on view 10-12.2012

Von iewO C T O B E R / D E C E M B E R 2 0 1 2F L O R I D A

POP ART Revisited:A 21st CenturyPerspectiveA T T H E V E R O B E A C H

M U S E U M O F A R T

In VIBRANT Color: Vintage Celebrity Portraits from the Harry Warnecke Studio A T T H E P O L K

M U S E U M O F A R T ,

L A K E L A N D

DUANE Hanson:

Sculptures & Photographs,

1978-1995A T T H E M U S E U M

O F F L O R I D A A R T ,

D E L A N D

The MODERNImpulse:

Photography from Europe and

America Between the wars

A T T H E S A M U E L P .

H A R N M U S E U M O F A R T ,

G A I N E S V I L L E

2 O n V i e w M a g a z i n e . c O M • O c t O b e r / D e c e m b e r 2 0 1 2

ON THE COVER :

JASPER JOHNS, FIGURE 7,

FROM THE COLOR

NUMERALS SERIES, 1969,

COLOR LITHOGRAPH, 38 x 31”,

COLLECTION OF

MR. AND MRS. JAMES SINGER

RIGHT:

JASPER JOHNS, FLAGS 1,

1973, SCREENPRINT, EDITION OF

65 PLUS ARTIST’S PROOFS,

27-3/8 x 35-1/2”, GIFT OF HILDE

BABIN IN HONOR OF

WILLIAM S. YOUNGMAN, JR.,

©JASPER JOHNS/LICENSED

BY VAGA, NEW YORK

52 Vero Beach POP ART REVISITED: A 21st CENTURY PERSPECTIVE Presented by the Vero Beach Museum of Art, Pop Art Revisited includes a selection of iconic works by the major artists associated with one of the 20th century’s most important art movements.

CONTENTSO c t o b e r / D e c e m b e r 2 0 1 2 V o l . 3 , N o . 4

Von iewO C T O B E R / D E C E M B E R 2 0 1 2F L O R I D A

POP ART Revisited:A 21st CenturyPerspectiveA T T H E V E R O B E A C H

M U S E U M O F A R T

In VIBRANT Color: Vintage Celebrity Portraits from the Harry Warnecke Studio A T T H E P O L K

M U S E U M O F A R T ,

L A K E L A N D

DUANE Hanson:

Sculptures & Photographs,

1978-1995A T T H E M U S E U M

O F F L O R I D A A R T ,

D E L A N D

The MODERNImpulse:

Photography from Europe and

America Between the wars

A T T H E S A M U E L P .

H A R N M U S E U M O F A R T ,

G A I N E S V I L L E

66 Lakeland

IN VIBRANT COLOR: VINTAGE CELEB-RITY PORTRAITS FROM THE HARRY WARNECKE STUDIOPolk Museum of Art is hosting the National Portrait Gallery’s stun-ning new show, featur-ing vivid color portraits of celebrities who rose to fame at a time when color photography was in its infancy.

O n V i e w M a g a z i n e . c O M • O c t O b e r / D e c e m b e r 2 0 1 2 3

TOP (LEFT TO RIGHT):

HARRY WARNECKE, ROBERT F.

CRANSTON AND GUS

SCHOENBAECHLER, EDGAR BERGEN

(DETAIL), 1948; norman

rockwell, Art Critic, 1955,

tear sheet (detail),

cover illustration for

The Saturday Evening Post,

April 16, 1955; platon,

Silvio Berlusconi (detail),

Prime Minister, Italy; Duane

Hanson, Bodybuilder, 1989

RIGHT:

EDWARD WESTON,

PEPPER 30, 1930,

GELATIN SILVER PRINT,

ON LOAN FROM A PRIVATE

FLORIDA COLLECTION, ©1981

CENTER FOR CREATIVE

PHOTOGRAPHY, ARIZONA

BOARD OF REGENTS

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

76 Vero Beach

NORMAN ROCKWELL: BEHIND THE CAMERA Vero Beach Museum of Art presents a land-mark exhibition that unveils a significant new body of Rockwell imagery in an unex-pected medium.

86 Tampa

PORTRAITS OF POWER: PHOTO-GRAPHS BY PLATON See the world’s most powerful personalities, up close and personal, in an extraordinary presentation at the Florida Museum of Photographic Arts.

94 DeLand

DUANE HANSON:SCULPTURES & PHOTOGRAPHS, 1978-1995 Viewers are sure to marvel at the art-istry presented in this startlingly lifelike display of hyperrealistic works by sculptor, Duane Hanson, at the Museum of Florida Art.102 Gainesvil le

THE MODERN IMPULSE: PHOTOGRAPHY FROM EUROPE AND AMERICA BETWEEN THE WARS Covering the years between 1918 and 1945, The Modern Impulse, at the Samuel P. Harn Museum of Art, explores how the newly portable 35mm camera was celebrated as an instrument of poetry, analysis and social change.

CONTENTSO c t o b e r / D e c e m b e r 2 0 1 2 V o l u m e 3 , N o . 4

5COMMENTARY

6MUSE Festive events for art lovers to enjoy this holiday season

8CALENDAR Museum exhibitions

48GALLERYA selection of gallery artists and exhibitions


R e t r o s p e c t i ve

112 HENRI CARTIER-BRESSONThe Man, the Image & the World, at Tampa Muse-um of Art, pays tribute to renowned photographer, Henri Cartier-Bresson. Fo r m

114 LYDIA AZOUTThe Patricia & Phillip Frost Art Museum pres-ents Out of the Ordinary Geometry, an exhibition of powerful sculptures by Lydia Azout.

C r a f t

116NINGYŌEntertaining the Gods and Man: Japanese Dolls and the Theater, at the Morikami Museum and Japanese Gardens, shines light on a little-explored area of Japanese culture.

O n Vi e w Dest inat ion

WASHINGTON, DC

118 The Museums: An overview of

the capital city’s outstanding art venues

132 Gallery Tour: A listing of fine art galleries

C O M M E N T A R Y

Fo r d e c a d e s, a r t i s t s h a v e c a p t u r e d o u r attention with works inspired by mainstream Amer-ican culture. From the pioneers of Pop Art, who shared an obsession with urban culture and mass media (Pop Art Revisited: A 21st Century Perspec-tive, on pg. 52), to photographers such as Henry Warnecke, whose vivid, uplifting and kitschy imag-es of American celebrities, reflect the popular cul-ture of the 1930s and ’40s (In Vibrant Color: Vin-tage Celebrity Portraits from the Harry Warnecke Studio, on pg. 66), to Norman Rockwell’s nostalgic depictions of the people and events taking place in small-town America (Norman Rockwell: Behind the Camera, on pg. 76) and the hyperrealistic works of Duane Hanson, whose startlingly lifelike sculp-tures of Americans from all walks of life, continue to mesmerize audiences of all ages (Duane Han-son: Sculptures & Photographs, 1978-1995, on pg. 94), these artists have drawn from everyday objects, images and events to create a heightened awareness of our environment. Through their artistry, we see our world in a different light.

These stunning shows are just a sampling of the extraordinary talent on view in fine art museums and galleries throughout Florida, and I hope they may inspire you to venture out and experience them in person. Let’s go...

Made In America

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 Editor

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

O n V i e w M a g a z i n e . c O M • o c t o b e r / d e c e M b e r 2 0 1 2 5

Von iewM A G A Z I N E

image courtesy of orlando museum of art

O R A L L W H O E N J O Y A R T

and the magic of the holidays, here are a few events you might like to

consider...

DUNEDIN: From November 3rd through December 21st, Dunedin

Fine Art Center presents Behold!, an annual invitational holiday exhi-

bition featuring a collection of fine art, craft and design from around the

country. Call for details: 727.298.DFAC

LAKELAND: The Polk Museum of Art celebrates Kwanzaa on

December 26th. Kwanzaa is a celebration of African-American culture,

but this party is for everyone! Learn about the principles that Kwanzaa is

founded upon and do a little dancing too! Call for details: 863.688.5423

OCALA: Opening November 16th, the Appleton Museum of Art pres-

ents A Dickens’ Christmas: The Urban Family Holiday Collection, an

exhibition of miniature Charles Dickens-era villages, toy trains, Christmas trees, holiday decorations and ornaments. Call for details: 352.291.4455

FCelebrate

MUSE

ORLANDO: The Orlando Museum of Art presents The Festival of Trees, a stunning annual display of designer decorated trees and wreaths, gingerbread creations, stunning vignettes, a unique gift boutique, a chil-dren’s activity area and an inspiring garden. The holiday event, which takes place November 10th-18th, has a new theme this year: Once Upon A Time...A Fairy Tale Festival. Call for details: 407.896.4231 x254

PALM BEACH: On December 2nd, the Flagler Museum holds its

Annual Tree Lighting ceremony featuring the 16-foot Grand Hall

Christmas tree, adorned with lights and traditional ornaments

in the Gilded Age style. Seasonal refreshments, brief organ

and piano performances and holiday caroling add to the fes-

tivities. Holiday evening tours take place December 18th-

23rd. Call for details: 561.655.2833

VERO BEACH: Join the Vero Beach Museum of Art on

December 2nd for a free traditional holiday party with

refreshments, entertainment, a hands-on holiday art project and

a visit from Santa, of course! Call for details: 772.231.0707

WEST PALM BEACH: Stroll through the enchanted Ann

Norton Sculpture Gardens from December 1st-9th during the 6th

annual Festival of Trees, with over 25 trees decorated around “A Musi-

cal Masterpiece” theme. A Gala Reception for the event takes place

November 30th. Call for details: 561.832.5328

WEST PALM BEACH: The Norton Museum of Art’s Holiday Family

Festival takes place on December 2nd and embraces holiday traditions

of different cultures. Treasure hunts, magicians, storytelling, live music

and dance, holiday inspired art activities and decorated trees await! Call

for details: 561.832.5196

WINTER PARK: On December 8th, the Albin Polasek Museum and

Sculpture Gardens will provide prime viewing for the Winter Park

Boat Parade and Festival of Lights. Food, drink and live music will

kick off the festivities. For details call: 407.647.6294


MUSE

BOCA RATON

Thru 01.13.13

Politics Not as Usual: Quilts with Something to Say Boca Raton Museum of Artwww.bocamuseum.org

Highlighting textile masterpieces from the collection of the American Folk Art Museum in NYC, this exhibition includes bedcovers that have rarely been on view, and important corner-stones of the Folk Art Museum’s comprehen-sive quilt holdings. The exhibition also marks

the first opportunity for viewers to see the 9/11 National Tribute Quilt outside of the Ameri-can Folk Art Museum.

