plates in fuming boxes
of Bromine and Iodine. These
plates are then exposed in the
camera and developed in the
fumes of heated Mercury.
“My photo-based work
seeks to create touchstones
to an inner story,” says the
artist. “Through this, I have
become fascinated by the idea
that image-making mimics the
mechanics of the eyes. In 170
years, the use of optics and their
records have become the modern backbone of our recorded
perception. The development
of early daguerreotypes, moving pictures and finally, digital recordings, have formed a
strange concoction of pulleys
and levers that continue to
mimic the methods of perception of the human brain.”
As Above So Below - Andrea,
daguerreotype image, ©Curtis Wehrfritz
Exhibition
[hyphen]Americans:
Contemporary
Tintype Portraits
KELIY
ANDERSONSTALEY
On view March 2nd
through May 2nd
at the Southeast
Museum of Photography
THE PORTRAITS IN THIS
exhibition are of contemporary Americans, but each one
is made as a unique and unreproducible tintype image.
These subjects appear as if they
have been transported from an
earlier and more serious time,
when the making of an image
was a slow, difficult and rare
event. The long exposures necessary to make these collodion
images create a very different
kind of photographic event to
the spontaneous “snapshot”
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Vintage Blends
aesthetic to which we have
become so accustomed.
With faces that emerge from
the dark and resonant space of
the frame, these subjects present themselves to us in a way
that is both unfamiliar and riveting. So many of these portraits show each sitter with a
deliberate gravity and with
such remarkable clarity that
the reflective metal image
draws us more deeply into the
sitter’s space and time than we
are prepared for.
Each image in this project
presents a face and is titled with
a first name. The title of the
project alludes to the hyphenated character of American
identities (Irish-American,
African-American, etc.), while
only emphasizing the shared
American identity. Although
the heritage of each individual might be inferred from
assumptions we make about
features and costumes, the
viewer is encouraged to suspend the kind of thinking that
would traditionally assist in
decoding these images in the
context of American identity
politics.
Tia, tintype, ©Keliy Anderson-Staley,
courtesy of the artist
Vintage Blends:
[HYPHEN]-AMERICANS
“Like the photographers of
the 1850s, I use hand-poured
chemistry that I mix according to original recipes, period
brass lenses and wooden view
cameras to expose positive
images directly onto blackened aluminum and glass. The
individuals I photograph look
contemporary, but there is also
something anachronistic about
these images—a confusion
about their place in history—
as if they have been detached
from time and the viewer cannot quite put them back in
their proper context. Yet, with
their contemporary dress, tattoos and modern expressions,
they can only truly belong to
the current moment,” says
Anderson-Staley. “The 19th
century collodion process was
frequently used for ‘scientific’
ethnographic studies of the
human face, many of which
were based in racist assumptions about physiognomy. In
using this process, I hope to
make the history of portrait
photography one of my primary subjects. The project draws
attention to the fact that images of ourselves exist within a
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history of images. Our identities are linked to the visual history of social difference, a history in which photography has
not always played an innocent
role. Each portrait is a fairly
straightforward likeness, and
my sitter knows that it is for a
project, that it will become part
of a ‘collection’ of hundreds of
images, but they also participate in shaping the image that
represents them. These resulting images are often exhibited
among dozens of portraits, portraying Americans in all their
variety. Echoes and patterns of
similarity and difference can
be found across the collection,
but each portrait reminds us of
the persistent uniqueness of
human faces, and the common
human denominator comes to
the foreground.”
Anderson-Staley was raised
in Maine, studied photography
in New York City and currently lives and teaches photography in Arkansas. She has
been making wet plate collodion tintypes and ambrotypes
for seven years and has been a
frequent presenter, guest artist
and lecturer at colleges, universities and art centers across
the US. O n V iew
Dulce, tintype, ©Keliy Anderson-Staley,
courtesy of the artist
m a r i k o
k u s u m o t o :
On view
02.07-0
M O R I K A M I M U S E U M A N D J A PA N E S E
Bloomingdales (interior detail), nickel silver, sterling silver, brass, copper, decal, diamond, closed: 7-1/2 x 8 x 6”, open: 7-1/2 x 16 x 13-1/2”, 2007,
u n f o l d i n g
05.06.12
at the
G A R D E N S , Delray Beach
photo: Dean Powell
s t o r i e s
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97
m
Unfolding Stories
MORIKAMI MUSEUM AND JAPANESE GARDENS
invites you to enter the enchanting world of Japanese metal sculptor, Mariko Kusumoto, to view
her extraordinary and intricate metal sculptures
and fantastical constructions. Using a wide range
of metal-smithing techniques, Kusumoto creates
worlds that delight and amaze all who are fortunate enough to have the opportunity to experience
them. Her miniature universe is filled with doors
that open, parts that move and make music, compartments and drawers, as well as characters and
components that tempt visitors to open, move and
Above and opposite:
Bloomingdales
(box exterior and
interior detail), nickel silver,
sterling silver, brass,
copper, decal, diamond,
closed: 7-1/2 x 8 x 6,
open: 7-1/2 x 16 x 13-1/2”,
play with the pieces.
