on view 06-07.2010

AT T H E A R T A N D C U LT U R E C E N T E R O F H O L LY W O O D

NATHANSAWAYA:REPLAY

Von iewJ U N E / J U L Y 2 0 1 0F L O R I D A

2 O n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 0

THIS PAGE :

Nathan Sawaya,

COURTNEY, YELLOW,

2008, 30 x 45”

ON THE COVER:

Nathan Sawaya,

Yellow, 2006,

35 x 13 x 28”

images courtesy of

brickartist.com Fe a t u r e s

36NATHAN SAWAYA: REPLAYBack by popular demand, Nathan Sawaya: Replay, at the Art and Cultural Center in Hollywood, is sure to ignite the imaginations of children and adults alike. Nathan Sawaya creates awe-inspiring works out of some of the most unlikely things. This exhibition features portraits and large-scale sculptures using only toy building blocks—LEGO® bricks to be exact.

CONTENTS J u n e / J u l y 2 0 1 0 V o l . 1 , N o . 2

AT T H E A R T A N D C U LT U R E C E N T E R O F H O L LY W O O D

NATHANSAWAYA:REPLAY

Von iewJ U N E / J U L Y 2 0 1 0F L O R I D A

42AMERICAN IMPRESSIONISMThree current exhibitions, featuring renowned American Impressionists, offer tantalizing reflections of life and enchanting records of color and light.

O n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 0 3

FROM TOP LEFT:

william glackens,

Cape Cod Pier, 1908, collec-

tion of the Museum of

Art / Fort Lauderdale, Nova

Southeastern University;

USSR Strengthen Civil

Aviation, 1933, collection

of Cornell Fine Arts Museum;

artist rendering of the

new dalí museum;

Claire Fontaine, CHANGE,

2006, courtesy Galerie Neu,

Berlin; navy pier and the

chicago skyline,

© City of Chicago / GRC

Fe a t u r e s c o n t i n u e d . . .

50THE POWER OF ART From war to the workplace, art has been used to influence society’s perceptions and behaviors.

56(SUR)REALIZINGA DREAMParis has the Eiffel Tower, Sydney has the Opera House—St. Petersburg will have the new Dalí Museum!

64BEHIND THE SCENESAs the Museum of Contemporary Art, North Miami prepared for the exhibition, Claire Fontaine: Economies, we chat-ted with MOCA’s Ruba Katrib about the process.

On View Destination: CHICAGO, IL

78 The Museums: An overview of Chicago’s outstanding art venues

88 A Gallery Tour: A fine art gallery listing

CONTENTSJ u n e / J u l y 2 0 1 0 V o l u m e 1 , N o . 2

6COMMENTARY

8MUSE A narrative

10CALENDAR Museum exhibitions

32GALLERYA selection of gallery artists


C r a f t

70 ART ON A STRINGThe Visual Arts Center of Northwest Florida is hosting a summer exhibit of masterfully crafted kites from Asia.

Fo c u s

72SHAI KREMERShai’s photographs are hauntingly beautiful portrayals of the ominous imprint left by the military on the Israeli landscape.

Pr o f i l e

74 JOHN BISBEEJohn’s large-scale sculptures transform everyday metal objects into elegant, intricate, and free-flowing works.

S p o t l i g h t

76JAMES GURNEY

James’ luminous paintings from the best-selling book series Dinotopia,

invite viewers to enter a whimsical world in which dinosaurs and humans live

side-by-side.

PICTURED:

james gurney,

Small Wonder, 1995,

Illustration for

Dinotopia: The World

Beneath, courtesy

of the Artist

The John and Mable Ringling MuseuM of aRT 5401 Bay Shore road, SaraSota | 941.359.5700 | www.ringling.org

open daily 10:00 a.m. - 5:00 p.m., | wedneSdayS until 8:00 p.m.

through September 6, 2010

Drawn from the collections of the John and Mable Ringling Museum of Art, the exhibition was organized by the Eakins Press Foundation.

Frederick W. Glasier | May Lillie, 1908 | The Collection of The John and Mable Ringling Museum of Art

View the most

dynamic period

of the American

circus captured

through the lens

of a master

photographer.

The photographs of Frederick W. Glasier

C O M M E N T A R Y

We’v e b e e n s o e n c o u r a g e d by the enthusias-tic response to our premiere issue and would like to take a moment to thank all who have wished us well and supported our efforts. It’s been a wonder-ful ride and we are thrilled to have you with us.

Inside this issue is a stunning array of works. Our cover story, Nathan Sawaya: Replay, on pg. 36, spotlights the amazing talent of Nathan Sawaya, whose LEGO® sculptures and portraits are sure to ignite the imagination in us all. Also included are two feature stories, each incorporating multiple exhibitions and sharing common themes: Ameri-can Impressionism, on pg. 42, showcases renowned American Impressionists and their unique interpre-tations of life, color and light; and The Power of Art, on pg. 50, which features compelling exam-ples of how art has successfully been used to influence society’s perceptions and behaviors.

With summer upon us, what better way to cele-brate than to experience the wonder and beauty of the amazing art of kite-making in Art on a String, on pg. 70. We’ll also take you along for a tour of the exciting city of Chicago with its diverse range of fine art venues.

These stories, and so much more, await—bon voyage!

Thank you!

di a n e Mcen a n e y

Publisher & Creative Director

Editorial

Publisher & Creative Director

di a n e Mcen a n e y

Contributing Writer

Pa u l at W o o d

Editorial Assistant

th e r e s a Mav r o u d i s

Advertising

Marketing & Sales Director

Pa u l Mcen a n e y

Contact

[email protected]

[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


Von iewM A G A Z I N E

through September 12, 2010

829 Riverside AvenueJacksonville, FL 32204904.356.6857 • www.cummer.org

Left: Meissen Porcelain Manufactory (German), Froehlich (The Court Jester), 19th Century, porcelain, 9 ½ in., The Benita and Jimmy Boyd Collection. MiddLe: Hans Hofmann (German, 1880–1966), The Chair, 1944, oil on panel, 13 ½ x 12 ¾ in., Collection of Preston H. Haskell. Right: Robert Reid (American, 1862–1929), In the Flower Garden, c. 1890, oil on canvas, 36 1/8 x 30 in., The Collection of Mary Jane and Jack Uible.

ColleCtors’ ChoiCe WorkS of Art fromJAckSonville collectionS

T IS 1941 and you can

see the sheer outrage on Winston Churchill’s face, as

captured in a single frame by renowned photographer,

Yousuf Karsh. This is the magic of photography when

in the hands of a master.

Over the span of his career, Karsh immortalized

world leaders, movie stars, and other luminaries on

photographic paper. Each image capturing the essence

of the subject in the instant of the portrait.

It is no less wondrous to witness Ansel Adams’ portray-

IClick!

B Y P A U L A T W O O D

MUSE

als of the breathtaking beauty of Yosemite. He has docu-

mented this national treasure with images that leave me in

awe of the greatness of the American landscape.

Whether it is Yousuf, Ansel, or a contemporary master,

there exists a common thread that defines this niche of the

art world—the ability to capture the spirit of great-

ness with a click of the camera shutter.

As I flip through one of my own photo albums,

I see memories of wonderful moments in my life.

There’s a photograph of my older brother enthusi-

astically biting into a candied apple. This is how I

choose to remember him—the pain and suffering

he lived with everyday is gone—this brief moment

of happiness lives on.

It is the camera that enables us to hold onto these moments,

but it is the talent and skill of a master that enables us to see

beyond the image and into the soul of the subject.

I am grateful for the camera, in all its forms, and for the

talents of the world’s great photographers that have left

us with stunning moments, frozen in time—and although

I may never possess command of this technology, I con-

tinue to be inspired by it. As I sit here now, with my digital

friend at my side, I imagine the endless possibilities.


B Y P A U L A T W O O D

MUSE

...it is the talent and skill of a master that enables us to see beyond the image and into the soul of the subject.“ ”

PICTURED:

Yousuf Karsh,

Sir Winston

Churchill,

1941, © Yousuf

Karsh/

karsh.org

06-07.10Boca Raton

Thru 06.13

Elvis at 21: Photographs by Alfred WertheimerBoca Raton Museum of Artwww.bocamuseum.org

In 1956, a twenty-one-year-old Elvis Presley was at the

beginning of his re-markable career. This exhibition features 40 large-format pho-tographs of Presley, taken by Alfred Wertheimer, captur-ing the unguarded moments in Elvis’s life during a year that took him from Tupelo, Mississippi to the silver screen, and to the verge of interna-tional stardom.

Thru 06.13

Remembering Stanley Boxer: Retrospective (1946-2000)Boca Raton Museum of Art

www.bocamuseum.org

Stanley Boxer (1926-2000) is best known for his large-scale abstract paintings which have a rich sculptural quality. This retrospective exhibition features 50 paintings and 13 sculptures dating from 1946 through 2000. Stanley be-came one of Amer-ica’s most eminent mid-century abstract painters,with works

now held by major museums across the US. (See story in the April/May 2010 issue on pg. 66.)

Coral Springs

Thru 08.21

All sides of the Parthenon: Photography & Artifacts

CALENDARC u r r e n t E x h i b i t i o n s • C O M P I L E D B Y O N V I E W


1. Alfred Wertheimer (American, 1929- ), Elvis at 21, courtesy of the Smithsonian Institution and Govinda Gallery 2. Stanley Boxer (1926-2000), Lacedplumeinabam (detail), circa 1985, oil on canvas, Joel and Lila Harnet Museum of Art, University of Richmond Museums, The Alcoa-Reynolds Art Collection 3. Peter Yalanis, Parthenon and Greek Flag, ©Peter Yalanis

C o r a l S p r i n gs c o n t i n u e d . . .

Coral Springs Museum of Artwww.csmart.org

This exhibition fea-tures large-scale photographs, by Peter Yalanis, depicting the reconstruction process of the Parthenon in Greece. Also on dis-play are three replicas of Elgin friezes and artifacts from the New Acropolis Museum.

Thru 08.21

Collaborations in Clay and Wood by Jan Kolenda and Bob BagleyCoral Springs Museum of Artwww.csmart.org

The works of clay artist Jan Kolenda and woodworking artist Bob Bagley are fea-tured in this exhibition. The artists have cre-

ated individual pieces as well as collaborated on large sculptures.

Daytona Beach

Thru 08.01

The Paintings of Tom ReisMuseum of Arts & Scienceswww.moas.org

Tom Reis is a nation-ally known illustrator whose art has ap-

peared in Time, Roll-ing Stone, the Wall Street Journal, En-tertainment Weekly, Sports Illustrated, BusinessWeek, Smart Money, and other prestigious publica-tions. Reis has also worked as a fine art-ist, producing work with all the refine-ment of a classically trained painter. His paintings are repre-sented in numerous permanent and private collections through-out the US.

DeLand

Thru 08.29

Illustrating OrchidsFlorida Museum for Women Artistswww.floridamuseum

forwomenartists.org

This historically significant exhibi-tion presents the art of Blanche Ames (1878-1969) and Marion Ruff Sheehan (1924-1998), two botanical illustrators whose work is the epitome, not only of scientific illustra-tion, but also of the

creative perfection that makes the works great art. Included are original ink draw-ings, watercolors and lithographs of the numerous genera of orchids.

O n V i e w M a g a z i n e . c O M • J u n e / J u l y 11

C A L E N D A R { P g. 2 o f 1 7 }

1. Bob Bagley, Wind Swept Vessel #1, maple, ceramic, collaboration with Jan Kolenda, courtesy of the artist. 2. Tom Reis, Autumn Nap, ©Tom Reis 3. Marion Ruff Sheehan (1924-1998), Cattleya Percivaliana, collection of the Botanical Libraries of Harvard University

1. Courtesy of Morikami Museum and Japanese Garden 2. Kimberly Witham, courtesy of the artist 3. Carolina Cleere, The Muse, courtesy of the artist 4. William Glackens, Cape Cod Pier, 1908, oil on canvas, collection of the Museum of Art / Fort Lauderdale, Nova Southeastern University, gift of an anonymous donor

Delray Beach

06.22-10.17

Kyoto: A Place in Art Morikami Museum and Japanese Gardenswww.morikami.org

Works by painters representing art move-ments closely as-sociated with Kyoto, Kyoto textiles, pho-tographs of Kyoto gardens, woodblock prints, ceramics, and more, are displayed in this exhibiton which explores why Kyoto remains the center of Japanese traditional culture.

Dunedin

Thru 06.27

Perfectly ImperfectDunedin Fine Art Centerwww.dfac.org

Far-reaching works in photography, ceram-ics, glass, metals and mixed-media sculp-ture, by a diverse group of national and international artists, are on display. Each work represents a different view of the Japanese aesthetic of WABI SABI—the beauty of imperfec-tion, impermanence and incompleteness.

07.16 – 08.14

Carolina Cleere Dunedin Fine Art Centerwww.dfac.org

Native Floridian, Carolina Cleere, has been recognized nationally and internationally for her art and photojournal-ism. This exhibition features her mixed-media narra-tive portraits of lost innocence.

Ft. Lauderdale

Thru 06.20

Glackens as IllustratorOngoing

The Spectacle

of Life: The Art of William Glackens Museum of Art / Ft. Lauder-dale, Nova Southeastern Universitywww.moaflnsu.org

William Glackens (1870-1938) was an Illustrator and an

American Impres-sionist who is con-sidered to be one of the most influential artists in the history of American Art. He is best known for his paintings of street scenes and portray-als of daily life. (See story on pg. 42.)