10.24.12–01.13.13

The Art of Video Games Boca Raton Museum of Art

www.bocamuseum.org

The Art of Video Games explores the 40-year evolution of video games as an ar-tistic medium, focusing on striking graphics, creative storytelling and player interactiv-ity, and will feature 80 video games presented

through still images and video footage. The exhibit includes video interviews with developers and artists, historic game consoles, and large prints of in-game screen shots as well as five featured games, one from each era, available in the exhibition galleries for visitors to play for brief periods.

CORAL GABLES

Thru 4.21.13

Artlab @ The Lowe: Adapting and Adopting— Waves of Change as East

CALENDAR* E x h i b i t i o n s a n d d a t e s a r e s u b j e c t t o c h a n g e .


Image from Politics Not as Usual: Quilts with Something to Say at Boca Raton Museum of Art: National Tribute Quilt (detail), organized and assembled by the Steel Quilters, Pittsburgh, 2002, cotton and mixed media, 8 x 30’, American Folk Art Museum, gift of the Steel Quilters: Kathy S. Crawford, Amber M. Dalley, Jian X. Li and Dorothy L. Simback, with the help of countless others in tribute to the victims of the September 11, 2001, attack on America, 2002.14.1. Image courtesy of American Folk Art Museum, New York City

{ S P E C I A L 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 }

C o r a l G a b l e s c o n t i n u e d . . .

Encounters West, Modern & Contemporary Japanese Art Lowe Art Museum, University of Miamiwww.lowemuseum.org

The integration of foreign influence and its contribution to the development of modern and contem-porary Japanese art is highlighted through 32 paintings, works on paper and sculpture from the Lowe’s Permanent Collection.

11.10.12–01.13.13

Christo and Jeanne-Claude: Prints and Objects Lowe Art Museum, University of Miami

www.lowemuseum.org

Varied in content and technique, the collec-tion represents more than 40 years of Chris-to and Jeanne-Claude’s versatile artistic career, dating from 1962 through 2004. Note-worthy pieces in the exhibition include pre-paratory works for and documentation photo-graphs of Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida; litho-graph/collages of Arc

de Triomphe, Wrapped and Wrapped Opera House, Project for Sydney; photographs of Valley Curtain, Rifle, Colorado and Running Fence, Sonoma and Marin Counties; and sculptural objects such as Wrapped New York Times and Wrapped Payphone.

Thru 10.21.12

Introspection and Awakening: Japanese Art of the Edo and

Meiji Periods, 1615-1912 Lowe Art Museum, University of Miamiwww.lowemuseum.org

Featured are early examples of the vari-ous painting schools, woodblock prints and porcelains from the 17th to early 20th century, which address a variety of themes, including the influence of China and Korea on Japan during this crucial timeframe; the Japanese life-style and belief structure; and the impact of the West.

CORAL

SPRINGS

Thru 11.10.12

Coral Springs Artist Guild:


C A L E N D A R { P g. 2 o f 4 0 }

Image from Christo and Jeanne-Claude: Prints and Objects at Lowe Art Museum, University of Miami, Coral Gables: Surrounded Islands, Biscayne Bay, Greater Miami, Florida 1980-1983, 1984, portfolio with 4 dye-transfer color photographs, mounted on rag paper, and sample of fabric used in the project, photograph by Wolfgang Volz, ©Christo 1984

Image from Ricky Bernstein: Queen for a Day at Coral Springs Museum of Art: Ricky Bernstein, Betty’s Big Night, 2012, 8’x 10’x 14”

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

Special Exhibition Coral Springs Museum of Artwww.csmart.org

This intimate exhi-bition by the Coral Springs Artist Guild is a tribute to their member artists.

Thru 11.10.12

Louis Jawitz:India and Woodbourne NY Coral Springs Museum of Artwww.csmart.org

“Timeless traditions passed on to younger generations produce a mystical essence, one rich with poignant photo opportunities,” says photographer, Louis Jawitz, who relies on his formal training in documen-tary photography to record historical and

religious communi-ties in a non-invasive, realistic manner.

11.24.12–03.23.13

Ricky Bernstein: Queen for a Day Coral Springs Museum of Artwww.csmart.org

“Ricky Bernstein combines the satiric sensibility of Pop Art with the examination of common human activities found in historic genre paint-ing,” says Racine Art Museum Executive

Director and Curator of Collections, Bruce W. Pepich. Bernstein’s visual collages, each composed of sections of vividly painted glass planes mounted on metal armatures and assembled on the wall, humorously con-vey his social observa-tions to the viewer. Thru 11.10.12

Rolande Reverdy Moorhead: War and Patriotism Coral Springs Museum of Art

www.csmart.org

Rolande Reverdy Moorhead depicts the violence of war on canvas, as a part of history, whereby the viewer can ponder on the miseries and futility of wars.

DAYTONA

BEACH

Thru 11.4.12

Artists, Art and Architecture: Discovering the Past from the MOAS CollectionsMuseum of Arts & Scienceswww.moas.org

Watercolors, draw-ings and oils by 18th and 19th century artists Piranesi, David Roberts and Panini are highlighted in this exhibit through im-


C A L E N D A R { P g. 3 o f 4 0 }


C A L E N D A R { P g. 4 o f 4 0 }

D a y t o n a B e a c h c o n t i n u e d . . .

Image from Anthology 2012: Contemporary Photography at Southeast Museum of Photography, Daytona Beach: Judith Fox, Untitled from the series Sea of Dreams, pigment inkjet print

ages filled with both academic excellence and beauty.

11.16.12–02.10.13

Old Master Drawings from the John and Mable Ringling Museum of ArtMuseum of Arts & Scienceswww.moas.org

Examples of the im-portance and beauty of Old Master draw-ings are included in this show featuring works by Benjamin West, Fragonard, Vermeyen, Leoni, van de Velde, Angelica Kauffmann and their contemporaries.

Thru 01.06.13

Victorian InternationalMuseum of Arts & Sciences

www.moas.org

Victorian Interna-tional focuses on art and decorative arts produced on both sides of the Atlantic in the Victorian age (1840s–early 20th century). The exhi-bition includes fine furnishings, paintings, sculpture, Tiffany and cut glass, ceramics, embroidery, sculpture and metalwork that individually and col-lectively define the merits and usage of Victoriana.

10.05.12–02.17.13

Anthology 2012: Contemporary Photography Southeast Museum of Photographywww.smponline.org

The range and breadth of styles, techniques, themes and subject matter used by con-temporary photogra-phers presents a broad-ening and a deepening of the field of serious photography in ways that have reenergized and stimulated the

entire profession. The photographers exhib-ited in Anthology 2012 represent much of this new range and are producing some of the most significant new work that is starting to have an impact in the field. All of the artists are entering the solid core of their careers as their style and sub-ject matter matures to reflect the concerns of a new generation of artists.

Thru 12.14.12

Edge To Edge: Vintage Panoramic Photography in Florida Southeast Museum of Photographywww.smponline.org

This exhibition of more than 200 vintage


Image from Art in Stitches at Florida Museum for Women Artists, DeLand: Jayne Bentley Gaskins, Homage to the Irish, 20 x 26” unframed

D a y t o n a B e a c h c o n t i n u e d . . .

panoramic photo-graphs and original vintage postcards, draws out the fasci-nating history of this unique style of pho-tography from Flori-da’s “golden years” in the early 20th century.

Thru 12.14.12

Rania Matar: A Girl and Her Room Southeast Museum of Photographywww.smponline.org

Focusing on contem-porary young women from vastly differing cultures in the US and Lebanon, A Girl and Her Room, reveals thecomplex lives of girls in the unique setting of their own rooms. (See story in the August/September 2012 issue on pg. 104.)

DeLAND

Thru 11.10.12

Art in Stitches Florida Museum for Women Artistswww.floridamuseumfor

womenartists.org

A fiber show featuring the dynamic textile work of nine excep-tional Florida artists, Art in Stitches gives viewers an opportu-nity to discover the wide variety and deep placement of textiles in the art world.

12.07.12–04.07.13

Duane Hanson Sculptures Museum of Florida Artwww.museumoffloridaart.org

Around 1966, Duane Hanson began mak-ing figural casts using fiberglass and vinyl. Cast from actual people and painted to make the revealed skin look realistic with veins and blemishes, Hanson clothed the figures with garments from second-hand clothing stores and

theatrically arranged the action. (See story on pg. 94.)

Thru 11.25.12

From the Outside In: Purvis Young Museum of Florida Artwww.museumoffloridaart.org

The visual iconogra-phy of Purvis Young, a prolific, self-taught, “Outsider” artist, transforms our throw-away society items into compelling artwork that reveals inner-city realities and the struggles of African-Americans.