2007, photo: Dean Powell
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Unfolding Stories
In her artist’s statement,
Kusumoto explains, “Most
of my pieces are interactive,
which is an essential aspect
of my work. Because I like
to surprise people, the viewer
must keep opening things to
see the secrets inside, or push,
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pull, or wind-up something to
see movement or hear sounds.
You never know what will
happen until you get involved
with the piece.” Each box is
presented as a closed object,
then opened and manipulated
so that its story “unfolds.”
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Many of the pieces within
each box were created in the
form of brooches, necklaces and bracelets that can be
worn, taking on a very different aspect in the narrative of
each box. Highlights from the exhibit
2012
include Kusumoto’s recreation of Bloomingdale’s department store, inspired by
an 1886 illustrated catalog, in
which the seven floors of the
building open like pages of a
book; Tokyo Souvenir, which
replicates virtually anything a
Pictured: Tokyo Souvenir
(wearable pieces in
individual containers),
box interior and interior detail,
nickel silver, sterling
silver, brass, copper, resin,
decal, found objects,
closed: 7-1/2 x 9-1/2 x 8-1/4”,
open: 7-1/2 x 35 x 20”,
2008, photo: Dean Powell
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Unfolding Stories
Opposite and right:
Kisekae Doll III
(front and interior detail),
copper, bronze, brass,
sterling silver, nickel, silver,
wood, rice paper, coral,
3-1/4 x 16-3/4 x 9-1/4”, 1998,
Photo: M. Lee Fatheree
traveler to Japan would want
to experience; the girl and boy
dolls of Kisekae Doll III who
reside in a three-part antique
Japanese wooden sewing
box which houses a delightful array of interchangeable
wardrobes and parts; and Kaitenzushi, an interactive rotating sushi stand, complete with
dining implements, food and
lots of hidden surprises. Each
of Kusumoto’s works is created with astounding detail and
artistry, taking anywhere from
three to six months to complete.
“It is a tedious job, so you have
to enjoy it, to have a sense of
humor,” says the artist.
Kusumoto’s Japanese identity and heritage play important roles in her art, but the
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most pronounced element
that strongly inspired the artist was the 400-year old Buddhist temple where Kusumoto’s father served as a priest,
and where she grew up. “I
was always surrounded by the
beauty of nature and ancient
things…I was also fascinated
by the elaborate metal and
wood ornaments…throughout the temple,” she explains.
The allure of the gold-colored
ornaments that gleamed in the
darkened temple played an
early role in her inspiration to
use metal in her work. “Her
applications of finishes, use of
color, and blend of textures,
produce a surface that emits
a glow reminiscent of these
gleaming ornaments of her
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Unfolding Stories
Above and opposite:
Kaiten Zushi (and
interior detail), copper,
brass, sterling silver,
nickel silver, bronze, found
objects, acrylic paint,
enamel, 24K gold leaf,
13 x 12 x 12”, 2004,
photo: M. Lee Fatheree
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childhood,” wrote art historian,
Don Davidson, in the exhibit’s
accompanying catalogue. Kusumoto studied oil painting and printmaking in Tokyo
and received an MFA in printmaking from the Academy of
Art College in San Francisco
in 1995. It was while living in
San Francisco that she took
courses in metal work and
became completely hooked.
“I really liked it,” she says.
“I completely changed direction.” Working in a studio that
is part science lab, part flea
market and part curio cabinet, where insect exoskeletons
and seedpods share space in
wall cases with anatomy models, antique watch cases and
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dissected bisque baby dolls,
Kusumoto is surrounded by
objects of inspiration.