C A L E N D A R { P g. 3 o f 1 7 }

PEARL & STANLEY GOODMAN

C O L L E C T I O N

also on viewRECENT ACQUISITIONS FROM THE

MUSEUM’S LATIN AMERICAN COLLECTION

One East Las Olas Boulevard | Fort Lauderdale, FL 33301 | (954) 525-5500 | www.moafl.org

May 9 – December 5, 2010

The Sansom Foundation

PEARL & STANLEY GOODMAN

C O L L E C T I O N

also on viewRECENT ACQUISITIONS FROM THE

MUSEUM’S LATIN AMERICAN COLLECTION

Diego Rivera / Stone Worker / Oil on canvas

mounted on mason, 1945 / Collection

of Pearl and Stanley Goodman, ©2009

Banco de México Diego Rivera Frida Kahlo

Museums Trust, Mexico, D.F. / Artists Rights

Society (ARS), New York

Matta / The Prophet / Oil on canvas, 1955,

Collection of Pearl and Stanley Goodman

©2009 Artists Rights Society (ARS),

New York / ADAGP, Paris

Frida Kahlo / Untitled (Self-portrait on Diary Page) Watercolor crayon, pen and ink on paper, double

sided, 1945, Collection of Pearl and Stanley Goodman

©2009 Banco de México Diego Rivera Frida Kahlo

Museums Trust, Mexico, D.F. / Artists Rights Society

(ARS), New York

Joaquin Torres Garcia / Gare II, 1931 / Oil

on canvas, Collection of Pearl and Stanley

Goodman ©2009 Artists Rights Society

(ARS), New York / VEGAP, Madrid


C A L E N D A R { P g. 4 o f 1 7 }

1. Mather & Company, 2 strikes, 3 balls and he knocks the last ball over the fence, 1925, lithograph on paper, 44 x 36”, lent by Ronald, Elizabeth and Lauren DeFilippo 2. Jack Nichelson, A Trip to the Moon, 2007, hardwood veneer plywood construction with mixed media, collection of the artist, photography: John Knaub 3. Nathan Sawaya, Red, 2005, 24 x 49 x 26”, image courtesy of brickartist.com

Gainesville

06.08-09.05

America at Work: Art and Propaganda in the Early-20th CenturyHarn Museum of Artwww.harn.ufl.edu

The main focal point of this exhibition is a group of 30 work incentive posters with colorful designs, strong graphics and catchy phrases that were produced be-tween 1924 and 1925 and were intended

to promote excel-lence in the Ameri-can workplace. The graphic works tell a story about labor is-sues and demograph-ics, popular culture, immigration trends and national identity in America during the first half of the 20th century. (See story on pg. 50.)

06.22-01.02.11

Jack Nichelson: Sojourner Dream ReliquariesHarn Museum of Artwww.harn.ufl.edu

Jack Nichelson has been creating intricate and evocative “box environments” for more than 40 years. Begun in 2000, Nichelson’s Sojourner Dream Reliquaries

represents the culmi-nation of his long-standing fascination with the visual pres-ence of religious reli-quaries. Included are 22 sculptures replicat-ing the basic forms of travel trailers from the late 1920s to the early 1950s. The compact size and shapes of the trailers lend them-selves to the secular reliquary concept. The intricate, lighted interior of each work invites the viewer to look very carefully at the details, both inside and outside. Com-pleted over a nine-year period, the series has never before been ex-hibited in its entirety.

Hollywood

06.05-08.15

Nathan Sawaya: Replay Art and Culture Center of Hollywoodhttp://artandculturecenter.org

Back by popular demand, Nathan

Sawaya: Replay is sure to ignite the imaginations of chil-dren and adults alike. Nathan Sawaya creates awe-inspiring works out of some of the most unlikely


1. Bradley Arthur, Calculator, 17 x 20 x 12”, metal, wood & bungee cord, ©Be-Art 2008 2. Frederick D. Jones, Female Figure at Shore, ca.1950, oil on masonite, 13 x 10”, ©Frederick D. Jones, photography: Greg R. Staley 3. Howard Finster, Emages of Visions of Other Worlds Beyond (3077), n.d., tractor enamel on plexiglas, courtesy of the Arient Family Collection

H o l l y wo o d c o n t i n u e d . . .

things. This exhibition features portraits and large-scale sculptures using only toy build-ing blocks—LEGO® bricks to be exact. (See story on pg. 36.)

06.05-08.15

Adaptation Art and Culture Center of Hollywoodhttp://artandculturecenter.org

This exhibition pres-ents a selection of contemporary artists whose practice in-corporates discarded materials in order to make new forms of artistic expression. Materials include all

manner of refuse such as abandoned personal items and obsolete functional objects, which become rein-vigorated when used as major components of newly fashioned works of art with varying contexts.

Jacksonville

Thru 08.29

Tradition Rede-fined: The Larry and Brenda Thompson Col-lection of African American Art Museum of Contemporary Art, Jacksonville www.mocajacksonville.org

Redefining the land-scape of American art, this collection of 72 works, by recog-nized and emerging African American

artists, documentsthe social and aes-thetic concerns of the African Diaspora through an intimate, inclusive and insight-ful perspective.

Thru 08.29

Stranger in Paradise: The Works of Reverend Howard Finster Museum of Contemporary Art, Jacksonville www.mocajacksonville.org

An evangelistic preacher in paint and self-proclaimed “Man of Visions,” Reverend

Howard Finster became one of the most widely known and prolific self-taught artists. This exhibition provides an in-depth survey of Finster’s career, covering the variety of themes inherent in his work, much of it

relating to his vision-ary experiences. Thru 08.08

Jazz ABZ: An A to Z Collection of Jazz Portraits by Paul RogersThe Cummer Museum of Art

C A L E N D A R { P g. 5 o f 1 7 }

1. Paul Rogers, Charlie Parker, 2005, acrylic and ink on Strathmore illustration board, 12 1/2 x 12 1/2”, on loan from the artist, ©Paul Rogers 2. Margaret Ross Tolbert, Juniper Springs, 1993, oil on canvas, 72 x 48” 3. David Maxim, Untitled, 1999, pencil, charcoal and pastel wash on paper, 19 5/8 x 25 3/8”, gift of Robert & Patricia Maxim, Santa Barbara, CA

Ja c k s o n v i l l e c o n t i n u e d . . .

C A L E N D A R { P g. 6 o f 1 7 }

& Gardens www.cummer.org

Artist Paul Rogers teamed with jazz musician Wynton Marsalis to create the book Jazz ABZ, which highlights jazz greats from A (Louis Arm-strong) to Z (Dizzy Gillespie) through art and poetry. Each portrait and poem is evocative of the particular musician’s sound, and each work of art alludes to song titles, artifacts, and other markers of the time, including artistic references to well-known artists who

were particularly in-spired by jazz music.

Lakeland

Thru 06.20

Florida LandscapesPolk Museum of Artwww.polkmuseumofart.org

This exhibition is comprised of works from the permanent collection at the Polk Museum of Art which have been inspired by, and pay homage to, the Floridian land-scape. Also included

are subjects which may evoke some sense of Florida such as Florid-ian social and cultural landscapes. Among the artists represented in the exhibition are Eleanor Blair, John Briggs,Clyde Butcher, Bradlee Shanks, and Margaret Tolbert.

Thru 08.08

Art & Design: MovementPolk Museum of Artwww.polkmuseumofart.org

How does movement affect the subject of an artwork? How might rhythm be used as part of the process of art production? Can motion be visually represented on a two-dimensional plane? This exhibition incor-porates works from the museum’s permanent

collection to explore the various ways in which fine art explores the concept of motion.

Maitland

07.16-09.05

William Vincent Kirkpatrick: American ImpressionistMaitland Art Centerwww.maitlandartcenter.org

William Kirkpatrick (1939-2004) was an Impressionist painter of landscapes, florals, figures, and portraits. Although most of his time was spent paint-ing the Southwest, he traveled exten-


1. William Vincent Kirkpatrick, Landscape 08, on loan from Baterbys Art Auction Gallery 2. Jerry Uelsmann, Untitled (hands holding water), 2003, silver gelatin print, 16 x 20”, ©Jerry Uelsmann 3. Thomas Hirschhorn, Necklace CNN, 2002, cardboard, foil, plastic, and gold wrap-ping paper, 98 x 31 x 4”, Debra and Dennis Scholl Collection

M a i t l a n d c o n t i n u e d . . .

C A L E N D A R { P g. 7 o f 1 7 }

sively and created his impressions of the world. His work is collected worldwide and can best be de-scribed as an explo-sion of color and light with an unrestrained use of dramatic pat-terns of brushwork. A collection of 32 paint-ings are included in this exhibition. (See story on pg. 42.)

Melbourne

Thru 08.01

Just Suppose: Maggie Taylor & Jerry UelsmannBrevard Art Museum

www.brevardartmuseum.org

This is a whimsical exhibition of the other-worldly art of Maggie Taylor that reflects her imaginative ventures into digital technology. Jerry Uelsmann’s pho-tographs are produced using more conven-tional darkroom tech-niques. Uelsmann’s

composite, surreal photographs of nature, the human figure, exte-rior and interior envi-ronments, and human relationships evoke myth and magic, and are considered to be

masterpieces of 20th century photography.

Miami

06.25-10.03

Human RitesBass Museum of Artwww.bassmuseum.org

Human Rites examines ritual as a basic hu-man activity, in terms of religious practices, but will also look at the place of ritual in the practice of con-temporary artists, either as the subject of their work, or the mode of their work. Visitors to this exhibi-tion may leave with a heightened sense of the resilience of ritual in everything from the religious to the mun-dane, the deep and timeless need we have as humans for ritual,

habit, repetition and pattern in our lives— or they may leave the exhibition with the lines between religion,

ritual, habit and pattern blurred, seeing no dif-ference between artist and priest. Thru 06.20

Carlos Cruz-Díez: The Embodied Experience of ColorMiami Art Museum www.miamiartmuseum.org

Carlos Cruz-Díez creates interactive environments that in-vite visitors to become participants in his


1. Carlos Cruz Díez, Duchas de inducción cromática (Showers of chromatic induction), 1968/2010, wood and stripes of Plexiglas in red, green, blue, yellow and orange, seven cylinders at 39” diameter by 83” each, installation view Miami Art Museum, courtesy Miami Art Museum, photograph: Oriol Tarridas 2. Claire Fontaine, CHANGE, 2006, 12 twenty-five cent coins, steel box-cutter blades, solder and rivets 90 x 40.5 x 40.5 cm (Pedestal), 32 x 40.5 x 40.5 cm (Plexiglass box), courtesy Galerie Neu, Berlin 3. Princess Diana joins Prince Charles on a Royal Tour of Portugal, February 1987, Rex USA

M i a m i c o n t i n u e d . . .

work, experiencing color through their own movement. Cromo-saturación (Chromo-saturation) consists of three color chambers infused with red, green and blue light. Three other works are also included: Duchas de inducción cromática (Showers of chromatic induction) where color is experienced via a

series of booths in the shape of showers made with strips of transpar-ent colored plastic; Ambiente cromointer-ferente (Chromo-inter-ferent Environment), a three-dimensional

chromatic projection environment activated by the physical move-ment of the specta-tor; and Experiencia cromática aleatoria interactiva (Aleatory Interactive Chromatic Experience) an interac-tive computer installa-tion that allows specta-tors to create their own visual interpretations of Carlos’ work. (See story in the April/May 2010 issue on pg. 70.)

06.03-08.22

Claire Fontaine: EconomiesMuseum of Contemporary Art, North Miami www.mocanomi.org

This exhibition ex-plores the work of Paris-based artist Claire Fontaine. Fon-taine took her name from a popular brand

of school notebooks and declared herself a “readymade artist” in 2004. The exhibi-tion will incorporate older works, including sculptures, light pieces, videos, text works and new interventions by Fontaine, in ad-dition to a screening area showing films and videos that have influenced Fontaine’s work. Managed by her “assistants,” Fontaine’s practice is deeply im-bedded in collaborative modes of working and questioning possibili-ties for social change. Fontaine explores the politics, theorists, and artists of the 1960s

in Europe and the US, playing with that legacy. (See story on pg. 64.)

Naples

Thru 06.27

Princess Diana: Dresses of InspirationNaples Art Association at The von Liebig Art Centerwww.naplesart.org

Princess Diana trav-eled the world as a representative of the

British royal family, a post-divorce modern


C A L E N D A R { P g. 8 o f 1 7 }

MIAMI ART MUSEUMBETWEEN HERE AND THERE: MODERN AND CONTEMPORARY ART FROM THE PERMANENT COLLECTIONOngoing, with periodic changes

See how far MAM has come assembling a “Miami point of view” on art of the 20th and 21st centuries. BETWEEN HERE AND THERE is organized by Miami Art Museum and supported by MAM’s Annual Exhibition Fund.

CARLOS CRUZ-DIEZ: THE EMBODIED EXPERIENCE OF COLORMarch 19 - June 20, 2010

Become a participant in the artwork of one of Latin America’s most important living masters. The Embodied Experience of Color is organized by Miami Art Museum and supported by SaludArte Foundation, Fundación Bancoro, Davos Financial Group and Fundación Mercantil.

NEW WORK MIAMI 2010July 18 - October 17, 2010

Experience Miami’s art scene at this exact moment through this mixed-media gallery show, supplemented with public programs, art performances and screenings. New Work Miami 2010 is organized by Miami Art Museum and supported by MAM's Annual Exhibition Fund.

Miami Art Museum 101 West Flagler Street, Miami, FL(305) 375-3000 • miamiartmuseum.org

Top: Tomás Saraceno, Galaxies Forming Along Filaments, Like Droplets Along the Strands of a Spider’s Web, 2008. Elastic rope, installation dimensions variable. Installation view Tanya Bonakdar Gallery, New York, 2008. Collection Miami Art Museum, museum purchase with funds from the MAM Collectors Council. Photo: Fabian Birgfeld, PhotoTECTONICS. Courtesy the artist and Tanya Bonakdar Gallery, New York. Center: Carlos Cruz-Diez, Cromosaturación (Chromosaturation), 1965/2010. Wood, Plexiglas and fluorescent lights with color filters. Site-specific environment, variable dimensions. Installation view Miami Art Museum. Photo: Oriol Tarridas. Bottom: Don Lambert, Flatland, 2009. Motors, controller, aluminum and paper in wood cabinet. 103 x 120 x 26 inches overall. Photo: Courtesy of the Cincinnati Art Museum. Accredited by the American Association of Museums, Miami Art Museum is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Arts Council, and the National Endowment for the Arts; with the support of Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Board of County Commissioners.

03783_MAM_On View Magazine AdV1.indd 1 5/19/10 11:05 AM

Na p l e s c o n t i n u e d . . .

1. Thomas Hart Benton, I Got a Gal on Sourwood Mountain, 1938, 12 1/2 x 9”, lithograph, collection of the Springfield Museum of Art 2. Rick Lang, Amanda’s Haircut Shop, Bellview, Florida, 1998, digital print, 12 x 12”, courtesy of the artist

woman, and an ambas-sador for charitable causes—and no mat-ter where she was, or what the occasion, she was a fashion icon who is still known for her style, heart and impact on the world. This exciting exhibi-tion, curated just for The von Liebig Art Center, features 20 of Diana’s dresses plus a collection of Diana and British Royals’ memo-rabilia. Many of the dresses and items have never been shown in the US.

Thru 06.30

Associated American Artists, Art by SubscriptionNaples Museum of Artwww.thephil.org

In 1933, at a time

when our nation was seized by an unprec-edented economic depression, art dealer Reeves Lewenthal formed the Associ-ated American Artists organization. His plan was to make fine art prints affordable to every American. This exhibition features over 70 etchings, wood engravings, aqua-tints and mezzotints by approximately 49 members of the AAA, including Thomas Hart Benton, Miguel Co-varrubias, John Steuart Curry, Mabel Dwight,

Doris Lee, Reginald Marsh, Peggy Bacon and Grant Wood.