Thru 11.25.12

Related Alternatives:KYLE and Jim Jipson Museum of Florida Art

C A L E N D A R { P g. 5 o f 4 0 }

Image from BEAM Me Up at Dunedin Fine Art Center: Hillerbrand+Magsamen, Miranda, 2011, archival pigment print, 24 x 30”, ©Hillerbrand+Magsamen

D e L a n d c o n t i n u e d . . .

C A L E N D A R { P g. 6 o f 4 0 }

www.museumoffloridaart.org

Using painting and mixed media, KYLE’s current body of work explores the decon-struction and dev-astation of natural disasters and global catastrophes, attempt-ing to find a systemic explanation for the destruction.

Thru 11.25.12

Survival Series: Barbara Neijna Museum of Florida Artwww.museumoffloridaart.org

The body of work cre-ated by Barbara Neijna during the past several years reflects her medi-tation on the condition of water—the fluid of life. The photographs shown in this exhibit are from an ongoing series titled Survival Kits. These works

bring her closer to the life-and-death forces of nature that both fright-en and inspire her.

DELRAY BEACH

10.02.12–01.27.13

Entertaining the Gods and Man: Japanese Dolls and the Theater

Morikami Museum and Japanese Gardenswww.morikami.org

For most of us the word doll connotes a child’s plaything or precious collectable, but in Japan, ningyō are doll-like forms that serve many

different purposes, from talismanic and ritual functions to starring in theatrical dioramas and public performances. This exhibition presents over 60 visually stun-ning and powerfully engaging ningyō, exemplifying this little-explored world of Japanese art. (See story on pg. 116.)

DUNEDIN

Thru 10.14.12

BEAM Me UpDunedin Fine Art Centerwww.dfac.org

Houston-based video and photographic team, Hillerbrand+ Magsamen, share contemporary interpre-tations of parenthood and family life in a humorous and provoc-


Image from Warhol and Cars: American Icons at Museum of Art / Fort Lauderdale, Nova Southeastern University: Andy Warhol, Truck, 1985, ©2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

D u n e d i n c o n t i n u e d . . .

C A L E N D A R { P g. 7 o f 4 0 }

ative presentation that playfully and poetical-ly explores perceptions of emotions, family, consumerism and me-dia, within a uniquely American subjectivity. (See story in the August/September 2012 issue on pg. 100.) 11.03.12–12.21.12

Behold!Dunedin Fine Art Centerwww.dfac.org

Each year, DFAC curators put together the best art, with a gift-giving perspective in mind, resulting in a collection of works from around the coun-try that any of your friends or relatives would be delighted to find under their tree!

Thru 12.21.12

InterGALACTIC

Dunedin Fine Art Centerwww.dfac.org

Contemporary artists go interplan-etary—extraterres-trials, black holes, lunar landscapes—BEYOND the sky’s the limit!

Thru 10.14.12

My Favorite Martian Dunedin Fine Art Center

www.dfac.org

“Self-portrait as Alien” is the theme of this DFAC members show. Antennas, UP!

FORT

LAUDERDALE

Thru 01.06.13

SharkMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

In addition to draw-ings of all the known varieties of sharks in the world, this exhibition contains photographs, sculp-tures and video as well as a section devoted to the sensa-tional impact of the 1975 Steven Spiel-berg film, Jaws.

11.10.12–02.10.13

Warhol and Cars: American IconsMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

This is the first exhibi-tion to examine Andy Warhol’s enduring fascination with auto-mobiles as products of American consumer society. Featuring more than 40 draw-


Image from Anne Noggle: Reality and the Blind Eye of Truth at Harn Museum of Art, Gainesville: Anne Noggle, Reminiscence: Portrait with My Sister, 1980, gift of Anne Noggle Foundation, 2010.91.69

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

ings, paintings, prints, photographs and related archival mate-rial spanning the years 1946 to 1986, the exhibition traces the development of War-hol’s work with cars throughout his career.

FORT MYERS

10.05.12–01.05.13

Art Expressions of Latin America: 500 Years of History & HeritageSouthwest Florida Museum of History www.swflmuseum

ofhistory.com

For the fourth year, the Museum is host-ing an art exhibit illustrating history, influence and culture from Latin America. Artists will display a

variety of mediums, including watercolors, sculpture and mixed media, and repre-sent countries such as Argentina, Cuba, Columbia, Dominican Republic, Mexico and Puerto Rico.

GAINESVILLE

Thru 03.10.13

Anne Noggle: Reality and the Blind Eye of TruthHarn Museum of Art

www.harn.ufl.edu

This installation dis-plays a selection of photographs by Anne Noggle, who became a professional pho-tographer at age 40, after serving as one of the Women Air-force Service Pilots (WASP) and as a captain in the US Air Force during WWII. Noggle’s work ex-plores female vitality, aging and beauty with an honest, respectful and sometimes hu-morous view.

Thru 02.03.13

Souvenirs of Modern Asia: The Prints of Paul JacouletHarn Museum of Artwww.harn.ufl.edu

Souvenirs of Mod-ern Asia features a remarkable set of 55 woodcuts by French artist, Paul Jacoulet (1896-1960), who lived and worked in Japan most of his life. These color-ful and masterfully printed woodcuts were inspired by Jacoulet’s extensive travels in China, Japan, Korea and the South Pacific, and demonstrate a syn-thesis of traditional Japanese printing techniques with modern European aesthetics.


C A L E N D A R { P g. 8 o f 4 0 }

G a i n e s v i l l e c o n t i n u e d . . .

Image from Alex Trimino: Luminous at the Art and Culture Center of Hollywood: Alex Trimino, Luminous, (installation view), 2012, mixed media: neon lights, plexiglass, knittings, fibers, found objects, 133 x 96 x 84”, courtesy of the artist and Art and Culture Center of Hollywood, photography by Liam Crotty

10.09.12–01.06.13

The Modern Impulse: Photography from Europe and America Between the WarsHarn Museum of Artwww.harn.ufl.edu

The Modern Impulse reflects a moment when the 35 mm por-table camera became the catalyst for a revo-lution in art, culture and the way we per-ceive the world. More than 130 photographs, books, illustrated magazines and film focus on four re-gions—France, the Czech Republic, New York and Califor-nia—and represent artists such as Berenice Abbott, Henri Cartier-Bresson, Imogen Cun-ningham, Walker Ev-

ans, Dorothea Lange and Edward Weston. (See story on pg. 102.)

10.02.12–03.15.13

Things That Go Bump in the NightHarn Museum of Artwww.harn.ufl.edu

Things That Go Bump in the Night explores the sometimes fearful

anxieties experienced after the sun goes down. The exhibition features 18th-20th century Japanese paint-ings and sculptures from the Harn’s Asian Collection.

Thru 11.04.12

Verdant Earth and Teeming Seas: The Natural World

in Ancient American ArtHarn Museum of Artwww.harn.ufl.edu

This show highlights the Museum’s collec-tion of ceramic figures and vessels, stone sculptures and jade or-naments from Ancient America—primarily Meso-America, Cen-tral America and the Andes.

HOLLYWOOD

Thru 10.21.12

Alex Trimino: LuminousArt and Culture Center of Hollywoodwww.artandculturecenter.org

Luminous is an instal-lation by Miami-based artist, Alex Trimino, consisting of illumi-nated totem poles that


C A L E N D A R { P g. 9 o f 4 0 }

Image from Elisabeth Condon: The Seven Seas at the Art and Culture Center of Hollywood: Elisabeth Condon, Here Comes The Night, 2012, acrylic, glitter and latex on linen, 48 x 48”

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

are covered in crochet, knitting and found objects. In employing such items, Trimino reveals similarities between modern, hi-tech materials (micro-controlled neon lights) and colloquial, lo-tech crafts (crochet, knitting and weavings). Old methods and new technologies com-mingle in ways that explore our connection to reality today.

11.10.12–01.17.13

Elisabeth Condon: The Seven SeasArt and Culture Center of Hollywoodwww.artandculturecenter.org

In her new painting and drawing exhibi-tion, Elisabeth Condon introduces the 1980s Los Angeles nightclub scene as a metaphor

for personal and social transformation. The Tampa and Brooklyn-based artist approaches this landscape as a re-pository for individual and shared memories, associations and cul-tural experiences.

Thru 10.21.12

Justin H. Long: Bow MovementArt and Culture Center of Hollywood

www.artandculturecenter.org

Miami-based artist, Justin H. Long, ex-plores his passion for the ocean and sailboat racing with a mixed-media gallery instal-lation that includes a 60-foot-long boat hull. With a subversive whimsy that is at the core of his work, Long breaks new ground in his first exhibition in Broward County by claiming sailing as an

artistic medium, not only a sport.

Thru 10.21.12

Lori Nozick: WalkaboutArt and Culture Center of Hollywoodwww.artandculturecenter.org

Walkabout is a site-specific installation fo-cusing on the concept of a passage, a journey through the wilderness that takes place as an adolescent or young adult. Nozick presents life as a walkabout in which we continually explore the unknown in order to discover one’s self in relation-ship to the universe.