Kusumoto will host a workshop on Sunday, February 12,
2012, where participants will
learn about her art, creative
process and personal cultural
influences and in turn, reflect
on their own life and heritage.
Using Japanese paper arts, students will make an origami
container, emulating Kusumoto’s work, and fill them with
clay works of art, representing
a personal memory or cultural
association. Students will also
participate in a tour led by
Kusumoto of her Unfolding
Stories exhibit. For details visit
www.morikami.org. O n V iew
2012
PROFILE
{ P H I L L I P
WITH THE RELENTLESS
E S T L U N D }
Exhibition
Phillip Estlund: Subprime/Subtropics
On view March 24th-May 27th
at the Art and Culture Center of Hollywood
www.artandculturecenter.org
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onslaught of recent natural and
man-made disasters, it is no wonder that contemporary artists
have taken inspiration from destruction, sending messages of
hope and warning through visual narratives that juxtapose both
real and imagined forces at play.
Phillip Estlund’s new solo exhibition, Subprime/Subtropics,
presents sculptures and twodimensional collages that embody both the psychological
and physical markings left behind by man-made and natural
disasters. By taking the raw detritus from hurricanes and tornadoes or man-made waste from
old construction, he collects and
reconfigures these materials as
formal sculptures that reflect the
regional architectural vernacular of South Florida. For Estlund,
destruction becomes a creative
force with aesthetic value.
“I live in South Florida and
the sculptures are a response to
post natural-disastrous conditions,” explains Estlund. “I began making these pieces following a series of hurricanes that hit
my region. The hurricanes par-
P R O F I L E
alleled more personal events in pieces of wood and rusted metmy life and now I’m working on al that have some kind of existpieces inspired by the recent oil ing markings which ultimately
spill in the gulf and the fear, in- relate to architectural forms or
sanity and apocalyptic visions some type of landscape.
that I prescribed to—internalizEstlund’s influences are
ing/mirroring nature is what is artists and architects such as
going on here. A co-occurring Buckminster Fuller’s notion of
aspect in the work is the hous- utopia and human possibility,
ing market bubble and burst as Gordon Matta-Clark’s aesthetalluded to in titles
icized architectural
such as Blowout,
elements, Pop Art
Subprime/SubtropSurrealism, and the
ics, and Conjoined
deliberate irratio(A total loss).”
nality of Dada.
Estlund also
Born in 1974 in
works extensively
Athens, Greece,
in two-dimensionEstlund received
al collage. His withis BFA from the
For Estlund,
ty and disquieting DESTRUCTION Maryland Instiimages combine
tute, College of
BECOMES a
nature-made with
Art, in Baltimore,
CREATIVE force
man-made and are
MD. His work has
with
aesthetic
value.
infused with beaubeen exhibited at
ty and playfulness. His imagery MOCA, North Miami; Gagis recycled from old books on osian Gallery, New York; Art
landscapes, field guides, mod- Basel, Miami Beach; Museo
ernist architecture, hunting and de Arte de El Salvador; and Art
fishing, and “Do-it-Yourself” and Culture Center of Hollyhome improvement. Images of wood. He is represented by Gavfine upscale interiors, people lak Gallery, Palm Beach, and
in leisure and recreational ac- lives and works in New York
tivities are collaged onto found and West Palm Beach. O n V iew
opposite page (top to bottom):
1. orange crush (detail), 2007,
collage on wood, 14.25 x 16.5”
2. nature study, 2009,
collage on paper, 13 x 20”
Above (top to bottom):
1. Conjoined (a total loss), 2009,
wood, rubber, polyvinyl chloride,
polystyrene and glue, 36 x 50 x 29”
2. subprime/subtropic, 2008, wood,
cardboard, glue, latex paint
and urethane foam, 21 x 34 x 26”
left: PHILLIP ESTLUND
images courtesy of the artist
and gavlak gallery, Palm beach
MILESTONE
{ W I L L
TO MARK THE 100th BIRTH-
day of pioneering painter,
printmaker and educator, Will
Barnet (born May 25, 1911),
Boca Raton Museum of Art
presents an exhibition of nearly 50 works that explores the
momentous evolution of Barnet’s art, from realism to abstraction, during one of the
most distinguished careers in
American art—and at the age
of 100, he still possesses the
continuous capacity for reinvention and new perspectives.