Thru 06.30

Florida Contem-porary 2010Naples Museum of Artwww.thephil.org

From realism to ab-straction, and every-thing in between, this intriguing exhibition includes recognized photographers, paint-ers and sculptors who have spent a lifetime at their craft, together with an exciting ar-ray of new artists that visitors can “discover”

for themselves. While not a definitive record of currently exhibiting Florida artists, Florida Contemporary serves as an overview of the innovative images, subject matter, tech-niques and mediums that characterize the work being created in the state today.

Thru 06.30

French Twist: Masterworks of photography from Atget to Man RayNaples Museum of Artwww.thephil.org

This groundbreaking exhibition features 87 rare vintage prints from the golden age of French photography, 1900-1940. From the lyrical architectural views of Eugène Atget to the Surrealist in-


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1. Man Ray, Erotique Voilée (Meret Oppenheim in Louis Marcoussis’ studio), 1933, silver gelatin print, 9 7/8 x 8 1/8”, French Twist: Masterworks of photogra-phy from Atget to Man Ray organized by art2art Circulating 2. Henry Kupjack, Roman Triclinium (detail), 1984, mixed media, 31 x 30 x 40”, collection of the NMA, gift of Carole & Barry Kaye 3. Clyde Butcher, Moonrise, 1986, silver gelatin fiber print, 46 x 60”, collection of the artist

Na p l e s c o n t i n u e d . . .

ventions of Man Ray and Dora Maar, from the boyish wonder of Jacques-Henri Lartigue to the twilight-inspired moodiness of Bras-saï, all major facets of French photogra-phy are surveyed and celebrated. This is a rare opportunity to see these masterworks in one exhibition.

Thru 06.30

Masters of Miniature: The Kupjack Rooms & Kaye CollectionNaples Museum of Artwww.thephil.org

Some of the world’s most remarkable miniatures will be on display this season as part of the Museum’s Masters of Miniature exhibition. Featured in this collection of miniature rooms are: the majestic Roman Triclinium, the Napole-

onic Anteroom and the Louis XV Petit Salon. Other rooms include a delightful American Diner, ca.1941, Art Nouveau Shop, Chinese Laundry andArtists’ Garret. Many of these miniature environments were created by the late

Eugene Kupjack, widely regarded as the pioneer in the field, and his son Henry.

Orlando

Thru 07.25

Clyde Butcher: Big Cypress Swamp and the Western EvergladesOrlando Museum of Artwww.omart.org

Recognizing the criti-cal and formative role of landscape and the environment in the American experience,

the OMA presents Changing Landscapes, which includes this Clyde Butcher exhibit. Big Cypress Swamp features 40 stunning large-format black and white photographs de-picting the beauty and fragility of the Western Everglades. (See story in the April/May 2010 issue on pg. 72.)

Thru 08.29

Knuffle Funny: The Art and Whimsy of Mo WillemsOrlando Museum of Artwww.omart.org

Author and illustrator, Mo Willems, has been hailed by The New York Times Book Re-view as “the biggest new talent to emerge thus far in the ’00s.” Winner of several


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O r l a n d o c o n t i n u e d . . .

1. ©2004 Mo Willems, illustration for Knuffle Bunny: A Cautionary Tale, 2003, published by Hyperion Books for Children, exhibition organized by the National Center for Children’s Illustrated Literature, Abilene, Texas 2. Herman Herzog, The St. Johns River Entering the Atlantic Ocean, ca. 1888-1890, oil on canvas, 62 1/2 x 52 1/2”, on long-term loan from the Martin Andersen-Gracia Andersen Foundation, Inc 3. Robert Spencer, Afternoon Bathers (detail), oil on canvas, 29.5 x 35.5”, Bank of America Collection

prestigious Caldecott Honor awards, Wil-lems began his career as a writer and anima-tor for television. He garnered six Emmy awards for his writ-ing on Sesame Street, and created Cartoon Network’s Sheep in the Big City. In 2003, Willems launched his picture book career with the bestselling Don’t Let the Pigeon Drive the Bus!

Thru 12.31

The American CollectionOrlando Museum of Artwww.omart.org

This exhibition in-

cludes more than 40 paintings and sculptures from the nation’s early years through the 20th cen-tury. These works reflect many important trends in American art. Among the artists represented are:

Robert Henri, Herman Herzog, George In-ness, Thomas Moran, Georgia O’Keeffe, and Charles Sheeler.

Thru 07.18

Transcending Vision: American Impressionism 1870-1940

Works from the Bank of America CollectionOrlando Museum of Artwww.omart.org

As part of the OMA’s Changing Landscapes exhibition, Transcend-ing Vision showcases 125 American Im-pressionist paintings from one of the largest and oldest corporate art collections in the world. Paintings by a diverse group of more than 75 Ameri-can artists, trace not only the development of Impressionism in America, but also the

emergence of a truly American style of painting. (See story on pg. 42.)

Ormond Beach

06.11-08.01

American IconsOrmond Memo-rial Art Museum & Gardens www.ormondartmuseum.org

When one thinks of American icons, there emerges visions of symbols recognized all over the world—Coca Cola, Chevy, Aunt Jemima, and Wheaties, to name a few. This exhibition of works, by the Beaux Arts artists, explores the essence of these icons from each art-ist’s personal perspec-tive. A range of media including paintings, sculptures, jewelry,


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view

Orlando Museum of Art2416 North Mills AveOrlando, FL 32803407 896 4231

www.omart.org

Transcending Vision: American Impressionism 1870–1940 Works from the Bank of America Collection 04•10•10–07•18•10 This project is funded in part by Orange County Government through the Arts & Cultural Affairs Program.

Knuffle Funny: The Art and Whimsy of Mo Willems 05•22•10–08•29•10 Elegant Enigmas: The Art of Edward Gorey 08•13•10–10•31•10

Arthur Wesley Dow, Flowering Field, 1889, oil on canvas, 14 1/4 x 20 1/4 in. Bank of America Collection. This exhibition is provided by Bank of America Art in Our Communities Program.

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O r m o n d B e a c h c o n t i n u e d . . .

1. Beau Wild, Coca-Cola Icon, courtesy of the artist 2. Image courtesy of the museum 3. Henri Matisse, Icare (Icarus), plate VII of XX from Jazz, 1947, pochoir (stencil) on Arches paper, 16 3/4 x 12 3/4”, ©2010 Succession H. Matisse / Artists Rights Society (ARS), New York, Bank of America Collection 4. Barnum & Bailey, The Four Sisters Deike, Strobridge Lithographing Company, 1909, 40 1/2 x 30 1/8”

photography, pottery and mixed media are on display.

Panama City

06.04-08.29

Art on a StringVisual Arts Center of North-west Floridawww.vac.org.cn

The Visual Arts

Center is hosting this vibrant and striking summer exhibit of more than 200 kites from around the world! Colorful and beautiful, these kites are true works of art. (See story on pg. 70.)

Pensacola

06.04-08.29

The Art Books of Henri MatisseFrom the Bank of America CollectionPensacola Museum of Artwww.pensacola

museumofart.org

Best known for his boldly colored paint-ings, Matisse was in his sixties and a re-nowned artist when he began to make books. He regarded

the prints he created for books as an ex-tension of drawing. The same flowing lines that character-ized so many of his paintings carried

over to the print-making medium and related illustra-tions. This exhibi-tion features original illustrations and text from 4 of Matisse’s most artistically sig-nificant books, each issued in a limited edition and signed by the artist.

Sarasota

Thru 09.06

HEYDAY: Photographs of Frederick W. GlasierJohn and Mable

Ringling Museum of Artwww.ringling.org

HEYDAY offers a glimpse into the most dynamic period of the American circus through the rarely seen photographs of Freder-ick W. Glasier (1866-1950). The exhibition features more than 60 photographs and


S a r a s o t a c o n t i n u e d . . .

1. Teke Tribe, Tumar (Amulet/Breastplate), dated first half of 20th century, gift of Mr. Stephen Va. C. Wilberding, 2009, The John and Mable Ringling Museum of Art 2. Len Prince, Untitled, Plate 140, 2006, gelatin silver print, 23 3/4 x 21 1/4”, gift of William K. Zewadski, © Len Prince 3. Arthur Tress, Hockey Player, N.Y. (1972), gelatin silver print, gift of Carol A. Upham, © Arthur Tress

several lithographic posters that depict the circus coming to town, performances of spectacular feats, and the behind-the-scenes life of circus members. (See story in the April/May 2010 issue on pg. 44.)

Thru 01.30.11

Splendid Treasures of the Turkomen Tribes of Central Asia John and Mable Ringling Museum of Artwww.ringling.org

Exquisite silver and gilt jewelry from the Turkomen tribes of Iran, Afghanistan and Turkmenistan are pre-sented in this exhibi-tion. Included are more than 40 objects, hand crafted by the semi-

nomadic Turkomen people, featuring headdress ornaments, bracelets, and clothing clasps with carnelian and lavish decorative elements of silver and gold. Decorated with gilding, chains and semi-precious stones, each piece is imbued with symmetrical yet organic designs drawn from the tribes’ mytho-logical interpretations of the natural world.

St. Petersburg

06.05-09.26

Changing Identities: The Len Prince

Photographs of Jessie Mann Museum of Fine Arts, St. Petersburgwww.fine-arts.org

Len Prince is cel-ebrated for glamorous portraits of Hollywood stars and sleek adver-tisements for Cartier

and Estée Lauder. In 2001 he met a self-possessed young woman, Jessie Mann. What followed was a five-year collabora-tion making com-pelling images that reference paintings, famous photographs,

historical figures, and mythology. Theatrical and seductive, these unforgettable images explore the relation-ship between viewer, subject, and artist by examining personae and their meaning, as well as the very nature of the self.

06.05-09.26

A Passion for Photography: Selections from the Carol A. Upham Donation Museum of Fine Arts, St. Petersburgwww.fine-arts.org

This select exhibition


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S t . Pe t e r s b u r g c o n t i n u e d . . .

1. Shai Kremer, Soldiers’ viewing platform, Israel/Lebanon border, 2006, ©Shai Kremer 2.Garry Winogrand, Centennial Ball New York, 1969

features approximate-ly 30 photographs by many of the 20th century’s leading fig-ures. Edward Curtis, Walker Evans, Sally Mann, W. Eugene Smith, Joel Sternfeld and Arthur Tress are represented by telling works. Mrs. Upham’s love of the American land-scape, especially of the West, is demon-strated by the photo-graphs of Alan Ross, John Sexton and Don Worth. Striking images of Florida by Clyde Butcher and Woody Walters are also on view.

Tampa

Thru 07.17

Shai Kremer: Infected Landscape

Florida Museum of Photographic Artswww.fmopa.org

Shai Kremer began photographing the ominous imprint of the military on the Israeli landscape in 1999. The result-

ing series of pho-tographs, produced over a 7 year period, are hauntingly beau-tiful, formal and poetic compositions. They attract view-ers, seduce them and then challenge them to reflect on their meaning and impli-cations. (See story on pg. 72.)

Thru 07.18

Life Captured: Garry Wino-grand’s Women are BeautifulTampa Museum of Artwww.tampamuseum.org

Garry Winogrand is known for a street-style of photography characterized by a wide-angle lens, avail-able light, unposed subjects and countless exposures. The criti-cally accepted view of Winogrand has been that his “ambition was not to make good pictures, but through photography, to know life.” In 1975, he pub-

lished 85 photographs of women caught in everyday life, taken during the 1960s, in a volume titled Women are Beautiful. The museum is presenting its entire collection of Winogrand prints from the Women are Beautiful series to let viewers revisit this assessment of the photographer’s pur-pose and place.

Thru 08.01

Taking Shape: Works from the Bank of America CollectionTampa Museum of Artwww.tampamuseum.org

Works in this exhibi-tion approach sculpture in a manner that made many in the 1960s and 1970s rather uncom-fortable, as the lines


between the purity of the canvas and the presence of the three-dimensional started to blur. The works of artists Sam Francis, Helen Frankenthaler, Sam Gilliam, Ells-worth Kelly and Frank Stella provide a 30-year view into one of the most persistent questions: how to rec-oncile the two-dimen-sional painted surface with reality of a three-dimensional space.

Vero Beach

Thru 06.27

A Secret Language: Sculpture by

John BisbeeVero Beach Museum of Artwww.verobeachmuseum.org

John Bisbee creates large-scale sculptures by welding and forging everyday metal ob-jects, such as nails and spikes, into organic forms. His sculptures

are both minimal and complex—and evoke a dialogue between natu-ral forms and industrial materials. (See story on pg. 74.)

W. Palm Beach

06.05-09.05

Beyond the Figure: Abstract

Sculpture in the Norton CollectionNorton Museum of Artwww.norton.org

This exhibition, drawn from the Norton’s American, European and Contemporary collections, presents a grouping of over 20 abstract sculptures gathered and organized around such themes as “Lines,” “Assem-blages” and “Vessels.” Artists Dale Chihuly, Nancy Graves, Sol Le-witt, Louise Nevelson, Ursula Von Rydings-vard, and Howard Ben Tré are represented.

06.05-09.05

Dinotopia: The Fantastical Art of James GurneyNorton Museum of Artwww.norton.org

Inspired by a deep and abiding interest in archaeology, lost civilizations and the art of illustration, James Gurney invites viewers to enter a whimsical world in which dino-saurs and humans live side-by-side. Recount-ed in words and pic-tures in the best-selling book series Dinotopia, the artist’s compelling tale has engaged and enchanted readers by


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Ta m p a c o n t i n u e d . . .

1. Frank Stella, Damascus Gate II, 1968, acrylic on canvas, collection of Bank of America, ©2009 Frank Stella/ Artists Rights Society (ARS), NY 2. John Bisbee, Helio, 2006, 12” spikes, 84 x 84 x 9”, collection of the artist 3. Dale Chihuly, Macchia, 1994, blown glass, 24 1/4 x diam. 32” irregular, purchase, acquired through the generosity of Mr. & Mrs. Frederick Adler, Mr. & Mrs. Rand Araskog, Mrs. Nanette Ross, Mrs. Frances Scaife, and Mr. & Mrs. Robert Sterling, ©Dale Chihuly 4. James Gurney, Birthday Pageant, 1995, Illustration for Dinotopia: The World Beneath, oil on canvas mounted to plywood

inviting them to ex-plore the far reaches of a mysterious des-tination. Gurney’s luminous paintings, beautifully crafted drawings and hand-made models, which are featured in this exhibition, explore the wonders of the distant past through the lens of the imagination. (See story on pg. 76.)