11.10.12–01.17.13

Millree Hughes and Peter Boyd McLean: Lummox


C A L E N D A R { P g. 1 0 o f 4 0 }

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

Image from Rosemarie Chiarlone and Susan Weiner: Obstruction at the Art and Culture Center of Hollywood: Image courtesy of the Art and Culture Center of Hollywood

Art and Culture Center of Hollywoodwww.artandculturecenter.org

This exhibition presents a selection of drawings by art-ist, Millree Hughes, and a related film by Peter Boyd McLean. The drawings are of the Lummoxes, glam rock-loving hooligans that came on holiday to the little resort village of Towyn, North Wales, where Hughes grew up. The band eventually became a reality, playing dur-ing Art Basel Miami Beach in 2005, and McLean’s film is a mocumentary of the show.

11.10.12–01.17.13

Rosemarie Chiarlone and

Susan Weiner: ObstructionArt and Culture Center of Hollywoodwww.artandculturecenter.org

This collaborative effort of visual artist, Rosemarie Chiar-lone, and poet, Susan Weiner, investigates women’s struggle for authenticity through a variety of formats, combining

photography, poetry and book art.

JACKSONVILLE

Thru 11.30.12

In This Moment: Art with a Heart in Healthcare ExhibitionMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

MOCA Jacksonville has teamed up with Art with a Heart in Healthcare to present In This Moment, a photography exhibit featuring the work of talented patient-artists. More than 20 young photogra-phers worked with Art with a Heart in Healthcare while receiving treatment at Wolfson Children’s Hospital. The exhibi-tion is a glance into the lives, passions and experiences of these artists.

11.17.12–03.10.13

Project Atrium: Ian BogostMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

Ian Bogost is a noted video game designer.


C A L E N D A R { P g. 1 1 o f 4 0 }

C A L E N D A R { P g. 1 2 o f 4 0 }

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

Image from Histories in Africa: 20 Years of Photography by Elizabeth Gilbert at the Cummer Museum of Art & Gardens, Jacksonville: Elizabeth Gilbert, Yao Dancers of Malawi (detail), ©Elizabeth Gilbert

His research and writing consider video games as an expressive medium. His creative practice focuses on games about social and political issues, including airport security, consumer debt, disaffected workers, the petro-leum industry, suburban errands, pandemic flu and tort reform.

Thru 10.28.12

Project Atrium: Tristin LoweMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

MOCA launched its second season of Project Atrium with the cosmic work of Philadelphia artist, Tristin Lowe. Fill-

ing the expanse of the Haskell Atrium Gallery are his large-scale reproduction of the moon, constructed from a 12-foot tall inflatable covered in crater-pocked felt, and orbiting satel-lite and neon comets. Lowe is a multi-dis-ciplinary artist whose practice delves into the crude and rude, absurd and abject, pushing low-brow, low-tech methods

and materials toward unexpected ends.

Thru 01.06.13

ReFocus:Art of the ’80sMuseum of Contemporary

Art Jacksonville www.mocajacksonville.org

In the final install-ment of three projects chronicling contem-porary art, ReFocus: Art of the ’80s pro-vides an opportunity to learn more about

this important decade and the artistic and cultural milestones that continue to shape the scope of creative expression to this day.

Thru 12.30.12

Histories in Africa: 20 Years of Photography by Elizabeth GilbertThe Cummer Museum of Art & Gardens www.cummer.org

American photo-journalist, Elizabeth Gilbert, has lived and worked in Africa for 20 years, traveling from Kenya to Con-go, throughout the Great Rift Valley, and reporting civil wars in Rwanda, Somalia and Sudan. The gelatin silver


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

Image from Jim Draper: Feast of Flowers at The Cummer Museum of Art & Gardens, Jacksonville: Jim Draper, Nana (unfinished), 48 x 60”, ©Jim Draper

prints on exhibit, pull the viewer into an intimate world of African ritual and tell the story of a conti-nent’s journey through change. (See story in the August/September 2012 issue on pg. 72.)

12.18.12–04.07.13

Jim Draper: Feast of FlowersThe Cummer Museum of Art & Gardens www.cummer.org

Feast of Flowers servesas a contemporary investigation of and response to the essen-tial eco-systems that have existed in Florida for thousands of years. As a collaborative effort, ecologists, biologists, philoso-phers, historians, tax-onomists and writers will provide essential

material as anchors for the pictorial narra-tives being created for this show.

Thru 11.11.12

Leonard Baskin: Works on PaperThe Cummer Museum of Art & Gardens www.cummer.org

This exhibition of dynamic works on paper, selected from the Museum’s hold-ings as well as the private collection of

Cindy and Dan Edel-man, highlights im-ages of humanity. The poignancy of Baskin’s artistic legacy is the common conscious-ness of humankind.

10.11.12–01.04.13

Loïs Mailou Jones: A Life in Vibrant ColorThe Cummer Museum of Art & Gardens www.cummer.org

A Life in Vibrant Color surveys the vast sweep of Jones’s

75 years as a painter, stretching from late Post-Impressionism to a contemporary mix-ture of African, Carib-bean, American and African-American ico-nography, design and thematic elements.

LAKELAND

10.20.12–01.12.13

About FacePolk Museum of Artwww.polkmuseumofart.org

From mugshots of un-familiar criminals to celebrity portraits and paparazzi snapshots, About Face features portraits of all me-diums from PMoA’s Permanent Collection.

Thru 12.01.12

David MaximPolk Museum of Art


C A L E N D A R { P g. 1 3 o f 4 0 }

C A L E N D A R { P g. 1 4 o f 4 0 }

L a k e l a n d c o n t i n u e d . . .

Image from In Vibrant Color: Vintage Celebrity Portraits from the Harry Warnecke Studio at the Polk Museum of Art, Lakeland: Harry Warnecke and Robert F. Cranston, Gene Autry, 1942, color carbro print, National Portrait Gallery, Smithsonian Institution; gift of Elsie M. Warnecke

www.polkmuseumofart.org

The elements of power and drama in David Maxim’s works are undeniable—tor-nadoes, masculine welders and war-riors—even Maxim’s abstract pieces seem to evoke aggression. Yet despite all of their strength, each subject reveals an equal measure of vul-nerability.

10.27.12–01.12.13

In Vibrant Color: Vintage Celebrity Portraits from the Harry Warnecke StudioPolk Museum of Artwww.polkmuseumofart.org

Polk Museum of Art presents the National Portrait Gallery’s new exhibition, In Vibrant

Color: Vintage Ce-lebrity Portraits from the Harry Warnecke Studio, a collection of color photographs of celebrities who rose to fame at a time when color photogra-phy was in its infancy. This exhibition of color photographs from the 1930s and 1940s includes actors

Lucille Ball and Roy Rogers, trumpeter Louis Armstrong, baseball star Ted Wil-liams, Olympian Babe Didrikson Zaharias and General George S. Patton. (See story on pg. 66.)

Thru 10.13.12

Invisible Elephant:

Theo Wujcik and Kirk ke WangPolk Museum of Artwww.polkmuseumofart.org

The central concept for this exhibition of contemporary art-works is an ancient parable telling of six blind men who encountered a large elephant, and how each defined what they encountered, based on their indi-vidual perspectives. The underlying mes-sage of this parable is the diversity of interpretation. For Invisible Elephant, Wujcik and Wang have produced new works based on their different perspec-tives in relation to the other’s cultural background.


Thru 11.11.12

Miscellaneous: New Works by Trent Manning Polk Museum of Artwww.polkmuseumofart.org

Trent Manning pairs lighthearted ele-ments such as alpha-bet blocks, rocking horses and wagons with grimacing char-acters. Assembling his sculptures from discarded metal, old tools and wire, he transforms junk into eclectic master-pieces. (See story in the August/Sep-tember 2012 issue on pg. 106.)

MAITLAND

Thru 12.30.12

Spatial Relationships: Selected

Works from the Permanent Collection Art & History Museums, Maitlandwww.artandhistory.org

The works exhibited in Spatial Relationships demonstrate powerful relationships based on formal composition.

Thru 12.30.12

The Power of Two Art & History

Museums, Maitlandwww.artandhistory.org

This group exhibi-tion highlights some of Central Florida’s most renowned visual artist couples. Explore what it is like to have two creative minds living and working together. On select weekends during the exhibit, artists will be work-ing in Gallery 4.

MELBOURNE

10.05.12–01.06.13

D.X. Ross:TalismansFoosaner Art Museumwww.foosanerartmuseum.org

D. X. Ross (1953-2008) was perhaps best known for her totemic jewelry: hand wrought, intricate metal work, with juxtaposed ma-terials of precious and semi-precious stones, unusual shapes and sharp contrasts. A prolific artist, Ross was also an etcher, lithog-rapher and painter, and also created works in clay and fiber.

Thru 01.06.13

Ernst Oppler: German ImpressionistFoosaner Art Museum


C A L E N D A R { P g. 1 5 o f 4 0 }

L a k e l a n d c o n t i n u e d . . .

Image from Miscellaneous: New Works by Trent Manning at the Polk Museum of Art: Trent Manning, Keepsake, courtesy of the artist

www.foosanerartmuseum.org

Ernst Oppler (1867-1929) painted land-scapes, interior views and portraits. He became one of the most important chroniclers of the history of ballet in Germany. He also chronicled the social life of the city of Berlin through his drawings and etchings.

MIAMI

Thru 11.11.12

101 Dresses: A Solo Exhibition of Works by Adriana CarvalhoArtCenter/ South Florida www.artcentersf.org

This exhibition show-cases the process and creative thinking be-hind the artist’s ob-

session with the icon-ic metal dress sculp-tures. Carvalho’s work evokes humor, empathy, loss and sex-uality.