“...I love moving on and finding fresh ways to use color and
form,” said Barnet. “That’s
been my excitement.”
His career as an artist and
America’s foremost printmaker has evolved from 1930s “social realism” to 1940s “cubism” to 1950s “geometric abstraction” and since 1961,
“figurative realism.” His highly original work builds upon
the foundation of his Indian Space abstract works of
the 1950s, based upon Native
American-inspired organic and
geometric pictograph forms
within a flat, seamless space.
B A R N E T }
Exhibition
Will Barnet at 100: Eight Decades
of Painting and Printmaking
On view March 27th-May 20th
at the Boca Raton Museum of Art
www.bocamuseum.org
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M I L E S T O N E
In the 1960s, Barnet’s work in the US, including The Metshifted from abstraction to fig- ropolitan Museum of Art, Muurative work, when he creat- seum of Modern Art and Whited some of his most iconic and ney Museum of American Art
beloved pieces.
in New York, National Gallery
Barnet grew up in Bever- of Art in Washington, DC, and
ly, MA, and studied at the Museum of Fine Arts in BosSchool of the Museum of Fine ton. Abroad he is represented
Arts, Boston. Propelled by in the collections of The Brita scholarship to
ish Museum, The
the Art Students
Ashmolean MuseLeague, the aspirum, Oxford, and
ing artist left BosVatican Museums.
ton for New York
There have also
City in 1931 with
been innumeraa portfolio heavy
ble critical studon seascapes and
ies of his works in
family cat portraibooks, catalogues
AT 100, Will
ture—and 10 doland magazine arBarnet is STILL
lars in his pocket.
ticles.
CREATING the
By 1936, he was esBarnet resides
WORKS OF A
tablished as a proin Manhattan with
true American
fessional printer
his wife of 59 years,
MASTER.
and the youngest
Elena. He has three
instructor of graphic arts to sons: Peter, Richard and Todd,
ever hold faculty rank at the and one daughter, Ona, who
League. As a teacher, Barnet has modeled for many of his
elevated printmaking to an art images.
form, and throughout his caWill Barnet at 100 is orgareer, he has been an inspira- nized by The Harmon-Meek
tion to generations of artists. Gallery in Naples, FL, which
His work has been exhibited in has represented Barnet since
virtually every major museum 1973. O n V iew
opposite:
Midnight, 1983-1984,
oil on canvas, 49 x 29”,
Private collection, Naples, Fl
above (top to bottom):
1. final study for
Meditation and Minou, 1976,
watercolor and collage,
30-1/2 x 36-1/2”, courtesy of
Harmon-Meek Gallery,
Naples, FL
2. Danbury Series 8H, 1947,
watercolor, 14 x 20”,
Private Collection, Naples, FL
left:
will barnet,
photo by Anne Sager,
courtesy of
harmon meek gallery,
naples, fl
FOCUS
{ M A R K
IN HIS UPCOMING SHOW AT
MOCA, Jacksonville, Mark
Licari will take viewers on a
journey into the wildly imaginative diary of his mind, a world
full of sea creatures, crawling
bugs, exploding volcanoes and
the degenerative forces that
cause all things to enter into
a state of disarray and decay.
“Things breaking down, or a
transferral of energy from one
thing to the next, is fascinating to
me,” says Licari. “I see dripping,
cracking, rusting and perpetual
motion all around and have yet to
really understand it. There is obviously some kind of science behind it, but I believe there is definitely some art behind it too.”
In addition to creating striking
works on paper, elaborate lithographs and amusing sculptures,
Licari also creates dramatic wall
drawings that break out of the
picture frame to take over entire
rooms. His show at MOCA, Jacksonville, will consist of a drawing executed directly onto the gallery walls, using acrylic paint and
ink. The work will be created onsite in the seven days leading up
to the opening. “I will approach
L I C A R I }
Exhibition
Project Atrium: Mark Licari
On view March 24th-July 8th at the
Museum of Contemporary Art, Jacksonville
www.mocajacksonville.org
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F O C U S
the project with the spontaneity how to continue and complete
and intuition that I use to execute the mural come to mind as I am
a small drawing on paper,” he working on it.”