Winter Park

Thru 08.01

Man and the MachineCornell Fine Arts Museum at Rollins Collegecfam.rollins.edu

CFAM is featuring this exhibition of rare, Stalinist-era propagan-da posters. Following an extensive conser-vation process, this

selection of Russian posters from the 1930s are shown along with a group of American and British propagan-da posters from World War I. Each group represents the power of the image—and the artist—in social and political history. (See story on pg. 50.)

Thru 08.01

Out of the ShadowCornell Fine Arts Museum at Rollins Collegecfam.rollins.edu

In 19th century Ameri-ca, women who want-

ed to study art had few avenues open to them. Those belonging to an artistic family could learn from male family members. Those with means could attend the first art academies in the US, or travel to Europe. This exhibi-tion examines the

work of women who chose each of these avenues, includ-ing Martha Bare and members of the Peale family, among notable others.

Thru 08.01

Wonderful & Curious: The

Genesis of the CollectionCornell Fine Arts Museum at Rollins Collegecfam.rollins.edu

What began as a natu-ral history museum filled with an odd assortment of ferns, shells and arrowheads, has grown and evolved into the richly diverse art collection of to-day’s Cornell Fine Arts Museum. In honor of the College’s 125th an-niversary, this exhibi-tion traces the genesis of the collection, from


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W. Pa l m B e a c h c o n t i n u e d . . .

1. USSR Strengthen Civil Aviation, 1933, lithograph, collection of the Cornell Fine Arts Museum 2. Martha Bare, Still Life with Roses and Vase, 1981, oil on canvas, 29 x 20 1/2”, private collection 3. Têng Chang (Deng Zhang), 16th century Chinese, Ming Dynasty, triad of Buddha with pair of Bodhisattvas, ca. 1500s, gilded bronze, 22 1/2 x 15 x 8” overall, gift of Carl H. Fowler, collection of the Cornell Fine Arts Museum, Rollins College

Native American artifacts to major paintings, decorative pieces, furnishings, sculptures, and objects from around the globe, many on view for the first time.

Thru 07.04

Paintings by Louis Comfort Tiffany and His CircleThe Charles Hosmer Morse Museum of American Artwww.morsemuseum.org

Although Louis Comfort Tiffany’s name is most often associated with his work in the medium of glass, he established himself first as a painter and continued to paint throughout his lifetime. Draw-ing from works in the

Morse collection, this new installation pro-vides a view of Tiffany paintings in the con-text of artists who he believed in some way shared his commitment to beauty. The exhibit includes works by Tiffany alongside those of contemporaries such as Cecilia Beaux, Samuel Colman, Charles Hawthorne and Elihu Vedder.

Ongoing

Selected works of Louis Comfort TiffanyThe Charles

Hosmer Morse Museum of American Artwww.morsemuseum.org

This summer, the Museum’s com-prehensive Tiffany exhibition will be updated with objects that include a large leaded-glass hanging lamp and two major

windows, made for the exhibition, that have not been on view in five years.

Thru 08.08

The Japan Craze and Western Art: 1880-1920The Charles

Hosmer Morse Museum of American Artwww.morsemuseum.org

Morse Museum vignettes—a tradition established by Muse-um founder Jeannette Genius McKean— are themed interior scenes developed from objects in the collec-tion. This new Morse vignette features a number of works by Louis Comfort Tiffany, John La Farge, Rookwood, and others that reflect the trans-forming influence of Japan on late 19th- and early 20th-century Western art. On View


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Wi n t e r Pa r k c o n t i n u e d . . .

1. Louis Comfort Tiffany (1848–1933), Landscape with Figure, ca. 1870, oil on paper 2. Window, Plum Tree, ca. 1890–1900, Joseph Briggs House, Wood-Ridge, New Jersey, leaded glass 3. Katsushika Hokusai, The Bridge (detail), 19th century, colored woodblock print on paper

The Wonderful, The Curious, The Rare

Man and the Machine

Wonderful & Curious

Out of the Shadow

on view through August 8

Cornell Fine Arts Museum • Rollins CollegeTues-Fri 10-4 • Sat-Sun 12-5

Admission $5 • Free to members, children, and all students with IDFree Parking at Museum and SunTrust Parking Garage

Celebrating Rollins’ 125th Anniversary, fine paintings, sculptures and decorative objects that formed the genesis of the collection illustrate the expansive view of the world encouraged at Rollins from its earliest years.

Rare early 20th-century Stalinist-era propaganda posters, along with American and British World War I posters, depict the power of the image—and the artist—in social and political history.

This selection of works by 19th-century women focuses on the avenues of artistic education available to women of that time and the challenges they overcame to succeed in their endeavors.

Kochergin, Without Lenin, Along Lenin’s Path Forward to New Victories, 1933, Collection of the Cornell Fine Arts Museum

Mary Virginia Phillips (American, ca.1850-1923) The White Shawl, 1883, Private Collection

Emile-Louis Picault (French, 1839-1915) Le Pensée, ca.1890 Gift of George H. Sullivan Collection of the Cornell Fine Arts Museum


P A L M B E A C H

Gallery:Gavlak Gallerywww.gavlakgallery.com

Artist:ALEXIS MARGUERITE TEPLINCONCEPTUAL

painter, Alexis Marguerite Teplin, creates vibrant and engaging works in an impressionistic style, weaving art, historical data, modernist theories and pop culture into her work.

N A P L E S Gallery: Trudy Labell Fine Artwww.trudylabellfineart.com

Artist: Marc DennisDRAMATIC AND PASSIONATE, gentle and elegant, a Marc Dennis canvas captures it all. Imagine portraits of flowers saying so much—about nature, about life, about us. How ephemeral its beauty when a tiny insect, a change in weather, or an individual can destroy it in a flash. That moment of exquisite beauty is now!

G a l l e r y A r t i s t s

gallery

From left: Alexis Marguerite Teplin, The Nape of Her Neck, 2003, oil on found poster, courtesy of the artist and Gavlak, Palm Beach ; Marc Dennis, Discovery of Existence, oil on canvas, 28 x 52”, courtesy of the artist

N A P L E S Gallery: Longstreth Goldberg Artwww.plgart.com

Artist: Richard Currier“IN MY PAINTINGS, I have always been drawn towards dra-matic imagery, using contrasting elements of color, shape and space. I paint until the objects become more than what they are.”


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galleryM I A M I

Gallery: Etra Fine Artwww.etrafineart.com

Artist: Chris Reilly

NO MATTER WHAT FORM in which he works —sculpture, painting, or a mixture of paint-ing and photography—Chris Reilly’s technical virtuosity is stunning. His work has both emotional and spiritual depth.

M I A M I

Gallery:Dot FiftyoneGallerywww.dotfiftyone.com

Artist:ANDRES FERRANDISUSING COLOR, non-conventional media and materials, and strategic placement, Andres Ferrandis accomplishes pieces that capture the spectator’s curiosity for truth and thought. Andres’ work depicts an evident influence from constructiv-ist and architectural trends.

Clockwise from top left: Richard Currier, Resurrection series–Orchid, oil on canvas, 48 x 72”, courtesy of the artist; Andres Ferrandis, Gnidiub, mixed media, 34 x 34”, courtesy of Dot Fiftyone Gallery; Chris Reilly, Two Mayflies, encaustic on panel, 48 x 36”, courtesy of the artist

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K E Y W E S T

Gallery:Harrison Gallerywww.harrison-gallery.com

Artist:CINDY KULPCINDY HAS SPENT

the last seventeen years raising, studying and painting birds. She reveals the inner workings and what she calls the “narrative” of her subjects, as well as capturing their surface beauty.

S A R A S O T A Gallery: Dabbert Gallerywww.dabbertgallery.com

Artist: Eric Boyer“I HAVE BEEN INVOLVED WITH CREATING, artistically and otherwise, since my childhood. My work in wire mesh is a result of over twenty years of fascination with a material I discovered quite by accident, searching for a medium that I could best express myself with. Wire mesh itself is a material with no foreseeable limits as an artistic medium. My figurative work represents one narrow avenue of expression within a vast potential territory, which can include geometrical pieces, architectural installations, furnishings, two-dimensional work, and kinetic sculpture.”

From left: Cindy Kulp, Three Toucans, courtesy of the artist; Eric Boyer, Three Graces III, mesh sculpture, 33 x 33 x 6”, courtesy of the artist

C O R A L G A B L E S Gallery: The Americas Collectionwww.americascollection.com

Artist: Enrique Campuzano

EXTRAORDINARY in their ex-ecution, Enrique Campuzano’s hyper-realistic paintings seduce the viewer with rich colors and textural dimension.

PALM BEACH

Gallery:Holden Luntz Gallerywww.holdenluntz.com

Artist:JO WHALEYWITH A BACKGROUND

in painting and the scenic arts, Jo Whaley’s detailed color photogra-phy combines the sensuality of painting with the veracity

of the camera, and creates elaborate pho-tographic tableaux about the nature of the imagination.


B O C A R A T O N Gallery: Elaine Baker Gallerywww.elainebakergallery.com

Artist: Nobu Fukui EXHIBITING since the 1960s, Nobu Fukui’s work still pos-sesses impressive drive and energy. His dense and rhyth-mic paintings are animated with layers of newspaper clip-pings, patches of vivid, car-nival-like colors, swatches of fabric, beads, colored circles and other embellishments.

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Clockwise from top: Enrique Campuzano, Opus 708, oil on canvas, 39 x 32”, courtesy of the artist; Jo Whaley, Asterope, Chromogenic color photograph, 2008, 24 x 20”, signed and titled, courtesy of Holden Luntz Gallery; Nobu Fukui, Where Is This Ogre? (detail), 2007, mixed media on panel mounted canvas, 39 x 48”, courtesy of the artist

0 6 . 0 5 - 0 8 . 1 5


A T T H E

Art and Culture Center

of Hollywood

NATHANSAWAYA:R E P LAY

QUEEN, 2008, 14 x 32 x 14”;

PAWN, 2008, 10 x 20 x 10”;

BRICKARTIST.COM

RED, 2005,

24 x 49 x 26”

BACK BY popular demand, Nathan Sawaya: Replay is sure to ignite the imaginations of children and adults alike. Nathan Sawaya’s 2008 show drew the largest attendance in the Art and Culture Center’s 30+ year history!

Nathan creates awe-inspir-ing works out of some of the most unlikely things. This exhibition features large-scale sculptures using only toy build-ing blocks—LEGO® bricks to be exact. It’s the only exhibi-tion focusing exclusively on LEGO as an art medium. The creations, constructed from nearly one million pieces, were built from standard bricks. For Replay, the use of recycled LEGO bricks is emphasized in some of the works.

Born in Colville, Washing-ton, in 1973, and raised in Vene-ta, Oregon, Nathan’s childhood dreams were always fun. He

drew cartoons, wrote stories, perfected magic tricks and, apparently, mastered playing with LEGO. He later attended New York University where he earned a law degree and even-tually practiced law at the firm Winston & Strawn. This would not last for long. Nathan main-tained a passion for LEGO, but no longer as a toy, rather as a medium for creating art, and in 2001, decided to follow his dream and give up corporate law to, well—play with bricks.

“New York corporate attor-neys are known for working the long hours. I find myself work-ing long hours now as well, but I’m doing something I love—The worst day in the art studio is still better than the best day in the law firm,” he explained.

Nathan first gained national attention in 2004, when he won a nationwide search for a pro-fessional Lego Master Model Builder. After working for the LEGO company for six months, he branched off and opened his own art studio in New York, where he now has an inventory of more than 1.5 million LEGO bricks at his disposal.

Nathan’s work is stunning, playful and painstakingly craft-ed. The pieces can take up to

B


BLUE FACE MASK, 2009,

48 x 40 x 18”;

RED FACE MASK, 2009,

45 x 42 x 20”;

YELLOW FACE MASK, 2009,

38 x 32 x 16”

ALL IMAGES COURTESY OF

BRICKARTIST.COM


three weeks to build—each brick is glued in place. “These works are very personal to me, since they reflect my growth as an artist as I strove to discover my creative identity,” he said. “The museum exhibit is accessi-ble because it engages the child in all of us while simultaneously illuminating sophisticated and complex concepts.”

Nathan’s ability to trans-form LEGO bricks into some-thing fresh and imaginative, his devotion to scale and dimen-sion, as well as the sheer intri-cacy of the work enables him to elevate an ordinary toy to the status of fine art.

He enjoys seeing people’s reactions to his artwork and aims to captivate. “I strive to create artwork that is interest-ing and that is unlike anything they have seen before.”

Nathan’s art form takes shape primarily in 3-dimen-sional sculptures and oversized portraits. With what amounts to an endless range of possi-bilities, he continues to create daily, and his unique, one-of-a-kind creations are commis-sioned by companies, charities, celebrities, museums and gal-leries from around the world.

His work has been featured in numerous collections includ-ing: Lancaster Museum of Art in Lancaster, PA; Strong National Museum of Play in Rochester, NY; The Toy Muse-um in Bellaire, OH; Discovery Center Museum in Rockford, IL; and Stamford Museum in Stamford, CT.

If you are like us, you’ll leave the exhibit and head straight for the nearest toy store to buy a new LEGO set! On View

ABOVE:

SHOCKING

SELF-PORTRAIT,

2008, 30 x 38”

TOP:

COURTNEY, YELLOW,

2008, 30 x 45”

OPPOSITE:

STAIRWAY,

40 x 38 x 15”

ALL IMAGES COURTESY OF

BRICKARTIST.COM

O n V i e w • M a y 2 0 1 0 00

AmericanI M P R E S S I O N I S M

American Impressionism produced a unique

and optimistic manifestation of the American spirit.

IMPRESSIONISM, which began in France in the 1860s, was a reaction to the conservative realism and restric-tive rules of the French Academy. Major exhibitions of French Impressionist works in Boston and New York, in the 1870s, introduced the style to the American public.

Some of the first American artists to paint in this genre did so after visiting France. Some stayed in Europe for pro-longed periods or even settled there. The majority of them, however, returned to the US after several years of study and travel, full of new ideas about art, which they adapt-

Above: Childe Hassam, Old House, East Hampton (detail), 1917, oil on canvas, 20 x 30”, Bank of America Collection,Exhibition: Transcending Vision: American Impressionism 1870-1940, Works from the Bank of America Collection, Orlando Museum of Art


AmericanI M P R E S S I O N I S M

ed to their paintings of the American landscape. Many flourished in art colonies, located mainly in the Northeast, where they lived and worked together, and shared a common aesthetic vision.