Thru 10.28.12

John Cage: Variations VII, 1966 Bass Museum of Art

www.bassmuseum.org

The Bass Museum of Art is celebrating the centennial of John Cage’s birth with an exhibition of his per-formance, Varia-tions VII, 1966, on DVD. Taking place in 1966 in New York City, Cage’s perfor-mance featured live noise from distinct

locations around the city via telephone as well as sounds from household applianc-es and other similar objects. The perfor-mance also utilizes specialized electronic equipment that trig-gers noises based on the real-time move-ments of performers and members of the audience.

12.06.12–03.17.13

The Endless RenaissanceBass Museum of Art www.bassmuseum.org

Presented in this exhibition are solo artist projects by Eija-Liisa Ahtila, Barry X Ball, Walead Beshty, Hans-Peter Feldmann, Ged Quinn and Araya Rasdjarmrearnsook.


C A L E N D A R { P g. 1 6 o f 4 0 }

M e l b o u r n e c o n t i n u e d . . .

Image from 101 Dresses: A Solo Exhibition of Works by Adriana Carvalho at ArtCenter/ South Florida, Miami Beach: Adriana Carvalho, Kin of Hearts, 2006,aluminum, dimensions variable (6 pieces, each from 5 to 18”)

Thru 11.04.12

UNNATURAL Bass Museum of Art www.bassmuseum.org

UNNATURAL pres-ents conceptions of na-ture through a variety of strategies that reflect advances in technology in the 21st century. The works reflect a cul-tivated, synthetic, ma-nipulated nature, which includes allusions to science as manifesta-tions of a reality oscil-lating between the real and imaginary. (See story in the August/September 2012 issue on pg. 62.)

Thru 10.14.12

Mel Finkelstein: Picturing the Man Behind the CameraJewish Museum of Florida

www.jewishmuseum.com

This collection of photos from the 1950s to the ’80s, focuses on iconic symbols from our cultural past. The exhibit is full of candid images of well-known personalities such as Frank Sinatra, Hum-phrey Bogart, Lauren Bacall, Jacqueline Kennedy Onassis, The Beatles, John Travolta, Kim Novak, Marilyn Monroe, Sylvester Stallone and Presidents Kennedy, Truman and Eisenhower.

11.21.12–05.12.13

New Work Miami 2013Miami Art Museum www.miamiartmuseum.org

Miami Art Museum presents the second iteration of the highly successful New Work Miami 2010. Like the inaugural edition, this exhibition is conceived as a salute to Miami’s community of artists, and includes a number of newly commis-sioned projects and special programs.

Thru 11.04.12

Rashid Johnson: Message to Our FolksMiami Art Museum www.miamiartmuseum.org

Rashid Johnson ex-plores the complexi-ties and contradictions of black identity in a practice that is rooted in his individual expe-rience. Incorporating commonplace objects from his childhood in a process he describes as “hijacking the domes-tic,” the artist trans-forms everyday mate-rials into conceptually loaded and visually compelling works.

12.05.12–03.03.13

Bill Viola: Liber InsularumMuseum of Contemporary Art, North Miami


C A L E N D A R { P g. 1 7 o f 4 0 }

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

Image from UNNATURAL at Bass Museum of Art, Miami Beach: Richard Mosse, Herd at Dusk, 2011, digital C-print, 72 x 90”, courtesy of the artist and Jack Shainman Gallery, NY

www.mocanomi.org

Part of MOCA’s Knight Exhibition Se-ries, Liber Insularum presents a major solo exhibition of 11 screen works and projections by Bill Viola, who is internationally recog-nized as one of to-day’s leading pioneers in the art of video. Viola’s works focus on universal human experiences. His video installations—total environments that envelop the viewer in image and sound—employ state-of-the-art technologies and explore the phenom-ena of sense percep-tion as an avenue to self-knowledge.

10.17.12–05.20.13

American Sculpture in the Tropics

The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

The Frost Art Mu-seum and FIU’s Sculpture Park wel-comes the addition of 10 monumental sculptures for an unprecedented out-door exhibition. Made of a variety of materials, including steel, aluminum, cast fiberglass, copper,

concrete, wood and rubber tires, each work represents the best of contemporary sculpture through its most recognized artists and the diver-sity of styles, themes and technical ap-proaches that char-acterize our times. Artists include John Henry, Albert Paley, Chakaia Booker and Verina Baxter.

11.17.12–01.02.13

Iván Navarro: Fluorescent Light SculpturesThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Iván Navarro’s light sculptures glow and buzz with color and electrical current, transforming utilitar-ian objects into radi-ant yet foreboding forms with double meanings.

10.17.12–12.09.12

Mark Messersmith: Fragile Nature —The Florida Artist SeriesThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Since moving to the Southeastern US in


C A L E N D A R { P g. 1 8 o f 4 0 }


Image from Iván Navarro: Fluorescent Light Sculptures at The Patricia & Phillip Frost Art Museum: Iván Navarro, Nowhere Man I, 2009, cool white fluorescent lights and electric energy, 65 x 77”

1985, Mark Messer-smith has been capti-vated by the region’s unique environment. Messersmith contin-ues his exploration of the tension between this wild, living place and ever-increasing human expansion. Drawing on inspira-tions ranging from the Pre-Raphaelites, Mar-tin Johnson Heade, Southern folk art and medieval manuscripts, Messersmith’s paint-ings are dense, radiant and sculptural depic-tions of the flora and fauna of northern Florida struggling to survive.

10.17.12–12.09.12

Material and Meaning: Earth-enware, Stone-ware, and Por-celain from The

Wolfsonian–FIU CollectionThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Material and Mean-ing presents modern ceramics from the col-lection of The Wolfso-nian–FIU to reveal the expressive and func-tional potentials of the three major types of clay. From elabo-rately ornamented Art Nouveau vases to utilitarian salt-glazed stoneware, and from

whimsical figurines to propaganda porce-lains, modern ceram-ics have played a role in intimate, domestic spaces in architecture and in the realms of politics and ideology.

Thru 10.21.12

Out of the Ordinary Geometry by Lydia AzoutThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

This survey of

works includes large-scale, site-specific, multi-media sculpture constructed of steel and projections. (See story on pg. 114.)

11.17.12–01.13.13

Reflections Across Time: Seminole PortraitsThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

The Frost Art Muse-um and The Ah-Tah-Thi-Ki Museum of the Seminole Tribe of Florida merge Native American portraiture with contemporary Native American ethnographic ma-terials in a historic exhibition. Over 150 years of portraits of Seminole leaders and tribal members by


C A L E N D A R { P g. 1 9 o f 4 0 }


Image from Out of the Ordinary Geometry by Lydia Azout at The Patricia & Phillip Frost Art Museum, Miami: Lydia Azout, Major Temple, 2006, weathering steel, steel and copper, 34 x 380 x 242”

George Catlin, Edward Curtis and other noted 19th and 20th-century artists will be featured.

Thru 10.21.12

This and That: Unconventional Selections from the Permanent CollectionThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

These works, which can be complex, mysterious, irrever-ent or fun, challenge the visitor to recon-sider their percep-tions of what art is, to stimulate a response and question mean-ings. The exhibition includes work by Enrico Baj, Sandra Bermudez, Ana

Albertina Delgado, Guerra de la Paz, Graham Hudson, Sibel Kocabasi, Kate Kretz, Pepe Mar, Le-onel Matheu, Jillian Mayer, Freddy Reitz, Bert Rodriguez and Alexandra Trimino.

10.17.12–02.24.13

To beauty: A Tribute to Mike KelleyThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Often acknowledged to be one of the most

influential and sig-nificant artists of our time, Mike Kelley created highly sym-bolic, representational and ritualism pieces that vastly transcend-ed all mediums such as film, music, draw-ings, sculptures, col-lage and performance. His works frequently dealt with class, youthful rebellion and popular culture, and attacked the sanctity of cultural attitudes toward religion, his-tory, education and family.

12.03.12–04.07.13

Esther Shalev-Gerz: Describing LaborThe Wolfsonian–Florida International University www.wolfsonian.org Once the heroic image of class-consciousness and national character—pictured widely in the period of the Great Depression, the Sovi-et Revolution and the two World Wars—the worker has since disappeared from the contemporary visual landscape. Through video, audio, pho-tography and text, Shalev-Gerz’s instal-lation gives voice to these otherwise silent figures so that we might achieve a new awareness of


C A L E N D A R { P g. 2 0 o f 4 0 }


Image from This and That: Unconventional Selections from the Permanent Collection at The Patricia & Phillip Frost Art Museum, Miami: Guerra de la Paz,Trio, 2003, textile, recycled clothing, dimensions variable, gift of the artists, FIU 2005.002 a,b,c

the human endeavor that shapes our daily realities.

11.15.12–03.31.13

Postcards of the Wiener Werk-stätte: Selections

from the Leon-ard A. Lauder CollectionThe Wolfsonian–Florida International University www.wolfsonian.org This exhibition ex-plores a selection of artists’ postcards produced from 1907 to 1919 by the Wiener Werkstätte (Vienna Workshop). The post-cards were among the Wiener Werkstätte’s most profitable prod-ucts and have been in great demand as collector’s items since their creation.

Designers such as Hoffmann, Oskar Kokoschka, Dagob-ert Peche and Egon Schiele produced a variety of thematic cards that bring to life the rich social fabric of turn-of-the-century Vienna-cafés, archi-tecture, fashion, urban types and humor.

11.19.12–03.18.13

The Light Club of Vizcaya: A Women’s Picture

Vizcaya Museum & Gardenswww.wolfsonian.org Josiah McElheny is a New-York based artist and MacArthur Fel-low who has created a thirty-minute film for this commissioned project. The film refer-ences a little-known short-story, The Light Club of Batavia, writ-ten in 1912 by Paul Scheerbart. The char-acters in Scheerbart’s story become obsessed

with the fantasy of constructing an under-ground light spa built entirely out of Tif-fany glass. McElheny substitutes characters drawn from Vizcaya’s history for Scheerbart’s and uses the estate as the ingenious setting for this narrative about the promise of moder-nity and utopia.