says. “Influences such as JackBorn in 1975 in Atlanta, GA,
sonville’s history and surround- Licari received a BFA from the
ings as well as my personal expe- University of Colorado, Boulder,
riences in the areas will be woven and an MFA from the Universitogether with the architecture of ty of Southern California, where
the MOCA atrium space.”
he focused on drawing, instalThrough the immediacy of lation and sculpture. While he
drawing, Licari orenjoys working in
chestrates a cast of
a variety of media,
characters and scedrawing is always
narios that attempt
at the root of his creto intertwine the natative process. “For
ural world with the
me, the work starts
man-made world in
with drawing as the
a way that exposfirst step,” he says.
es absurdities and
Licari’s work
Licari’s drawings
weaknesses as well
has been exhibitwill TRANSas wonder and poed at the Monterey
FORM the gallery
tential. Ultimately,
Museum of Art,
walls at MOCA,
the exhibition will
CA; Baldwin GalJACKSONVILLE.
reveal a story that
lery, Aspen, CO;
unfolds and shifts as the artist Galerie Valerie Cueto, Paris;
draws his way through the space. and Gagosian Gallery, Bever“The wall drawings are very ly Hills. His work is also held in
loosely planned,” Licari adds. “I collections at Gemeente Musemostly just start out with some um, The Hague, Netherlands; and
ideas and a few sketches. Then, the Metropolitan Museum of Art,
once I start, ideas and imagery New York. He lives in Los Anbegin to unfold. There is a lot of geles and is represented by Honintuition involved, and ideas of or Fraser, Los Angeles. O n V iew
opposite page: False Starts,
Repairs and Overhauls, 2012,
Ink on wall; Disjecta, Portland, OR;
Photos: Mark Stein
Above: Flows to Bay, 2008, Ink and
Acrylic on wall; Monterey
Museum of Art, Monterey, CA;
Photos: Rick Pharaoh
below: 6th Street Mural, 2011,
Acrylic on wall; The Standard hotel,
Los Angeles, CA
left: THE ARTIST AT WORK
RETROSPECTIVE
{ R O M A R E
B E A R D E N }
Exhibition
Romare Bearden:
Southern Recollections
On view through May 6th
at the Tampa Museum of Art
www.tampamuseum.org
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TA M PA M U S E U M O F A RT
presents Romare Bearden:
Southern Recollections, an exhibition of works that spans
the career of internationally renowned artist, Romare Bearden
(1911-1988), widely regarded
as one of the most important
African-American artists who
worked in the US during the
20th century. Works assembled
from public and private collections highlight Bearden’s mastery of collage as well as his development of narrative and thematic explorations of his native
South, a source of inspiration
throughout his career.
Bearden spent many summers during his childhood with
his paternal grandmother and
great grandparents in Mecklenburg County, NC, and absorbed
stories and observations about
the rituals of daily life—the relentless toil of cultivating crops,
tending lush gardens and mixing
herbal remedies, blue wash day
Mondays, Friday night fish fries,
Saturday night revival meetings, and church-going Sundays. These experiences, which
stood in stark contrast to the ur-
R E T R O S P E C T I V E
ban rhythm of his parents’ New es of his memories of the South.
York City household, left an inBearden returned to the South
delible impression on him. in the 1970s as his career was be In the early 1940s, Bearden ginning to gain momentum. This
began giving visual form to his homecoming in his late mid-life
boyhood memories. The works proved bittersweet. The region
in his Southern Series, painted was undergoing urban renewal,
in tempera on brown paper, are and many traces of Bearden’s
characterized by strong colors, past had been erased. Perhaps
flattened perspective and styl- this nostalgic experience imbued
ized, highly formal
him with a greatcompositions.
er sense of urgenIn the mid-1960s,
cy to both celebrate
he made use of a
and eulogize a lost
wide range of art
way of life, a theme
practices, both Westthat would inform
ern and non-Westhis artwork for the
ern. His studies of
rest of his life. He
masters of Europedeveloped a com“Southern
an,African and Clasplex iconography
Recollections”
sical Chinese art enthat spoke to these
COINCIDES
abled him to draw
developments.