The American style of Impressionism was similar to that of the French, although Ameri-can Impressionists tended to retain more struc-ture and realism in their work. Painting mostly en plein air, artists experimented with atmo-spheric effects and optical relationships between

light and color and used vibrant palettes. They often painted landscapes and scenes of leisure, but the real subject they were rendering was an overall sense of light. Whether painting tranquil landscapes or busy city streets, their aim was to delight the senses and elevate the spirit.

On the following pages, three current exhi-bitions, featuring renowned American Impres-sionists, offer tantalizing reflections of life and enchanting records of color and light. On View

CURRENT EXHIBITIONS. . .

THE SPECTACLE OF LIFE: THE ART OF WILLIAM GLACKENSMuseum of Art / Fort Lauderdale, Nova Southeastern University Pg. 46

WILLIAM V. KIRKPATRICK: AMERICAN IMPRESSIONISTMaitland Art CenterPg. 48

TRANSCENDING VISION: AMERICAN IMPRESSIONISM, 1870-1940, Worksfrom the Bank of America CollectionOrlando Museum of ArtPg. 44


AS PART OF THE OMA’ s Changing Land-scapes exhibition, Transcending Vision features 125 paintings, drawn from the Bank of Ameri-ca Collection, that demonstrate how American artists successfully transformed French Impres-sionism into their own artistic style.

These artists redefined Impressionism as a means of depicting the American rural and urban landscape, expressing ideas about how the rapidly changing country saw itself.

Paintings by a diverse group of more than 75 American artists, trace not only the develop-ment of Impressionism in America, but also the emergence of a truly American style of painting. Works by artists such as Arthur Wesley Dow, Herman Herzog, Childe Hassam, George Inness, John Sloan and Robert Spencer illustrate the full range of Impressionist qualities that captivated artists and audiences during a dynamic period in American history—and still do today. On View

E x h i b i t i o n

Transcending Vision:

On view through July 18th at the Orlando Museum of Art w w w. o m a r t . o r g

A M E R I C A N I M P R E S S I O N I S M , 1 8 7 0 - 1 9 4 0 Works f rom the Bank of America Col lect ion

Above: Arthur Wesley Dow, Flowering Field , 1889, oil on canvas, 14.25 x 20.25”, Bank of America Collection;Opposite: Robert Spencer, Afternoon Bathers (detail) , oil on canvas, 29.5 x 35.5”, Bank of America Collection

O n V i e w • M a y 2 0 1 0 00


WILLIAM GLACKENS (1870-1938) was an American Impressionist who is considered to be one of the most influential artists in the history of American Art. He co-founded what came to be called the Ashcan School art move-ment. This group of artists, dubbed by the press “The Eight”, chose to exhibit their works with-out pre-approval by the juries of the existing art establishment.

William became well known for his paint-

ings of street scenes and daily life in urban neighborhoods. His work always emphasized the reality of life and also the happiness and humor. His later paintings showed the influ-ence of Pierre-Auguste Renoir.

During much of his career as a painter, Wil-liam also worked as an illustrator for newspa-pers and magazines. A companion exhibition, Glackens as Illustrator, will be on view at the Museum through June 20th. On View

E x h i b i t i o n

The Spectacle of Life:T H E A R T O F W I L L I A M G L A C K E N S

On view at the Museum of Art / Fort Lauderdale, Nova Southeastern University

w w w. m o a f l n s u . o r g

Above: Cape Cod Pier, 1908, oil on canvas, collection of the Museum of Art / Fort Lauderdale, Nova Southeastern University, gift of an anonymous donor; Opposite: Dancer in Blue, ca. 1905, oil on canvas, collection of the Museum of Art / Fort Lauderdale, Nova Southeastern University, bequest of Ira Glackens

O n V i e w • M a y 2 0 1 0 00


WILLIAM KIRKPATRICK (1939-2004), who signed his canvases William Vincent, began painting at the age of ten and, soon after, won his first art contest, which was sponsored by the Lightner Museum of Art in St. Augustine. He later went on to study at the Maitland Art Center (formerly the Research Studio), then at Eastern New Mexico University. Having studied with the late writer and artist, Alfred Morang, in the mid 1950s, the influence of

Impressionism strengthened its hold on Wil-liam’s art. He became an Impressionist painter of landscapes, florals, figures, and portraits.

William traveled extensively and created his impressions of the world. His work can best be described as an explosion of color and light with an unrestrained use of dramatic patterns of brushwork. William’s florals expressed his love and spirituality of life. His work is col-lected worldwide. On View

E x h i b i t i o n

William V. Kirkpatrick: A M E R I C A N I M P R E S S I O N I S T

On view July 16th through September 5th at the Maitland Art Center

w w w. m a i t l a n d a r t c e n t e r. o r g

Above: Landscape 08; Opposite: Country House (detail);Works are by William Vincent Kirkpatrick and are on loan from Baterbys Art Auction Gallery

O n V i e w • M a y 2 0 1 0 00


USSR Strengthen Civil Aviation, 1933, lithograph, collection of Cornell Fine Arts Museum,

from the exhibition Man and the Machine

HTHE EARLY 20t h CENTURY presented soci-ety with a long list of difficulties—war, depression, racial tension and disease to name a few. Artistic representations of these phenomena often acted as a buffer between the horrors of reality and indi-viduals’ interpretations of the world. Art helped to inform, explain, and educate society about controversial issues. It was also used to influence people’s perceptions, and modern propagandists realized the persuasive power of art and used this power in contemporary propaganda campaigns.

Posters were a particularly successful form of propaganda because they incorporated bold and graphic images. These images helped to convey information to a wider audience, which included illiterate as well as foreign populations, and made

propagandistic messages clearer by adding detail and references. Perhaps most significant was their ability to draw emotional appeal. By associat-ing the picture with a part of their life, the viewer would become more accepting of the message.

Two distinctive exhibitions feature stunning examples of the power of art as propaganda. Man and the Machine, at Cornell Fine Arts Museum at Rollins College, offers a riveting display of Rus-sian and wartime propaganda posters. America at Work: Art and Propaganda in the Early 20th Cen-tury, at the Harn Museum of Art, presents a selec-tion of works from a popular campaign designed to promote excellence in the American workplace.

Each represents the power of the image—and the artist—in social and political history. On View

ARTTHE POWER OF

From war to the workplace: Art has influenced society’s perceptions & behaviors

O n V i e w • J u n e / J u l y 2 0 1 0 00


HE X H I B I T I O N

MAN & THE MACHINEOn view through August 1st at

Cornell Fine Arts Museum at Rollins College in Winter Parkcfam.rol l ins.edu

From left: Kochergin, Without Lenin, Along Lenin’s Path Forward to New Victories, 1933, lithograph, Cornell Fine Arts Museum; Alferov and A.V. Sokolov, Success of collectivization are the Triumphs of Lenin’s and Stalin’s Teachings, 1933, lithograph, Cornell Fine Arts Museum


FOLLOWING AN EXTENSIVE conservation process, Cornell Fine Arts Museum is premier-ing this exhibition of rare, Stalinist-era propaganda posters from the 1930s, which focus primarily on political discipline and the Five Year Plans, ambi-tious programs for the collectivization of agricul-ture and establishment of heavy industry. These posters give a powerful impression, using photo-montage, dynamic composition, and strong con-trasts in colors and shapes. Healthy, young work-ers and determined soldiers are the principal sub-

jects, as well as a friendly, smiling Joseph Stalin. The exhibition also features American and Brit-

ish posters from World War I. War posters were one of the most popular forms of propaganda art during the World Wars. Wartime art served to sig-nify a nation’s identity, symbolize customs and cultural heritage and reinforce patriotism. Poster themes utilized cultural stereotypes to prod men into battle and inspire women to motivate their men. Iconic imagery and catchy slogans contrib-uted to the success of these campaigns. On View

From left: Howard Chandler Christy (American, 1873-1954), Join the Navy, 1917, lithograph; Richard Fayerweather Babcock (American, 1887-1945), Join the Navy, 1917, lithograph

H THE POWER OF ART


HE X H I B I T I O N

AMERICA AT WORK:Art & Propaganda in the Early 20th Century

On view June 8th through September 5th at the Harn Museum of Art in Gainesville

www.harn.ufl .edu

From left: Mather & Company, 2 strikes, 3 balls and he knocks the last ball over the fence, 1925, lithograph on paper, 44 x 36”, lent by Ronald, Elizabeth and Lauren DeFilippo; Mather & Company, Be a tight wad! Own something!, 1924, lithograph on paper, 44 x 36”, lent by Ronald, Elizabeth and Lauren DeFilippo


AMERICA AT WORK addresses the theme of employment, a topic that is especially relevant today as the national economy struggles to recov-er from a serious recession. The main focal point of this exhibition is a group of 30 striking and unique American work incentive posters. These large posters with colorful designs, strong graph-ics and inspirational phrases were produced between 1924 and 1925 by Mather and Compa-ny, a Chicago-based lithographer, for the purpose of motivating workers, addressing workplace behavior, and ultimately maximizing profits.

Artists were commissioned to employ famil-

iar images such as racing trains, baseball games and sports figures along with simple and direct headlines. Messages such as “Don’t make excuses, make good” and “Let’s play to win” were intended to mold the worker and influence his or her work patterns and loyalties. Overall, these messages promoted teamwork and solid American values. Many of the artists were heavily influenced by the “Plakatstil,” or Post-er Style, made famous in Germany. The clean lines of the Mather posters, in turn, anticipated the streamlined and dynamic Art Deco designs that would dominate the next decade. On View

From left: Mather & Company, Know your goal! Keep on keeping on!, 1924, lithograph on paper, 44 x 36”, lent by Ronald, Elizabeth and Lauren DeFilippo; Mather & Company, Say it with snap! Get to the point, 1925, lithograph on paper, 44 x 36”, lent by Ronald, Elizabeth and Lauren DeFilippo

H THE POWER OF ART

{ S U R } R E A L I Z I N G a dream56 O n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 0

Paris has the EIFFEL TOWER ,

Sydney has the OPERA HOUSE—

St. Petersburg will have the

new DALÍ MUSEUM !

{ S U R } R E A L I Z I N G a dream

LIKE THE ARTIST HIMSELF, the new Salvador Dalí Muse-um will be one of a kind. Unexpected and enigmatic in form, its design captures the classical and the fantastic.

The Museum is being con-structed in the heart of down-town St. Petersburg, just south of the Mahaffey Theater, with-in the Progress Energy Cen-ter for the Arts, overlooking Tampa Bay. Groundbreaking on the $35 million project took place on December 12, 2008. The highly anticipated Grand Opening is slated for January 11, 2011 at 11am!

“The Board of Trustees of the Dalí Museum showed extraordinary confidence in art, in Dalí, in the St. Peters-burg community, and in the American economy by giv-ing this project the green light. They believe, as does the museum staff, that this com-munity will support a project so vital to art and to our econ-omy. It is an investment that will enrich this community far beyond its cost,” explained Museum Director, Hank Hine.

The new Dalí is designed by internationally acclaimed architect Yann Weymouth, Director of Design for Hell-

muth, Obata and Kassabaum (HOK), Florida. Weymouth worked with I.M. Pei on the Grand Louvre in Paris and, with HOK, he has led the design of the Hazel Hough Wing at the St. Petersburg Museum of Fine Arts, the Arthur F. and Ulla K. Searing Wing of the John and Mabel Ringling Museum of Art in Sarasota, and the new Frost Museum in Miami.

HOK’s focus was to be true to Dalí and the great legacy of the Morse family—to create a unique environment of expe-riential spaces that move per-ceptually with the visitor, but remain as classic and surpris-ing, as are Dalí’s works, without resorting to “melting clocks”.

DIVINE DESIGNThe building’s signature is the geodesic glass “Enigma”, a cascading river of glass spill-ing out from the center of the concrete geometric structure, which encloses the foyer and a grand spiral staircase that will soar heavenward from the ground floor to the museum’s main third level gallery. The helical staircase was derived from a series of mathemati-cal equations and resembles


OPPOSITE:

the museum foyer will

feature a grand

helical staircase,

resembling a

strand of DNA, which

Dalí recognized

as the presence of the

divine in nature.

Renderings of the

new Dalí courtesy HOK

BELOW:

the one and only

salvador dalí

L

a strand of DNA, which Dalí recognized as the presence of the divine in nature.

Another exciting part of the new museum is the foundation stone, a gift from the city of Cadaqués, Spain, taken from the same area that inspired Dalí in so many of his paint-ings. The stone will be used to support the corner of the museum at its entry.

At 66,450 sq. ft., more than twice the size of the original museum, the new Dalí will give visitors an opportunity to see so much more. Two banks of gal-leries, one for visiting exhibi-tions and another for the price-less permanent collection, will allow display of dynamic exhi-bitions by other artists while maintaining the most complete exhibit of Dalí in the world.


ABOVE:

Two banks of galleries

will allow display

of dynamic exhibitions

by other artists

while, at the same time,

maintaining the

most complete exhibit of

Dalí in the world.

The new museum will pro-vide the space and opportunity to better connect with the com-munity. A versatile theater and separate classrooms will allow expanded educational pro-grams. Students will gather what they’ve learned in the galleries and continue to study and create art. The theater will show Dalí’s films, such as Un chien andalou, on a regular

basis, and be a place for visi-tors to begin their Dalí journey with an orientation film.

The new Dalí will also feature a café, outdoor surreal gardens, an expanded store with a variety of new merchandise, a library, and community room for wed-dings, meetings and gatherings.

TREASURE BOXThe Salvador Dalí Museum is the permanent home of the most comprehensive collec-tion of the renowned Spanish artist’s work, outside Spain. Compiled by A. Reynolds Morse and Eleanor Morse over a 45-year period, the collection includes 96 oil paintings span-ning from 1917 through 1970, providing an excellent over-view of Dalí’s major themes and symbols. Also included


BELOW:

The theater will

show Dalí’s films on a

regular basis, and

be a place for visitors

to begin their Dalí

journey with

an orientation film.

are the Impressionist and Cub-ist styles of his early period, abstract work from his transi-tion to Surrealism, the famous surrealist canvases for which he is best known, and exam-ples of his preoccupation with religion and science during his classic period.

In addition, the collection

includes over 100 watercolors and drawings, 1,300 graphics, photographs, sculptures and objets d’art, and an extensive archival library. Periodic rota-tions of the collection and spe-cial exhibitions allow museum goers to view new work on repeat visits.

ENDURINGThe new museum comes with several practical extras, includ-

ing the waterfront building’s storm safety and its environ-mental elements, such as solar heating, water conservation and dehumidification—all to assure that the museum is as enduring as the artist’s body of work.