NAPLES Thru 01.20.13

Fletcher Benton: The Artist’s StudioNaples Museum of Artwww.thephil.org

This experiential and interactive exhibi-tion explores the unique attitudes and methods that Benton, a world-renowned kinetic and construc-


C A L E N D A R { P g. 2 1 o f 4 0 }


Image from Fletcher Benton: The Artist’s Studio at Naples Museum of Art: Fletcher Benton, Folded Square Alphabet Y, 2004, painted steel, 12 x 12 x 12”, ©Fletcher Benton

tivist sculptor, ap-plies to his work. The exhibition recreates Benton’s studio, with the images, textures and inspirations that constitute his work-ing environment. The exhibition will also include several out-door sculptures.

Thru 01.20.13

and 05.04–07.07.13

Leaders in American ModernismNaples Museum of Artwww.thephil.org

An exciting new selec-tion of works from the Museum’s American Modernism Collec-tion are on display representing all of the important movements in American art during the first half of the 20th century.

Thru 12.09.12

Martin Schoeller: Close Up

Naples Museum of Artwww.thephil.org

German-born pho-tographer Martin Schoeller’s remark-able, larger-than-life photographs strip the

façades from some of the most recog-nizable faces of our time. Schoeller’s Close Up invites the viewer to consider the depths of the human face and to discover his subjects’ vulnerabilities. The artist’s hyper-close portraits push this

form of intimacy to unprecedented lev-els, encouraging us to see the familiar in an unfamiliar way. The exhibition fea-tures photographs of famous actors, singers, athletes and politicians along with ordinary people liv-ing private lives. (See story in the August/September 2012 is-sue on pg. 102.)

Thru 12.30.12

Modern Mexican Masters

Naples Museum of Artwww.thephil.org

The colors, vibrancy, beauty and mystery of Mexico are reflect-ed in this exciting new installation, which includes works by Diego Rivera, Rufino Tamayo and others.


C A L E N D A R { P g. 2 2 o f 4 0 }

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

Image from Martin Schoeller: Close Up at Naples Museum of Art: Martin Schoeller, Jack Nicholson, 2002, type C color print, 61-1/16 x 49-9/16”, © Martin Schoeller

Thru 12.30.12

Out of This World: Extraor-dinary Costumes from Film and Television Naples Museum of Art

www.thephil.org

Just in time for Hal-loween, Out of This World features more than 30 costumes and related items from your favorite science fiction films and tele-vision shows, includ-ing Batman, Star Trek, Blade Runner, The Terminator, Ghost-busters and others. The exhibition ex-amines how costume design incorporates color, style, scale, materials, historical traditions and cultural cues to help audiences engage with the char-acters being portrayed.

12.22.12–03.24.13

Sight Unseen: International Photography by Blind Artists Naples Museum of Artwww.thephil.org

The first major exhibi-tion of work by the world’s most accom-plished blind photog-raphers, Sight Unseen examines our defini-tions of blindness and encourages us to re-evaluate what it means

to see. The artists employ diverse strate-gies in their work—some use the camera to present their own inner visions, others cap-ture the outside world unfiltered with a non-retinal photography of chance, and a number of the artists, legally blind but retaining a limited, highly attenu-ated sight, photograph to capture the outside world and bring it into their realm.

OCALA

Thru 11.04.12

FLORAda and Flowing Waters: The Art of Mark Messersmith,

Margaret Ross Tolbert and Anna TomczakAppleton Museum of Artwww.appletonmuseum.org

Presented are lush and beautiful portraits of natural Florida as interpreted by three of the state’s most promi-nent artists. Messer-smith’s opulent, hy-per-colorful paintings of Florida’s tropical flora and fauna comes together with Ross Tolbert’s abstract ex-pressionist interpreta-tions of our freshwater springs and Tomczak’s nostalgic large-format


C A L E N D A R { P g. 2 3 o f 4 0 }

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

Image from FLORAda and Flowing Waters: The Art of Mark Messersmith, Margaret Ross Tolbert and Anna Tomczak at the Appleton Museum of Art: Margaret Ross Tolbert, Cypress, courtesy of the artist

photographic prints of antiques and native plants. (See story in the August/September 2012 issue on pg. 80.)

Thru 10.21.12

Pure Photogra-

phy: Pictorial and Modern Photographs from the Syra-cuse University Art CollectionAppleton Museum of Artwww.appletonmuseum.org

On exhibit are 30 works by some of the best photographers starting in the early 1900s. Included are works by Eugene At-get, Berenice Abbott, Imogen Cunningham, Gordon Parks and Ed-ward Weston. Among the iconic images in the show are Edward Steichen’s 1928 por-

trait of Greta Garbo and Alfred Stieglitz’s famous The Steerage from 1907.

11.17.12–01.20.13

Sendak & Co.: Children’s Book

Illustrations Since “Where The Wild Things Are.”

Appleton Museum of Artwww.appletonmuseum.org

Featured are 34 of some of the best known names in children’s book il-lustration, including Chris Van Allsburg, Chris Raschka, Leo and Diane Dillon, Brian Selznick and

Mo Willems. The Exhibition features drawings from the artists’ own col-lections, as well as other sources.

11.03.12–12.31.12

The Nature of Things: The Art of Ed SmithAppleton Museum of Artwww.appletonmuseum.org

View more than 20 large-scale oil paint-ings depicting wild-life’s struggle to sur-vive with the modern world and technology.

ORLANDO

12.22.12–03.31.13

Contemporary Glass Sculpture: Celebrating the 50th Anniversary of Studio Glass


C A L E N D A R { P g. 2 4 o f 4 0 }

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

Image from Pure Photography: Pictorial and Modern Photographs from the Syracuse University Art Collection at the Appleton Museum of American Art, Ocala: Alfred Stieglitz, The Steerage, 1907

Orlando Museum of Artwww.omart.org

Contemporary Glass Sculpture: Celebrat-ing the 50th An-niversary of Studio Glass features ap-proximately 65 works by internationally renowned artists as well as younger art-ists who are taking the medium in new directions.

12.12.12–02.13.13

Darkroom to Digital: Photography from the OMA CollectionOrlando Museum of Artwww.omart.org

This exhibition pres-ents works by masters of 20th-century pho-tography who created iconic images that es-

tablished photography as a major medium for modern art. Today, a new generation of art-ists use digital technol-ogy to create images that were not possible to make in previous generations. Darkroom to Digital explores the shared ideas, practices and aesthetics of these artists and the newdirections of photogra-phy today.

11.10.12–11.18.12

Festival of TreesOrlando Museum of Art

www.omart.org

Central Florida’s favor-ite holiday event has a new theme this year: Once Upon A Time...A Fairy Tale Festival. For 25 years, The Festival of Trees has showcased enchanting displays of designer decorated trees and wreaths, gingerbread creations, stunning vignettes, a unique gift boutique, a children’s activity area and an inspiring gar-den. The entire family will enjoy the holiday magic of this popular Central Florida tradi-

tion organized by the Council of 101.

Thru 10.28.12

Frank Hallam Day: RV NightOrlando Museum of Art

www.omart.org

RV Night by Frank Hallam Day is a suite of photographs taken at night of recreational vehicles lodged deep within the seemingly impenetrable Florida jungles. These images of RV’s—glowing life support pods—suggest a humanity isolated from a dark, unpre-dictable and ominous nature.

Thru 10.28.12

From Alice to Zeus: The Art of John RoccoOrlando Museum of Art


C A L E N D A R { P g. 2 5 o f 4 0 }

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

Image from Frank Hallam Day: RV Night at Orlando Museum of Art: Frank Hallam Day, Green Alumascape with Tree, 2010, archival pigment print, 44 x 66”, collection of the artist

www.omart.org

John Rocco has written and illustrated numer-ous award-winning children’s books, including Wolf! Wolf!, Moonpowder and Fu Finds the Way. He has also illustrated cov-ers for Rick Riordan’s bestselling youth litera-ture series, Percy Jack-son and the Olympi-ans. Rocco’s exhibit at OMA features approxi-mately 60 preparatory and finished drawings, providing examples of how an illustration evolves, from earliest sketches to the finished work. (See story in the June/July 2012 issue on pg. 104.)

12.01.12–02.08.13

Going Places: Adventures in Art from the OMA Collection


Going Places will take visitors on a journey through fourthematic sections: In the Garden, In the Snow, At the Beach and At Home. In

each section, a va-riety of outstanding paintings, sculptures and photographs will be discussed by viewers to inter-pret how artists use their imagination to explore the world around them.

Thru 10.28.12

Modern American Artists in Florida: Paintings, Sculptures and Prints from the OMA Collection


Beginning in the 1960s, a generation of important modern American artists established homes and studios through-out Florida. Among the most prominent of these artists are Richard Anuszkiewicz, John Chamberlain, Roy Lichtenstein, Jules Olitski, Robert Rauschenberg and James Rosenquist, all of whom had, or still have, a strong connection to Florida.