WITH the
on styles that he felt
Bearden’s work
CENTENNIAL
were timeless and
has been featured
of Bearden’s birth.
historically durable.
in solo exhibitions
His use of collage, which empha- at New York City’s Metropolitan
sizes distortions, reversals, tele- Museum of Art, Whitney Musescoping of time, and Surrealis- um ofAmericanArt and Museum
tic blending of styles, enabled of Modern Art, and Washington,
Bearden to convey the dream- DC’s National Gallery of Art. In
like quality of memory and ac- 1987 he was awarded the Native imagination and was there- tional Medal of the Arts by Presfore a perfect vehicle for imag- ident Ronald Reagan. O n V iew
opposite:
Carolina Morning, 1974, Mixed
media collage on board, 30 x 22”,
In Memory of Elaine Lebenbom and
Dr. Miriam Mansour, Photo Courtesy
Franklin Riehlman Fine Art
above (top to bottom):
1. The Train, 1974, Collage
on paper, 15.25 x 19.5”,
Collection of The Mint Museum,
Charlotte, NC, Made possible
through a Gift from Bank of America
2. Gospel Morning, 1987,
Collage of watercolor, paper
and fabric on board, 28 x 31.25”,
American Masters Collection I,
Managed by The Collectors
Fund, Kansas City, Mo
images ©Romare Bearden Foundation/Licensed by VAGA, Ny, NY
left: Romare Bearden, ©Marvin
E. Newman, Courtesy of Romare
Bearden Foundation
V
on iew
D E S T I N A T I O N
Art Basel 2011
Mi a m i B e a c h . . .
I N D E C E M B E R , T H E I N T E R N AT I O N A L A RT W O R L D
once again descended upon Miami Beach for what is considered to be the mother of all annual art fairs, Art Basel Miami
Beach. The event dazzled spectators with a virtual explosion
of creativity during the four day art extravaganza, which
took place December 1st-4th at the Miami Beach Convention Center. More than 260 galleries from North America,
Europe, Latin America, Asia and Africa exhibited works by
over 2,000 artists. This year the show attracted 50,000 visitors, a new record. Art collectors, art lovers, museum directors, curators and cultural journalists from all over the world
enjoyed a program of special exhibitions, panel discussions,
private collection tours, and satellite events.
On the following pages, On View
presents highlights from several of
the main fair’s special exhibition sectors. Enjoy the show! O n V iew
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ART BASEL MIAMI BEAC
116
O N V I E W D E S T I N AT I O N :
A RT B A S E L M I A M I B E A C H
PREVIOUS SPREAD:
Robert Indiana,
ART, 1972–2001,
Polychrome
aluminum,
244 x 244 x 122 cm;
GALERIE
GMURZYNSKA, ZUG
Art Galleries
Sector
A
THIS PAGE
(TOP TO BOTTOM):
1. installation view
detail; Helly Nahmad
Gallery, New York
2. Robert Rauschenberg,
Story Brake
(Urban Bourbon), 1993;
Gagosian, New York
3. Jorge Pardo,
Untitled (installation
view detail);
neugerriemschneider,
Berlin
ART GALLERIES INCLUDED
20th and 21st century artworks from more than 200 of
the world’s leading art galleries for modern and contemporary art in North America,
Latin America, Europe, South
Africa and Asia. Painting,
drawing, sculpture, installation, print, photography, film,
performance, video and digital art by more than 2,000 artists were featured in works
ranging from editioned pieces
by young artists to multi-million-dollar museum-calibre
masterpieces.
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OPPOSITE:
INSTALLATION VIEW
DETAIL; TONY SHAFRAZI
GALLERY, NEW YORK
images Courtesy
MCH Swiss Exhibition
(Basel) Ltd.
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11 8
Art Galleries
Sector continued...
THIS PAGE,
CLOCKWISE FROM TOP:
1. installation view;
The Modern Institute,
Glasgow
2. Yoshitomo Nara,
installation view;
Stephen Friedman
Gallery, London
3. installation view;
Edward Tyler Nahem
Fine Art, New York
detail; L & M Arts,
New York
OPPOSITE:
ROB PRUITT, OK, 2010;
Brown, New York
images Courtesy
(Basel) Ltd.
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12 0
THIS PAGE
(TOP TO BOTTOM):
1. John Miller,
installation
view detail;
Praz-Delavallade,
Paris
2. Vanessa Beecroft,
exhibition View;
Lia Rumma gallery,
Milan
3. Subodh Gupta,
Installation view,
2011; Hauser & Wirth,
Zurich
Art Galleries
Sector continued...