Safety is of paramount impor-tance. The current museum is a converted marine warehouse

built on the waterfront at sea level. Each storm threat requires the artwork be painstakingly moved to safety. This process alone puts the collection at great risk. In the new museum, art-work will be located above the floodplain on the third floor, protected from a Category Five storm surge. The walls will be poured with 18-inch thick con-crete and steel designed to with-stand 165 mph winds.


LEFT TO RIGHT:

Portrait of My Dead

Brother, 1963,

oil on canvas;

The Hallucinogenic

Toreador, 1969-70,

oil on canvas;

Gala Contemplating the

Mediterranean Sea

which at Twenty Meters

Becomes the Portrait

of Abraham Lincoln—Homage to Rothko

(Second Version), 1976

KEEPING THE FAITHAll but $6 million has been raised from federal, state, city and private funding. Salvador Dalí Museum leaders have made a request to the Pinellas County Tourist Development Council to cover $5 million of the shortfall in hotel room taxes. By law, revenue from

the 5 percent tax on commer-cial lodging is supposed to support advertising, events and, in some cases, facilities that stimulate more tourism.

The Dalí is presently rated by the Michelin Guide as the highest ranked museum in the American South, attracting 200,000 visitors a year, nine out of 10 from outside Pinel-las. According to Hine, 60 per-cent of visitors cite the muse-

um as their primary reason for coming to Pinellas County, and they spend 115,000 nights in the county’s hotels, a num-ber that would double in the new museum’s first year, he adds. The museum also esti-mates it generates about $50 million for the local economy every year.

Those numbers should reso-nate with the tourist council.If the TDC grants the Dalí’s request, museum backers believe they can raise the re-maining $1 million from pri-vate donors.

“We are convinced our community will rally and pro-vide the remaining funding to complete the new Dalí,” says Marcia Crawley, Director of Development. On View

ABOVE:

Archeological

Reminiscence of Millet’s

“Angelus” (detail),

1933-1935

ALL IMAGES COPYRIGHT:

In the USA: ©Salvador

Dalí Museum, Inc.,

St. Petersburg, Fl, 2010;

Worldwide rights:

©Salvador Dalí, Fundación

Gala-Salvador Dalí

(Artists Rights Society), 2010



In ter v iew

BEHINDTHE

SCENESAs the

MUSEUM OF

CONTEMPORARY ART,

NORTH MIAMI

prepared for the exhibition,

CLAIRE FONTAINE :

ECONOMIES,

on view June 3rd-August 22nd,

we chatted with

MOCA’s RUBA KATRIB

about the process.

Claire Fontaine, CHANGE, 2006, 12 twenty-five cent coins, steel box-cutter blades, solder and rivets, 90 x 40.5 x 40.5 cm (Pedestal), 32 x 40.5 x 40.5 cm (Plexiglass box), courtesy Galerie Neu, Berlin

Claire Fontaine, CHANGE, 2006, 12 twenty-five cent coins, steel box-cutter blades, solder and rivets, 90 x 40.5 x 40.5 cm (Pedestal), 32 x 40.5 x 40.5 cm (Plexiglass box), courtesy Galerie Neu, Berlin

OV: What first attracted MOCA to Claire Fontaine and how did you arrive at the decision to feature the artist in a solo exhibition?RK: I first worked with Claire Fontaine in a group

exhibition I curated at MOCA called The Pos-sibility of an Island, which opened in December of 2008. I have always been interested in their work and was very excited about including them in the exhibition. MOCA acquired a work from that


CLAIRE FONTAINE’S WORK is a passion-ate response to social and political issues facing the world today. Claire’s approach is often wry and wit-ty, but at the core is a heartfelt cry for action. Claire’s thoughts and observations are presented in a series of powerful works on display in Claire Fontaine: Economies at the Museum of Contemporary Art, North Miami, from June 3rd through August 22nd. The exhibition features older works, as well as new

interventions, in addition to films and videos that have influenced the artist. Claire Fontaine is actually a Paris-based artist collective. The name was lifted

from a French notebook supplier—an iconic brand familiar to schoolchildren and office workers. The collaborators who form Claire Fontaine consider them-

C1. My collar is clean, my underwear too..., 2008, stack of posters in English and German, 84 x 119 mm each, photo: Gunter Lepkowski, courtesy Galerie Neu, Berlin 2. You Pay, 2007, smoke on ceiling, 80 x 80 mm, courtesy the artist, Reena Spaulings Fine Art and Metro Pictures, NY

selves her “assistants” and cooperatively produce neo-conceptual art employing a diverse range of media including neon, video, sculpture, painting and words. Written texts are also at the core of Claire’s work and accompany all exhibitions.

A self-described “readymade artist”, Claire Fontaine experiments with the collec-tive protocols of production and détournement, and creates works often described as an ongoing interrogation of political impotence and powerlessness. Claire has a soft spot for radical protest and is particularly motivated by the Paris student uprisings that took place in the late 60’s, often referencing art of that period. In this respect, she may be considered somewhat nostalgic, however her focus is on the culture and political realities of today’s world. Claire’s disposition is antiauthoritarian. She has the soul of a revolutionary and loves neon signs, especially those emblazoned with radical slogans.

As MOCA prepared for Claire’s arrival, we chatted with Ruba Katrib, who is curating this exhibition, to get a feel for what goes on behind the scenes.

exhibition and soon after, plans were in formation for their first comprehensive solo museum exhibi-tion to take place this summer. Claire Fontaine has exhibited widely, but this is the first time they are able to fully articulate their practice in a large space.

OV: You recently completed work on another solo show, “Cory Arcangel: The Sharper Image”. Did you find this experience helpful in preparing for the Claire Fontaine exhibition?


In ter v iew

3. Untitled (Tennis Ball Sculpture), detail, 2010, one hundred used tennis balls enclosing various objects, dimensions variable 4. Instructions for the sharing of Private Property, 2006, digital video, Sony Trinitron box monitor on plinth, color and sound, 45’ 23”. Images courtesy of the artist, Reena Spaulings Fine Art and Metro Pictures, NY

RK: Cory Arcangel and Claire Fontaine are very different artists, but working with Cory and Claire present similar opportunities—to show a large amount of artwork by artists who exhibit often, but have not had their work totally contextu-alized.

OV: Can you give us an idea of how many works are included in this exhibition and how much help is needed to complete an in-stallation of this size? RK: There are approximately 25 works in the exhibition ranging in date from 2006 to the pres-ent. We are producing a lot of new works as well, so there is a great deal of effort involved. We work collaboratively, and every-one in MOCA pitches in—the entire staff is an asset to every exhibition, from installation, to programs, to PR.

OV: How collaborative is the relation-ship between curator and artist?

RK: Claire Fontaine and I have been in dialog for almost two years regarding this project, so a lot of ideas have bounced back and forth. We are in active dialog regarding every as-

pect of the exhibition.

OV: Installation art can test a lot of curatorial habits of mind and practice. What types of challenges can an exhibition of this type present?RK: Artists work in a variety of ways. It is the curator’s job to adapt to and understand these practices while translating them for the public. One thing that is exciting about Claire Fontaine is that they respond to the location of every exhibition, so there will be new works that relate directly to Miami.

OV: Can you tell us a little about these new works?RK: There are several new works. One example is a new video that was made in Miami featur-ing conversations that Claire Fontaine has with


“I THINK CLAIRE FONTAINE ASKS US TO POSE QUESTIONS INTO DAILY FACETS OF LIFE THAT ARE OFTEN

TAKEN FOR GRANTED. I HOPE VIEWERS TO THE EXHIBITION EXPERIENCE THIS RE-EXAMINATION.”

In ter v iew

taxi drivers. Another example is a large work that refers to the hotel advertisements so ubiq-uitous in this city.

OV: What has been the most enjoyable part of this process for you?RK: Having the opportunity to dive into Claire Fontaine’s practice has been terrific. I really have enjoyed our conversations, as well as writing and researching for the catalog. In addi-tion, it is always interesting to participate in the production of new artwork.

OV: Given we all have different beliefs and desires, what do you hope viewers may take away from the exhibition? RK: Claire Fontaine’s work asks us to recon-sider our experiences as art viewers, as well as members of society. Some of their works seem very simple, but on closer examination they contain complex meanings. I think Claire Fontaine asks us to pose questions into daily facets of life that are often taken for granted. I hope viewers to the exhibition experience this re-examination. On View


Capitalism Kills Love (Red/White/Blue), 2008, three colored painted neon, framework, sequencer and transformers, dimensions variable;Opposite: 519 West 24th Street (03.01.10), 2010, moulded alloy, fishing cable and nail, courtesy the artist and Reena Spauling Fine Art, NY

WE ALL HAVE fond memo-ries of kite-flying. It is practi-cally synonymous with Summer. Open park spaces, ocean beach-es and lakeside shores made for ideal takeoffs. Countless hours were spent watching these color-ful shapes dance across the sky.

Art on a String is an uplift-ing, inspirational and education-al exhibition consisting of more than 200 unusual and master-fully crafted kites collected in Asia—each created for a vari-ety of uses.

History indicates kites were flown in China and India as early as the seventh or eighth century. Priests used them as re-ligious tokens. Military leaders deployed them to transport sup-plies, and soldiers, across rivers. Kites were also utilized by the Chinese military to distract and confound their enemies by fly-ing explosives and fireworks over their heads, causing them to be-lieve evil spirits were attacking.

In Japan, kites were used to bring good luck in the produc-tion of grain. Merchants hung them as signs to advertise their wares. Japanese kites are also


CRAFT{ K I T E S }

E x h i b i t i o n

Art on a StringOn view June 4th-August 29th at the

Visual Arts Center of Northwest Floridawww.vac.org.cn

well-known for their beautiful artwork, which typically features characters from Japanese my-thology, folklore and religion.

In Thailand, farmers sent mes-sages to the gods on kites, plead-ing for the safety of their crops.

In Korea, families flew kites in honor of newborn baby boys to rid them of bad luck.

European explor-ers brought knowl-edge of kites from Asia to the west-ern world. In 1295, Marco Polo was the first to document this knowledge by sharing written ac-counts of how to construct and fly kites that he had seen in Asia. Descriptions of kites were more widely publi-cized in the fifteenth and six-teenth centuries, when books outlined their construction and use. Europeans considered them to be wonderful children’s toys during this time, and there are paintings depicting children fly-ing diamond-shaped kites dating back to at least 1618.

For centuries, kite masters have taken inspiration from birds. Flight has always been a highly admired quality by man and kites represent our first suc-cesses in aviation. Kites com-bine function with grace, color and beauty. Many countries have developed individual kite styles based on masters of the past, and

the images on mod-ern kites are often centuries old.

Traditional Chi-nese kites resemble not only birds but other natural ob-jects, such as but-terflies and flowers. Most have complex bamboo frames, covered with fine

paper or silk and some have pa-pier-mâché features. Many are exquisitely painted with elabo-rate decorations more suitable for display than flight, but all of the designs are based on sound aeronautical principles.

What better way to celebrate Summer than to experience the wonder and beauty of this amaz-ing art form. On View

Art on a String features

more than 200 unusual and

masterfully crafted

kites collected in Asia.

Kites combine FUNCTION with

grace, color and BEAUTY.

C R A F T

IN 1999 , Shai Kremer began a seven year project photograph-ing the ominous imprint of the military on the Israeli landscape. His goal was to reveal how ev-ery piece of land had become “infected” with the loaded sedi-ments of an ongoing conflict. As he explains, “My images mirror the psychological trauma and resulting ambivalence of liv-ing in a world of friction, they also warn against the vestiges of warfare becoming a perma-nent fixture in people’s lives.”

The images in this exhibition are aesthetic compositions. Ac-cording to Shai, “this parallels the defense mechanisms de-veloped by Israelis striving for normalcy and to protect them-selves from the reality of the current political situation. The scars concealed in the land-scape correspond to the wounds in the collective unconscious of the country. The photographs attract the viewer, seduce him closer, then challenge him to re-flect on their meaning and im-plications.”

Instead of confronting the subject of Israeli occupation


FOCUS{ S H A I K R E M E R }

E x h i b i t i o n

Shai Kremer: Infected LandscapeOn view through July 17th at the

Florida Museum of Photographic Arts, Tampawww.fmopa.org

in the way the world has been absorbing it through the news, Shai approaches it in a more subtle way. He believes that the media’s aggressive portrayal of reality changes people’s sen-sibilities and makes them cal-lous to the suffering of others. “One does not need to shock the audience in order to make an impact. I would rather challenge the viewer to think, us-ing the landscape as a platform for dis-cussion.”

The way Shai ap-proaches a shoot is intuitive. “I’m constantly driv-ing all throughout my country, taking roads never trav-elled and side ways. When I see a scene that, I feel, belongs to the project and my beliefs, I often come back several times to the site, at various hours, to work out a frame, a light and ev-erything that creates a picture.” The rigorous beauty of the im-ages is haunting. Shai’s mes-sage, while subdued, is clear.

Born in 1974, Shai grew up on Kibbutz Ga’ash in Israel. He received a BA at Camera Obscura School of the Arts in Tel Aviv, and a MFA, in 2005, from the School of Visual Arts in NY. He is currently based in NY and Tel Aviv. An emerging talent, Shai has received recog-nition for his work as a nominee

for the 2007 Santa Fe Prize and run-ner-up for both the Henri Cartier Bres-son Award in 2009 and for the Aper-ture Portfolio Prize in 2007. His work has been shown in numerous solo and group exhibitions throughout the US and abroad. His

work is also included in the collections of the Metropolitan Museum of Art in NY, the Mu-seum of Contemporary Pho-tography in Chicago, the Mu-seum of Fine Arts in Houston, the San Francisco Museum of Modern Art, the Israel Museum in Jerusalem, and the Tel Aviv Museum of Art. On View

ABOVE (TOP TO BOTTOM):

1. Burned olive trees and Katyu-

sha crater, Lebanon War, 2006

2. the separation wall,

Jerusalem, 2004

3. Military Ammunition

Storage Ten Years After the

Explosion, 2001

LEFT: Shai kremer,

courtesy of the artist

OPPOSITE (TOP TO BOTTOM):

1. Trench “Chicago” Ground

Force Training Zone, 2007

2. Soldiers’ viewing platform ,

Israel/Lebanon border, 2006

all images ©shai kremer

“One does NOT NEED TO SHOCK

the audience in order TO MAKE AN IMPACT.”

F O C U S

JOHN BISBEE is truly an iron man. He has worked with met-al for over 22 years and creates large-scale sculptures by weld-ing and forging nails and spikes into organic forms. His sculp-tures are both minimal and com-plex—and evoke a dialogue between natural forms and in-dustrial materials. He trans-forms heavy and ordinary hard-ware into elegant, intricate, and free-flowing works that nestle into symmetrical forms, cas-cade across walls, or cluster in corners. In a recent conversa-tion about his work, John ex-plained, “each piece is a new symbol in an infinite vocabu-lary. Because my material nev-er changes, the work must. Each piece is abstract and unique, created entirely by my hand.” A Secret Language showcases 6 of John’s works and includes both wall installations and free-standing sculptures.