C A L E N D A R { P g. 2 6 o f 4 0 }


Image from From Alice to Zeus: The Art of John Rocco at Orlando Museum of Art: John Rocco, Alice, 1991, written by Whoopi Goldberg, ©1991 John Rocco

Thru 10.28.12

Southernmost Art and Literary Portraits: Photographs of 50 Internation-ally Noted Art-ists and Writers

in Florida by Jimm Roberts Orlando Museum of Artwww.omart.org

With the rich tones of traditional black and white photogra-phy, Jimm Roberts captures his subjects in a variety of poses, from formal to candid, in the sur-roundings of their Florida homes and studios. The exhibition includes 80 photographs and a selection of original notes and letters by the artists and writers.

12.2012–02.2013

Tricks of the Trade: Trends and Techniques in Contemporary ArtOrlando Museum of Artwww.omart.org

This exhibition con-siders the creative practice of a number of important artists represented in the OMA’s Permanent Collection. The exhibition includes sculptures by John Chamberlain and

Ursula Von Rydings-vard, paintings by Robert Rauschen-berg and Pat Steir, and prints by Chuck Close and Jennifer Bartlett.

Thru 11.25.12

2012 Annual Florida Water-color Society Exhibition The Mennello Museum of American Artwww.mennellomuseum.com Hosted by The Mennello Museum

of American Art, The 2012 Annual Florida Watercolor Society Exhibition is recognized as one of the top watermedia exhibits in the US. The exhibit showcases 100 of the best works by artists from Florida and around the country.

11.16.12–03.17.13

The Big Dog ShowThe Mennello Museum of American Artwww.mennellomuseum.com The Mennello Mu-seum of American Art welcomes back sculptor, Dale Rog-ers, and his fresh pack of twenty 8-foot-tall, 10-foot-long sculptures of dogs made of Corten


C A L E N D A R { P g. 2 7 o f 4 0 }


Image from Southernmost Art and Literary Portraits: Photographs of 50 Internationally Noted Artists and Writers in Florida by Jimm Roberts at Orlando Museum of Art: Jimm Roberts, James Rosenquist, Aripeka, 1983, gelatin silver print, collection of the artist, ©Jimm Roberts 2012, all rights reserved

steel. Rogers has said that he thinks his work gives viewers a dog’s eye view of the world, and he hopes art, the public and animal welfare can all come together for a good cause. 12.01.12–01.20.13

Treasures from the AtticThe Mennello Museum of American Artwww.mennellomuseum.com The Museum’s Exec-utive Director, Frank Holt, has curated a special exhibition, drawing from the Mennello Museum’s Permanent Collection as well as the City of Orlando’s Public Art Collection. Longtime visitors may see some old favorites, and new-

comers can get a glimpse of the depth of the collections.

ORMOND

BEACH

Thru 10.14.12

MaterialscapeOrmond Memorial Art Museum & Gardenswww.ormondartmuseum.org

Materialscape presents an industrial view of nature, featuring sculptural works by Seth

Fairweather and Richard Herzog.

PALM BEACH

10.16.12–01.06.13

Capturing The Cup: Yacht

Racing During the Gilded AgeThe Henry Morrison Flagler Museumwww.flaglermuseum.us

Capturing the Cup: Yacht Racing During the Gilded Age tells the exciting story of

yacht racing in Amer-ica up to the Great Depression, through the elaborate gold and silver trophies made by the most im-portant silversmiths of the period.

PENSACOLA

10.05.12–12.08.12

Beating Hearts: Stories of Domestic ViolencePensacola Museum of Artwww.pensacola

museumofart.org

Beating Hearts: Stories of Domestic Violence is a collection of photo-graphs and text that reflect the indi-vidual experiences of victims of abuse. The stories were documented by Louisiana residents,


C A L E N D A R { P g. 2 8 o f 4 0 }


Image from Beating Hearts: Stories of Domestic Violence at Pensacola Museum of Art: Kate Sartor Hilburn, The Window, photo construction, 40 x 36 x 2”, ©2004 Kate Sartor Hilburn

Kate Sartor Hilburn and Terrie Queen Autrey, both of whom have been active in domestic violence prevention and education on the Gulf Coast.

Thru 12.22.12

Integrate. Replicate. Generate.Pensacola Museum of Artwww.pensacola

museumofart.org

It was working in the field of graphic design that first inspired Chicago-based artist, Penny Feuerstein, to experiment with scan-ning, copying and manipulating images. Now, along with oil paint, she uses those concepts to create her artwork.

PONTE VEDRA

BEACH

Thru 10.20.12

S. Barre Barrett & Khamil OjoyoThe Cultural Centerwww.ccpvb.org

Barrett’s watercolor and acrylic paintings

explore repetitive patterns and relation-ships between colors and shapes and their connections to the natural world, while mixed-media wood sculptures by Khamil Ojoyo evoke vibrant expressions of Afri-can art.

12.07.12–12.29.12

Small Objects ExhibitionThe Cultural Centerwww.ccpvb.org

Artworks no larger than 12x12” and priced under $350, will be available for purchase, along with more than 300 handmade paint-ings, sculptures, glass-works and jewelry.

SARASOTA

Thru 10.28.12

DECO JAPAN: Shaping Art and Culture, 1920-1945The John and Mable Ringling Museum of Artwww.ringling.org

The works on display in this exhibition high-light the Levenson col-lection—the world’s


C A L E N D A R { P g. 2 9 o f 4 0 }

Pe n s a c o l a c o n t i n u e d . . .

Image from DECO JAPAN: Shaping Art and Culture, 1920-1945 at The John and Mable Ringling Museum of Art, Sarasota: Ginga no uta (Song of the Milky Way), Theme song of the movie “Ginga no uta,” by Shôchiku Cinema, unidentified artist, 1931, courtesy of the Levenson Collection

premier collection of Japanese art in the Deco style. Included are spectacular ex-amples of metalwork, ceramics, lacquer, glass, wood furniture, jewelry, textiles, graph-ic design on paper, painting and wood-block prints, ranging from fine art objects to goods mass-produced for the modern home. (See story in the June/July 2012 issue on pg. 92.)

Thru 10.14.12

From the Vaults: John Ringling’s Asian and Cypriot ArtThe John and Mable Ringling Museum of Artwww.ringling.org

Some of the objects in this exhibit have not been on display for 30

years and others have never before been shown to the public. Important in their own right, they were also essential as a means for John Ringling to expand the Museum’s potential to feature the

roots and flourishes of the world of art.

12.07.12–04.14.13

Paolo Veronese:A Master and His Workshop in Renaissance

Venice

The John and Mable Ringling Museum of Artwww.ringling.org

Paolo Veronese (1528–1588) created art that was religious and secular, public and private, grand and inti-mate in scale. Drawing upon North American collections, the exhibi-tion will illustrate this extraordinary versatil-ity and closely exam-ine Veronese’s artistic practice.

Thru 10.14.12

Sanford Biggers:CodexThe John and Mable Ringling Museum of Artwww.ringling.org

As part of his Constellation Series, the works featured in this exhibit consist of quilts that depict “con-


C A L E N D A R { P g. 3 0 o f 4 0 }

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

Image from Paolo Veronese: A Master and His Workshop in Renaissance Venice at The John and Mable Ringling Museum of Art: Courtesy of The John and Mable Ringling Museum of Art

stellations” inspired by Harriet Tubman and other Underground Railroad conduc-tors, whose use of the stars to navigate from slavery to freedom in the 19th century, is a vibrant part of North American history.

11.09.12–02.03.13

The Warren J. and Margot Coville Photog-raphy CollectionThe John and Mable Ringling Museum of Artwww.ringling.org

Celebrating the gift of over 700 photographs to the Collection, this exhibition features a representative sam-pling of images span-ning the 20th and 21st centuries and includes work by renowned photographers Henri

Cartier-Bresson, André Kertész, Alfred Eisen-staedt, Berenice Abbott and Robert Capa.

ST. AUGUSTINE

10.26.12–11.22.12

TransliterationSara Pedigo & Liz RobbinsCrisp-Ellert Art Museum, Flagler Collegewww.flagler.edu/crispellert

The collaboration between visual art-ist, Sara Pedigo, and poet, Liz Robbins, on

display at the Crisp-Ellert Art Museum, takes the form of new paintings, draw-ings and poems. Each piece is a response to a particular work by the other artist. A poem takes a new shape as a drawing, or a painting becomes a new story on the page.

ST. PETERSBURG

Thru 02.02.13

Contemporary Prints by American

Women: A Selection from the Gift of Martha and Jim SweenyMuseum of Fine Arts, St. Petersburg

www.fine-arts.org

More than 60 prints by American women artists, made after 1950, have recently joined the Museum’s Collection. This new installation features works by some of the most gifted artists of our time: Vija Celmins, Yvonne Jacquette, Lois Lane, Georgia Marsh, Elizabeth Murray, Howardena Pindell, Betye Saar, Pat Steir and Joan Snyder.

Thru 10.14.12

Global+Local: Studio and Contemporary


C A L E N D A R { P g. 3 1 o f 4 0 }

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

Image from The Warren J. and Margot Coville Photography Collection at The John and Mable Ringling Museum of Art, Sarasota: Robert Capa, Conchita Cintron, Mexico, 1940, gift of Warren J. and Margot Coville

Glass on Florida’s West CoastMuseum of Fine Arts, St. Petersburgwww.fine-arts.org

Marking the 50th Anniversary of the Studio Glass Move-ment, Global+Local reveals the range and richness of the area’s best glass from internationally renowned artists.

11.03.12–02.17.13

The Art of GolfMuseum of Fine Arts, St. Petersburgwww.fine-arts.org

The Art of Golf is the first major museum exhibition in the US devoted to this popu-lar game. Organized by the High Museum of Art in Atlanta and the National Galler-

ies of Scotland, this exhibition spans four centuries of golf and features approximately 90 works by artists such as Rembrandt van Rijn, Hendrick Avercamp, Sir Henry Raeburn, Childe Has-sam, George Bellows, Norman Rockwell, Andy Warhol and the celebrated photogra-pher, Harold Edgerton.