OPPOSITE:
ANTONY GORMLEY,
SHY VIII, 2010;
KELLY, NEW YORK
images Courtesy
(Basel) Ltd.
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12 2
Art Nova
Sector
I
IN THE ART NOVA SECTOR,
42 emerging and established
galleries from 17 countries
presented new works by
either two or three artists. In
all, recent pieces by 104 artists were on display, providing viewers the chance to see
pieces fresh from studios
around the globe—and making the sector an ideal place
to spot the newest artistic tendencies.
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LEFT TO RIGHT:
detail; Galerie Kamm,
Berlin
2. Marcelo Moscheta,
Terminillo, 2011;
Galeria Leme,
São Paulo
images Courtesy
(Basel) Ltd.
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123
124
Art Positions
Sector
A
ART POSITIONS CREATED
a platform for a single major
project from one artist, allowing visitors to the exhibition an
opportunity to discover ambitious new talents from all over
the globe. The Art Positions
sector presented 16 young galleries from 9 different countries,
showcasing cutting-edge single
projects by each of the artists. OnV
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CLOCKWISE FROM
TOP LEFT:
1. Icaro Zorbar,
Can You Hear Me Now?,
2011; Casas Riegner,
Bogotá
2. Rosana Ricalde,
Cidades invisíveis,
Lisboa, 2011;
Baró Galeria,
São Paulo
3. installation detail;
Kavi Gupta,
Chicago/ Berlin
4. Cinthia Marcelle,
Utopic reserve
(installation detail),
2011; Silvia Cintra +
Box4, Rio de Janeiro
images Courtesy
(Basel) Ltd.
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125
12 6
Art Kabinett
Sector
A
ART BASEL MIAMI BEACH
introduced Art Kabinett in
2005, as a platform for the
show’s gallerists to display the
curatorial aspect of their work,
with special exhibitions drawn
from the gallery’s program.
This year, Art Kabinett presented viewers with a mix of
20 carefully curated exhibitions
in a separately delineated space
within the booths of the galleries. Exhibition concepts included thematic group exhibitions,
art-historical solo shows and
showcases for rising stars. The
projects featured a wide array
of artists, ranging from emerging artists to historical figures.
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LOUISE BOURGEOIS, INSTALLATION VIEW; FONDATION BEYELER, RIEHEN, SWITZERLAND;
image Courtesy MCH Swiss Exhibition (Basel) Ltd.
12 8
Art Kabinett
Sector continued...
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OPPOSITE (TOP TO BOTTOM): 1. Tiago
Galerie Krinzinger, Vienna 3. Elmgr
Hans-Peter Feldmann, installation view;
303 Gallery, New York
Carneiro da Cunha, installation view; Galeria Fortes Vilaça, são Paulo, Brazil 2. Angela de la Cruz, installation view;
reen & Dragset, installation view; Galería Helga de Alvear, Madrid; images Courtesy MCH Swiss Exhibition (Basel) Ltd.
13 0
THIS PAGE
(TOP TO BOTTOM):
1. Robert Melee,
It Sitting, 2008,
Bronze, Enamel paint,
78 x 126 x 110”;
Andrew Kreps Gallery,
New York
2. Zhang Huan,
49 Days No. 1, 2011,
Gray brick, steel,
345 x 335 x 250 cm;
Blum & Poe,
Los Angeles
3. Robert Indiana,
ART, 1972–2001,
Polychrome
aluminum,
244 x 244 x 122 cm;
GALERIE
GMURZYNSKA, ZUG
Art Public
Sector
A
A R T P U B L I C PRESENTED
outdoor sculptures, interactive performances, site-specific installations and public
artworks, within an open and
public exhibition format. This
year, to mark its 10th edition,
Art Basel Miami Beach inaugurated a new collaboration
with the Bass Museum of Art,
which transformed the recently redesigned Collins Park
with unique artworks and performances by renowned artists
and emerging talents, whose
works directly engaged viewers and interrupted the daily
routine of passersby in poetic
and surprising ways.
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OPPOSITE PAGE:
Damien Hirst,
Sensation, 2003,
Acrylic paint
on bronze,
78 x 124.5 x 65”,
L & M Arts, New York
images Courtesy
(Basel) Ltd.
F
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2011

Thread of Life: Mariko Kusumoto

Transcription

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