John was born in 1965 and raised in Cambridge, MA. Cre-ative, rebellious, athletic and dyslexic, he struggled for years to find his place in the world—until he decided to become a


PROFILE{ J O H N B I S B E E }

E x h i b i t i o n

A Secret Language: Sculpture by John Bisbee

On view through June 27th at the Vero Beach Museum of Art

www.verobeachmuseum.org

sculptor. According to his moth-er, Ann Porter, “art saved his life.” As an artist, he became focused, dedicated and driven. John is influenced by nature and inspired by action. “If you do anything long and hard enough, discovery is inevitable,” he says, “and this action is an important part of my process.”

John received his B.F.A. from Alfred University in NY, and attend-ed the Skowhegan School of Paint-ing and Sculpture in Maine. He be-came inspired by metal during his se-nior year at Alfred University. At the time, he was mak-ing sculpture out of found ob-jects. While combing through an abandoned house for brown and broken fragments, he found a bucket of nails on the floor at the foot of a rusted bed. As he re-called, “I kicked over the buck-et but the nails were so rusted that they tumbled out as a solid chunk, still in the shape of the

bucket. I sat on the rotted bed, mesmerized. That afternoon I went to the hardware store and bought my first box of nails.” The rest, as we say, is history.

John also teaches at Bow-doin College in Maine. Those who first encounter his color-ful personality might not guess at the seriousness with which

he approaches his work. To his stu-dents, he is an in-spiration, but John claims that it is the students who en-rich him. “What they give to me is their youth and their discovery and surprise,” he says.

John’s work is included in the col-

lections of the Bowdoin College Museum of Art, the DeCordova Museum, The Albright-Knox Gallery, the Portland Museum of Art, at Microsoft, and in pri-vate collections. His work has been reviewed in Art in Ameri-ca, ARTnews, The New Yorker, The New York Times and The Boston Globe. On View


1. Helio, from Ton series,

2006, 12” steel spikes,

84 x 84 x 9”

2. Blossom, 2008, Hand-

forged, hammered nails,

51” diameter

3. Scale, 2007, Hand-

forged, hammered nails,

Dimensions variable

LEFT: John at work

on an installation

OPPOSITE: Plode, 2002,

12” steel spikes,

Each ball 2 1/2’ diameter,

10 ball assembly

all works: Collection

of the Artist

P R O F I L E

“Each PIECE is a new

SYMBOL in an infinite

VOCABULARY.”

ACCLAIMED ARTIST and au-thor James Gurney’s magical world of Dinotopia, a place where humans and dinosaurs live in harmony, comes to life in this enchanting exhibition with over 50 original oil paintings from the best-selling books, Dinotopia: A Land Apart From Time, 1992; Dinotopia: The World Beneath, 1995; and Di-notopia: Journey to Chandara, 2007, and presents fascinating examples of the illustrator’s cre-ative process, including prelim-inary studies, reference photos, and handmade scale-models.

Inspired by archaeology, lost civilizations, and the art of illus-tration, Dinotopia fuses fantasy with realism.“The thing I love about dinosaurs is that they are on that balance point between fantasy and reality,” says James. “It might be hard to believe that mermaids and dragons really existed, but we know that dino-saurs did—we can see their foot-prints and skeletons but we can’t photograph them or see them, except in our imagination.”

Dinotopia chronicles the adventures of explorer Arthur


SPOTLIGHT{ J A M E S G U R N E Y }

E x h i b i t i o n

Dinotopia: The Fantastical Art of James Gurney

On view June 5th-September 5th at the Norton Museum of Art, West Palm Beach

www.norton.org

Denison, and his son Will, on a mysterious island inhabited by dinosaurs and shipwrecked travelers. The land of Dinoto-pia—the product of Gurney’s fertile imagination—has its own language, festivals & parades, and a lively cast of characters.

As a young boy, James was captivated by the subject of dino-saurs and the dream of creating a fanta-sy world. This led to an interest in ar-chaeology and lost civilizations. He re-calls excavating his suburban backyard for arrowheads and “even a lost temple.”

James later ma-jored in anthropol-ogy at the University of Cali-fornia at Berkeley, and studied illustration at the Art Center College of Design in Pasadena.

Early in his career, he paint-ed jungle and volcano back-drops for animator Ralph Bak-shi and became interested in the fantasy genre. His big break came from National Geograph-

ic magazine with a series of as-signments working with scien-tists and historians to recreate ancient worlds. This inspired him to paint Waterfall City and Dinosaur Parade, which be-came the conceptual frame-work for Dinotopia.

James begins the process for each painting with thumbnail sketch-es and, on occasion, miniatures or ma-quettes. In certain instances he uses models and con-sults with experts to ensure scientif-ic or historical ac-curacy. After a line drawing is made, the oil painting be-gins. Most paintings

take from three days to a week, but some can take up to a month.

James is the recipient of many prestigious awards and his art appears in museum exhibitions around the world. He lives in the Hudson River Valley of New York with his wife, two sons, and a blue parakeet—a living descendant of dinosaurs. On View


1. The Excursion, 1995,

Illustration for Dinotopia:

Journey to Chandara, Oil

on canvas mounted to plywood

2. Waterfall City: Afternoon

Light, 2001, Illustration

for Dinotopia: Journey to

Chandara, Oil on canvas

3. archway scene: waterfall

city, 1992. Illustration

for Dinotopia: A Land Apart

from Time, Oil on board

LEFT: james gurney

OPPOSITE: Birthday Pageant,

1995, Illustration for Dinoto-

pia: The World Beneath, Oil

on canvas mounted to plywood

images courtesy of the artist

S P O T L I G H T

Inspired by archaeology and lost civilizations,

DINOTOPIA fuses fantasy with

realism.

CHICAGO HAS IT ALL—from cutting-edge architecture, legendary blues, scrumptious dining and lavish shopping to world-class museums, lakeside views, glorious parks, major-league baseball, and side-splitting improv…oh, and don’t for-get the deep-dish pizza! Chicago’s great magic lies in its mix, and although a bustling city, it is also serene, sophisticated and friendly, and it offers a stunning year-round array of things to see and do that are unique in all the world.

Among its many attractions, Chicago’s great diversity is apparent in its amazing museums. It is home to an impres-sive range of world-class art. On the following pages On View presents a brief overview of some of the city’s premier venues including the Chicago Cultural Center, Loyola University Mu-seum of Art, Mary & Leigh Block Museum of Art, the Museum of Contemporary Art, the Museum of Contemporary Photography, the Na-tional Museum of Mexican Art, the Smart Museum of Art, and The Art Institute of Chicago. On View

ChicagoThe museums. . .

VonD E S T I N A T I O N

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Osaka Gardens, © City of Chicago / GRC; postcards courtesy of www.ChicagoPostcardMuseum.org

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A “PEOPLE’S PALACE”, the Chicago Cultural Center cele-brates the arts, education, Chi-cago, and the world. People of all definitions, from near and far, come here to enjoy a mul-titude of exciting, and free, art exhibitions, music, dance, the-atre, film and family events.

The landmark building, con-structed over 100 years ago as the Chicago Public Library and a Civil War memorial, features both Greek-inspired and Roman-inspired archi-

tectural elements and orna-mentation.

The building is most nota-bly home to two magnificent stained-glass domes—the world’s largest Tiffany dome, measuring 38 feet in diameter with approximately 30,000 pieces of glass, as well as a Renaissance patterned dome, designed by Healy & Millet, measuring 40 feet in diameter with approximately 50,000 pieces of glass. The building’s beauty has been preserved through the years by meticu-lous restoration and is consid-ered one of Chicago’s premier destinations. On View

A

O N V I E W D E S T I N A T I O N : C H I C A G O

Chicago Cultural Center

CHICAGO CULTURAL CENTERwww.chicagocultural center.org

78 E. Washington St., Chicago, IL312.744.6630

Info

CLOCKWISE FROM

TOP RIGHT:

1. oculus of tiffany

stained-glass dome

(detail), Michael

Beasley Images

2. preston bradley hall

with tiffany dome,

Hedrich Blessing

Photographers

3. a view of the

Chicago cultural

center’s exterior,

Hedrich Blessing

Photographers

images © City of

Chicago / GRC


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hicagoChicagoO n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 0 81

A B R I L L I A N T G E M of Chicago’s museum scene, Loyola University Museum of Art (LUMA), was founded in 2005 on the Water Tower Campus of Loyola University Chicago. LUMA is located on the Magnificent Mile at the Water Tower in Lewis Towers, a historic 1927 Gothic Revival building. The Museum con-tains eight main exhibition gal-leries, a lecture hall, library and museum store.

LUMA is dedicated to the

exploration, promotion and understanding of art and artis-tic expression, and attempts to illuminate the enduring spiri-tual questions and concerns of all cultures and societies.

The Museum displays rotat-ing exhibitions and perma-nent collections, including the Martin D’Arcy Collection of medieval, Renaissance and Baroque art. Stunning ivories, enamels, painted sculpture and works by masters, such as Tintoretto and Bassano, are among the collection’s most important objects. On View

ACLOCKWISE FROM TOP:

1. THE WAY TO CALVARY,

16TH CENTURY, FOLLOWER OF

HIERONYMUS BOSCH

(NETHERLANDISH, 1450-

1516), OIL ON PANEL,

GIFT OF SPENCER SAMUELS

2. SCENES FROM THE LEGEND

OF DAVID AND GOLIATH,

FLORENTINE, CA. 1450,

TEMPERA ON PANEL

3. ERA & DONALD

FARNSWORTH, DHARMAKAYA,

2004, JACQUARD TAPESTRY,

COTTON, 116 x 79”

IMAGES COURTESY OF

THE MUSEUM


Loyola University Museum of Art

LOYOLA UNIVERSITY MUSEUM OF ARTwww.luc.edu/luma

820 N. Michigan Ave.Chicago, IL312.915.7600

Info

Info

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M A R Y & L E I G H B L O C K Museum of Art, Northwest-ern University, is the fine arts museum of Chicago’s North Shore. A permanent collection, consisting primarily of works on paper, distinguishes the Block as an important reposi-tory of original works of art.

The museum currently has over 4,000 pieces in its collec-tion which includes a remark-able sampling of old master to 19th century prints and draw-ings, modern and contempo-

rary prints, photographs, and architectural drawings. Stuart Davis, Albrecht Dürer, Jasper Johns and Rembrandt are just a few of the artists represented.

An integral part of the Museum’s indoor and outdoor environments is the sculpture collection. A tour of the sculp-ture garden includes works by Hans Arp, Barbara Hepworth, Joan Miró and Henry Moore. On View

M


Mary & Leigh Block Museum of Art

MARY & LEIGH BLOCK MUSEUM OF ARTwww.blockmuseum.northwestern.edu

40 Arts Circle DriveEvanston, IL847.491.4000

CLOCKWISE FROM TOP:

1. museum exterior

2. Marion Mahony Griffin,

drawing of eucalyptus,

ink-on-silk

3. Mary Cassatt,

In the Omnibus, 1890–91,

color aquatint,

soft-ground, and

drypoint on light

cream laid paper,

Mary & Leigh Block

Museum of Art,

Northwestern University,

Gift of James and

Anne DeNaut

IMAGES COURTESY OF

THE MUSEUM


Info

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hicagoChicago

LOCATED IN THE HEART of downtown Chicago, the Museum of Contemporary Art (MCA) has outstanding exam-ples of visual art, from 1945 to the present, with a strong focus on surrealism, pop art, minimal-ism, conceptual art and con-temporary painting, sculpture, photography, video, installation art, and related media. Its col-lection includes works by Alex-ander Calder, Jeff Koons, Rene Magritte, Claes Oldenburg and Andy Warhol.

The MCA was established in 1967 and moved to its pres-ent location in 1996. The five-story limestone and aluminum structure was designed by Ber-lin architect, Josef Paul Klei-hues, and contains 45,000 sq. ft. of gallery space, making it the largest institution devoted to contemporary art in the coun-try. An architectural highlight is the Museum’s main stairway which combines clean lines and organic form. The museum has a shop featuring one-of-a-kind items and a café overlooking a sculpture garden. On View

CLOCKWISE FROM TOP:

1. JEFF KOONS, RABBIT,

1986, STAINLESS STEEL,

41 x 19 x 12”, PARTIAL

GIFT OF STEFAN T. EDLIS

AND H. GAEL NEESON

2. A VIEW OF THE MUSEUM’S

MAIN STAIRWAY

3. RENÉ MAGRITTE (1898-

1967), LES MERVEILLES

DE LA NATURE (THE WONDERS

OF NATURE), 1953, OIL

ON CANVAS, 30 1/2 x 38 5/8”,

GIFT OF JOSEPH AND

JORY SHAPIRO

IMAGES COURTESY OF

THE MUSEUM


Museum of Contemporary Art,

Chicago

MUSEUM OF CONTEMPORARY ART, CHICAGOwww.mcachicago.org

220 E. Chicago Ave.Chicago, IL312.280.2660

Info

L


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T H E M U S E U M of Contem-porary Photography is the only museum in the Midwest with a sole focus on contemporary photography. The Museum constantly seeks out local and international talent. By present-ing projects and exhibitions that embrace a wide range of con-temporary aesthetics and tech-nologies, the museum promotes a greater understanding of and appreciation for the cultural, social and political implications of the image in our world today.

The Museum’s collections uniquely illustrate the diversity of regional, national, and inter-national photographic practice. The permanent collection is comprised of more than 9,000 photographs and related objects produced since 1936, including works by Ansel Adams, Henri Cartier-Bresson, Julia Margaret Cameron, Walker Evans, Irving Penn, Aaron Siskind, and Victor Skrebneski. The Midwest Pho-tographers Project is a rotating archive of contemporary works by artists living and working in the Midwest. On View

T CLOCKWISE FROM TOP:

1. MICHAEL WOLF,

THE TRANSPARENT CITY 06,

(DETAIL), 2008, CHRO-

MOGENIC DEVELOPMENT

PRINT, MUSEUM PURCHASE

2. JOHN OPERA, UNTITLED

(FLAME IN WATERFALL),

2006, ARCHIVAL INKJET

PRINT, MUSEUM PURCHASE

3. DOROTHEA LANGE,

MIGRANT MOTHER, NIPOMO,

CALIFORNIA, 1936,

GELATIN SILVER PRINT,

GIFT OF SONIA BLOCH

IMAGES COURTESY OF

THE MUSEUM


Museum of ContemporaryPhotography

MUSEUM OF CONTEMPORARY PHOTOGRAPHYwww.mocp.org

600 S. Michigan Ave.Chicago, IL312.663.5554

Info


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hicagoChicago

THE NATIONAL MUSEUM of Mexican Art (NMMA) carries the unique distinction of being the largest Latino cultural organization in the US, housing one of the larg-est collections of Mexican art, including textiles, folk art, paintings, sculptures, photog-raphy and more.

The Museum is dedicated to stimulating and preserving knowledge and appreciation of Mexican culture from ancient times to the present, and show-

ing how it has manifested itself on both sides of the border.

The current collection includes more than 6,500 ob-jects, featuring prominent works by Mexican artists and artifacts from Mexican his-tory. The permanent exhibit, Mexicanidad: Our Past is Present, explores the history of Mexico in five stages: Pre-Cuauhtémoc Mexico, Colo-nial Mexico, Mexico from Independence to Revolution, Post-Mexican Revolution to Present-day Mexico and The Mexican Experience in the US. On View

O N V I E W D E S T I N A T I O N :C H I C A G O

National Museum of Mexican Art

NATIONAL MUSEUM OF MEXICAN ARTwww.nationalmuseum ofmexicanart.org

1852 W. 19th St.Chicago, IL 312.738.1503

Info

T


CLOCKWISE FROM TOP:

1. ALFREDO ARREGUIN,

CORRIDOS DE MI TIERRA (DETAIL),

2004, OIL ON CANVAS

2. HEAD FRAGMENT WITH

SMILING FACE, REMOJADAS,

LATE CLASSIC (600–900 C.E.),

EARTHENWARE, GIFT OF

THE SNITE MUSEUM OF ART,

UNIVERSITY OF NOTRE DAME

3. ART DIRECTION BY

SANTOS MOTOAOPOHUA DE

LA TORRE DE SANTIAGO,

EL NUEVO AMANECER (DETAIL),

2003, CHAQUIRA BEADS

IN CAMPECHE WAX ON WOOD,

94 3/4 x 118 3/4”, PHOTO:

MICHAEL TROPEA

ALL WORKS FROM THE

NATIONAL MUSEUM

OF MEXICAN ART

PERMANENT COLLECTION

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F O U N D E D I N 1 9 7 4 with a gift from the Smart Fam-ily Foundation and designed by the renowned architect Edward Larrabee Barnes, the Smart Museum of Art houses a permanent collection of over 10,000 objects, spanning five millennia of both Western and Eastern civilizations.

Particular strengths of the collection include European and American modern and contemporary works, East Asian art, and works on paper

from all periods. Highlights from the collection include ancient Greek vases, furni-ture, medieval sculpture, Old Master paintings, and Tiffany glass. Works by artists such as Ansel Adams, Degas, Matisse, Henry Moore, Diego Rive-ra, Rodin, Mark Rothko and Frank Lloyd Wright are repre-sented.

Stop off in the quaint Muse-um Café for a repast during your tour. In the summer, you can dine outdoors in the Eden Sculpture Garden. On View

FCLOCKWISE FROM TOP:

1.FRANK LLOYD WRIGHT

(1867-1959), DINING

TABLE AND SIX SIDE CHAIRS,

55 5/8 x 96 1/4 x 53 1/2”,

TABLE: OAK, LEADED

COLORED AND OPAQUE

GLASS, CERAMIC; CHAIRS:

OAK WITH (REPLACEMENT)

LEATHER SLIP SEAT,

UNIVERSITY TRANSFER

2. BARBARA HEPWORTH

(1903-1975), CURVED FORM

(WAVE II), 1959, 15 3/4 x

18”, PAINTED CAST BRONZE

WITH STEEL RODS, THE

JOEL STARRELS, JR.

MEMORIAL COLLECTION

3. HENRY MOORE (1898-

1986), TWO FIGURES, 1939,

22 x 15”, PENCIL, CHAR-

COAL, PEN AND INK, AND

PASTEL ON WOVE PAPER,

THE JOEL STARRELS, JR.

MEMORIAL COLLECTION

IMAGES COURTESY OF

THE MUSEUM


Smart Museum of Art/University

of Chicago

SMART MUSEUM OF ARTUNIVERSITY OF CHICAGOwww.smartmuseum. uchicago.edu

5550 S. Greenwood Ave.Chicago, IL 60637773.702.0200

Info


ChicagoC

hicagoChicago

T H E A R T I N S T I T U T E O F Chicago ranks among the city’s most-visited museums and houses one of the finest art col-lections in the world, offering visitors a rich cultural experi-ence that is not to be missed.

The Institute was founded nearly 125 years ago, and has grown through adversity, hav-ing originally been built on the rubble of the 1871 Chicago fires. Today, the Institute houses a myriad of exhibits and perma-nent collections which include

prints and drawings, an interna-tionally acclaimed collection of Impressionist and Post-Impres-sionist paintings, sculptures, photographs, Asian, African and American arts, architectural drawings, textiles and more.

Highlights from the collec-tion include such masterpieces as Edward Hopper’s Night-hawks, Grant Wood’s Ameri-can Gothic, Georges Seurat’s A Sunday on La Grande Jatte, and Pablo Picasso’s The Old Guitar-ist to name a few.

The museum also has an ele-gant restaurant and courtyard café (open June-Sept). On View

O N V I E W D E S T I N A T I O N :C H I C A G O

The Art Institute of Chicago

THE ART INSTITUTE OF CHICAGOwww.artinstituteofchicago.org

111 S. Michigan AveChicago, IL 60603 312.443.3600

Info

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CLOCKWISE FROM TOP:

1. EDWARD HOPPER (1882-1967),

NIGHTHAWKS, 1942, OIL ON

CANVAS, 33 1/8 x 60”, S.L.R.

EDWARD HOPPER, FRIENDS OF

AMERICAN ART COLLECTION

2. SALVADOR DALÍ (1904–1989),

VENUS DE MILO WITH DRAWERS,

1936, PAINTED PLASTER

WITH METAL PULLS & MINK POM-

POMS, 38 5/8 x 12 3/4 x 13 3/8”,

THROUGH PRIOR GIFT OF

MRS. GILBERT W. CHAPMAN,

© 2008 SALVADOR DALI, GALA-

SALVADOR DALI FOUNDATION /

ARTISTS RIGHTS SOCIETY, NY

3. GRANT WOOD (1891-1942),

AMERICAN GOTHIC, 1930,

OIL ON BEAVER BOARD,

30 3/4 x 25 3/4”, FRIENDS OF

AMERICAN ART COLLECTION

IMAGES COURTESY OF THE MUSEUM

BRING ON THE GALLERIES! Often called the “Second City” to New York, Chicago has thriving gallery districts that prove this city to be anything but. From glass sculpture to black-and-white vintage photography to modern and contemporary painting and sculpture, Chicago’s art galler-ies feature a myriad of genres with an appeal to novice col-lectors, as well as to the more seasoned.

This so-called “Second City” demonstrates that not only is it first class when it comes to the world of art, but it has a warmer, more inviting feel for visitors who appreciate art. Chicago’s galleries present the works of some of the most important and innovative artists. From the lesser known to the renowned Masters, collectors and enthusiasts of fine art can expect the best the art world has to offer.

On the following pages, On View presents a listing of Chicago’s most distinctive galleries. On View

O n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 0 2 0 1 0 89

ChicagoA gallery tour. . .

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Jay Pritzker Pavilion, © City of Chicago / GRC; postcard courtesy of www.ChicagoPostcardMuseum.org

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River North Area

ADDINGTON GALLERY

www.addingtongallery.com

704 North Wells St.

312.664.3406

Contemporary art

ALAN KOPPEL GALLERY

www.alankoppel.com

210 West Chicago Ave.

312.640.0730

Contemporary art

ALDO CASTILLO

GALLERY

www.artaldo.com

675 North Franklin St.

312.337.2536

Contemporary art

ANDREW BAE GALLERY

www.andrewbaegallery.com

300 West Superior St.

312.335.8601

Contemporary Asian art

ANN NATHAN GALLERY

www.annnathangallery.com


312.664.6622

Contemporary art

BELLOC LOWNDES

FINE ART

www.belloclowndes.com


312.266.2222

Modern & contemporary art

CATHERINE EDELMAN

GALLERY

www.edelmangallery.com


312.266.2350

Contemporary art

DAVID WEINBERG

GALLERY

www.davidweinberggallery.com


312.529.5090

Contemporary art

GALERY KH

http://gallerykh.com


312.642.0202

Contemporary art

GRUEN

GALLERIES

www.gruengalleries.com


312.337.6262

Contemporary art

HABATAT

GALLERIES

www.habatatchicago.com


312.440.0288

Contemporary art

JEAN ALBANO GALLERY

www.jeanalbano-artgallery.com


312.440.0770

Contemporary art

JOSEF GLIMER

GALLERIES

www.josefglimergallery.com


312.787.4640

Masters, modern & contemporary art

KEN SAUNDERS GALLERY

www.marxsaunders.com


312.573.1400

Glass sculpture

MELANEE COOPER

GALLERY

www.melaneecoopergallery.com

740 North Franklin St.

312.202.9305

Contemporary art

O N V I E W D E S T I N A T I O N • C H I C A G O : A g a l l e r y t o u r


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MONGERSON

GALLERIES

www.mongersongalleries.com

704 North Wells St.

312.943.2354

19th & 20th century and contemporary art

NICOLE GALLERY

www.nicolegallery.com

230 West Huron St.

312.787.7716

Contemporary art

PERIMETER

GALLERY

www.perimetergallery.com


312.266.9473

Contemporary art

PORTALS

GALLERY

www.portalsgallery.com

742 North Wells St.

312.642.1066

Contemporary art

RICHARD NORTON

GALLERIES

www.richardnortongallery.com

612 Merchandise Mart Plaza

312.644.8855

19th & 20th century impressionist & modern art

ROY BOYD

GALLERY

www.royboydgallery.com

739 North Wells St.

312.642.1606

Contemporary art

SCHNEIDER

GALLERY

schneidergallerychicago.com


312.988.4033

Contemporary photography

STEPHEN DAITER

GALLERY

www.stephendaitergallery.com


312-787-3350

20th century American & European photography

VALE CRAFT

GALLERY

www.valecraftgallery.com


312.337.3525

Contemporary fine craft

ZG GALLERY

www.zollaliebermangallery.com


312.654.9900

Contemporary art

ZOLLA / LIEBERMAN

GALLERY

www.zollaliebermangallery.com

325 West Huron St.

312.944.1990

Contemporary art

ZYGMAN

VOSS GALLERY

www.zygmanvossgallery.com


312.787.3300

17th-20th century masters & contemporary art

South Loop Area, Michigan Avenue, & River East

ATLAS

GALLERIES

www.atlasgalleries.com

535 North Michigan Ave.

800.423.7635

Master prints & contemporary art



River North Area continued...

Getarnte Landschaft / RiverastrandA v q r A

33.5 x 59 h

Konrad Winter:

Still Life II -Pr K k E r r

30 x 64 h

Bill Durgin:

h , I 312-226-3444 | www.patrajdas.comby

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COLLETTI GALLERY

www.collettigallery.com

67 East Oak St.

312.664.6767

Antique posters & decorative arts

DONALD YOUNG

GALLERY

www.donaldyoung.com

224 South Michigan Ave.

312.322.3600

Contemporary art

HILDT GALLERIES

www.hildtgalleries.com

617 North State St.

312.255.0005

19th & 20th century British, European & American art

HILLIGOSS

GALLERIES

www.hilligossgalleries.com


312.755.0300

Masters & contemporary art

KAMP GALLERY

www.kampgallery.com

140 East Walton St.

312.664.0090

Period & contemporary art

OGILVIE /

PERTL GALLERY

www.opgallery.com

435 East Illinois St.

312.321.0750

Contemporary art

POSTER

PLUS

www.posterplus.com

200 South Michigan Ave.

312.461.9277

Original vintage & fine art posters

RICHARD

GRAY GALLERY

www.richardgraygallery.com


312.642.8877

Contemporary art

ROSENTHAL

FINE ART

www.rosenthalfineart.com

3 East Huron St.

312.475.0700

20th century American & European art

SPENCER WEISZ

GALLERIES, LTD.

www.spencerweisz.com

843 West Chicago Ave.

312.527.9420

Original European vintage posters

VALERIE

CARBERRY

GALLERY

www.valeriecarberry.com


312.397.9990

Contemporary art

West Loop, Pilsen Area & The Chicago Arts District

4ART, INC.

www.4artinc.com

1029 West 35th St.

773.254.5100

Contemporary art

CARRIE SECRIST

GALLERY

www.secristgallery.com

835 West Washington Blvd.

312.491.0917

Contemporary art



South Loop Area, Michigan Avenue, & River East continued...

ART GALLERY / CUSTOM FRAMING / GRAPHIC & WEB DESIGN

Chi

cago

Chi

cago

Chi

cago

DOUGLAS

DAWSON

GALLERY

www.douglasdawson.com

400 North Morgan St.

312.226.7975

Historic & contemporary art

FUNCTION + ART

www.functionart.com

1046 West Fulton Market

312.243.2780

Contemporary objects, furniture & sculpture

KASIA KAY

ART PROJECTS

www.kasiakaygallery.com

215 North Aberdeen St.

312-944-0408

Contemporary art

KAVI GUPTA

GALLERY

www.kavigupta.com


312.432.0708

Contemporary art

LINDA WARREN

GALLERY

www.lindawarrengallery.com


312.432.9500

Contemporary art

MARS

GALLERY

www.marsgallery.com


312.226.7808

Contemporary art

MCCORMICK

GALLERY

www.thomasmccormick.com


312.226.6800

Contemporary art

PETER MILLER

GALLERY

www.petermillergallery.com

118 North Peoria St.

312.951.1700

Contemporary art

RHONA

HOFFMAN

GALLERY

www.rhoffmangallery.com

118 North Peoria St.

312.455.1990

Contemporary art

THOMAS ROBERTELLO

GALLERY

www.thomasrobertello.com

939 West Randolph St.

312.421.1587

Contemporary art

North, Bucktown, & Wicker Park Area

CHICAGO

ART SOURCE

www.chicagoartsource.com

1871 North Clybourn Ave.

773.248.3100

Contemporary art

MADRON GALLERY OF

AMERICAN ART

www.madrongallery.com

1000 West North Ave.

312.640.1302

Contemporary art

THOMAS MASTERS

GALLERY

www.thomasmastersgallery.com

245 West North Ave.

312.440 2322

Contemporary art On View



West Loop, Pilsen Area & The Chicago Arts District continued...

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on view 06-07.2010

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