Opening 10.2012

The Royal Inheritance: Dalí

Works from the Spanish National Collection The Dalí Museum www.thedali.org

Beginning Monday, October 1, 2012, the Dali Museum, which holds the largest col-lection of Dalí in the Americas, will wel-come 12 important Dalí works on loan from the National Collection of Modern Art in Spain—Ma-drid’s Museo Nacio-

nal Centro de Arte Reina Sofia. This selection of paint-ings will expand our knowledge of Dalí’s diverse production of art. The Royal In-heritance will pres-ent works that have never been on view in America before, in-cluding still lifes, the stunning stereoscopic work Las Meninas, portraits of his wife, Gala, and later works with a mathematical theme.

TALLAHASSEE

Thru 11.07.12

The Cohen Collection Contemporary Native American ArtistsMuseum of Fine Arts, Florida State University


C A L E N D A R { P g. 3 2 o f 4 0 }

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

Image from The Art of Golf at the Museum of Fine Arts, St. Petersburg: Charles Lees, The Golfers (detail), 1847, oil on canvas, 51-1/2 x 84-1/4”, Scottish National Portrait Gallery, purchased with the assistance of the Heritage Lottery Fund, The Art Fund and the Royal and Ancient Golf Club, 2002; photo: A. Reeve

www.fine-arts.org

Works in this exhibi-tion contain selections from the diverse areas of interest in the Cohen Family Collection, given to the Museum in 2011 by Sonia and Stanley Cohen. The contemporary works by Native American artists include pottery and jewelry as well as painting.

Thru 11.11.12

Masters Artists of the BahamasMuseum of Fine Arts, Florida State Universitywww.fine-arts.org

Master Artists of the Bahamas presents works from 11 Ba-hamian artists acting as ambassadors for a broader generative movement. The works represent the diversity

of form and content of Bahamian art.

TAMPA

Thru 10.14.12

Civil War Exhibition Florida Museum of Photographic Artswww.fmopa.org

FMoPA celebrates the 150 year anniver-sary of this significant era in American his-

tory. On display are 41 photographs from the Drapkin Collection and 20 photographic jewelry and accesso-ries from Larry West. The images demon-strate a turning point in the history of photog-raphy as a commercial enterprise, accessible to the general public with the progression from daguerreotypes to ambrotypes and tintypes.

10.18.12–1.06.13

Cuba 1999–2000: Photographs by Mario Algaze Florida Museum of Photographic Artswww.fmopa.org

Look, but don’t touch. Reach, but don’t grasp. Dream, but don’t wake up. That is how an exile feels about the homeland he cannot reclaim, and that is how Mario Algaze feels about Cuba. In his remarkable photo-graphs, he brings you a world that is suf-focating in stillness. Clocks seem frozen at the dawn of the Castro era. Time, although suspended, is visible on the façades of the aging buildings. The architecture is monu-mental, their grace and scale is overpowering.


C A L E N D A R { P g. 3 3 o f 4 0 }

Ta l l a h a s s e e c o n t i n u e d . . .

Image from Cuba 1999–2000: Photographs by Mario Algaze at Florida Museum of Photographic Arts, Tampa: Mario Algaze, Amanecer en Matanzas, Matanzas, Cuba, 1999-2000, ©Mario Algaze

11.14.12–1.27.13

Dorothea Lange’s America Florida Museum of Photographic Artswww.fmopa.org

During the crash of 1929, Dorothea Lange found her true calling as a peripatetic chroni-cler of the many faces of America—old and young, urban and rural, native-born and im-migrant—as they dealt with unprecedented hardship, sometimes with resilience, often with despondence. Her immortal portraits seared these faces of the Depression era into America’s conscious-ness. Also included in the exhibition are notable social docu-mentarians of the era, Walker Evans, Ben Shahn, Wright Morris,

Mike Disfarmer and others.

Thru 11.11.12

Portraits of Power: Photography by Platon

Florida Museum of Photographic Artswww.fmopa.org

For any museumgoer contemplating Pla-ton’s poster-size faces, there is an unequal balance of power. With these giant faces, every pore is exagger-ated, every presence is overpowering , every pose—artificial or natural—is amplified. In many cases, a man’s

inner character is stripped naked—even as he frantically tries to cover up. (See story on pg. 86.)

10.06.12–01.13.13

The Man, the

Image & the World: Henri Cartier-Bresson, a RetrospectiveTampa Museum of Artwww.tampamuseum.org

Henri Cartier-Bresson was one of the most in-fluential photographers of the 20th century. His images of world events and the people (famous and other-wise) who made these events happen, have shaped our understand-ing of the last century. The Man, the Image & the World includes over 330 photographs, films and important


C A L E N D A R { P g. 3 4 o f 4 0 }

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

Image from Dorothea Lange’s America at Florida Museum of Photographic Arts, Tampa: Dorothea Lange, Migrant Mother, Nipomo, California, 1936, from the private collection of Michael Mattis and Judith Hochberg, courtesy of Art2Art

publications. Cartier-Bresson chose the works for this exhibi-tion before his death in 2004. (See story on pg. 112.)

Thru 12.15.12

The Andy Warhol Legacy ProjectUniversity of South Florida Contemporary Art Museumwww.ira.usf.edu

The Andy Warhol Legacy Project is an exhibition of Polaroids and silver gelatin prints USF Contemporary Art Museum received as a gift from The Andy Warhol Founda-tion for the Visual Arts.

Thru 12.15.12

The Importance of Being Photographed

University of South Florida Contemporary Art Museumwww.ira.usf.edu

This exhibition fea-tures a select group-ing of contemporary photographers who create situations where the subject and the photographer engage in a dialogue about the nature of being photographed—addressing issues of class, sexuality, sensuality, shame, despair and privacy.

TARPON

SPRINGS

10.28.12–02.10.13

Songs from the Sea: Bronze Sculptures by David Smalley Leepa-Rattner Museum of Artwww.spcollege.edu/museum

Using its outdoor Ter-race as an exhibition space, the Leepa-Rat-tner Museum of Art presents seven bronze works by sculptor, Da-vid Smalley. Each work symbolizes a rel-

iquary for the sunken ships that descend into the sea.

10.28.12–01.06.13

The French Connection: Prints from the

Caroline Adams Byrd-Denjoy Collection Leepa-Rattner Museum of Artwww.spcollege.edu/museum

The French Connec-tion presents 48 prints, created between 1947 and 2005, by French, European and American artists working in Parisian print ateliers, select-ed from an extensive collection of prints gifted to the Leepa-Rattner Museum of Art in recent years by Madame Caroline Adams-Byrd Denjoy of Paris, France.


C A L E N D A R { P g. 3 5 o f 4 0 }

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

Image from The French Connection: Prints from the Caroline Adams Byrd-Denjoy Collection at the Leepa-Rattner Museum of Art, Tarpon Springs: Hervé Télémaque, Bleu de Matisse, 1986, lithograph on Arches paper, edition 74/200, 21-1/2 x 29-1/2”, ©2012 Artists Rights Society (ARS), New York/ADAGP, Paris

VERO BEACH

Thru 10.14.12

Form, Color, Light: Cast Glass by Rick Beck Vero Beach Museum of Art

www.verobeachmuseum.org

Rick Beck takes every-day shapes and trans-forms them into sculp-tures in glass, revealing their unexpected beau-ty. Form, Color, Light includes a range of work, from large floor pieces to small pedestal sculptures in translu-cent colors. (See story in the June/July 2012 issue on pg. 106.)

Thru 01.06.13

Landscape Paintings of Adam Straus Vero Beach Museum of Artwww.verobeachmuseum.org

Adam Straus, a native Floridian who stud-ied painting at Florida State University, has been creating “beau-tiful and disturb-ing” landscape paint-ings for more than 25 years. The landscape paintings selected for Straus’s Vero Beach exhibition often have a mysterious quali-ty that allows viewers plenty of room for interpretation.

10.13.12–01.13.13

Norman Rockwell: Behind the Camera Vero Beach Museum of Artwww.verobeachmuseum.org

Norman Rockwell: Be-hind the Camera re-veals the role of pho-tography in Rockwell’s creative process. (See story on pg. 76.)

Thru 01.02.13

Pop Art Revisited:

A 21st Century Perspective Vero Beach Museum of Artwww.verobeachmuseum.org

Pop Art Revisited: A 21st Century Perspective is the inaugural exhibition in the Museum’s new Titelman Gallery. The works of art se-lected for the exhib-it are important ex-amples of the Pop Art movement. The exhi-bition also sheds light on the original social context surrounding the creation of these art objects. (See story on pg. 52.)

WEST PALM

BEACH

12.01.12–12.09.12

Festival of Trees:A Musical Masterpiece


C A L E N D A R { P g. 3 6 o f 4 0 }

Image from Pop Art Revisited: A 21st Century Perspective at Vero Beach Museum of Art: Andy Warhol, Portrait of Marilyn, 1967, color serigraph, 40-1/8 x 40-1/4”, collection of Mississippi Museum of Art, bequest of Sarah Virginia Jones

Ann Norton Sculpture Gardenswww.ansg.org

Be part of this unique holiday celebration and enjoy the wonder of more than 35 decorat-ed themed trees. From Mozart to Motown, tree sponsors will select their favorite song as inspiration and a decorator will create a unique interpreta-tion of their musical selection. The trees are a gift to share with family and friends at the Gala event on No-vember 30th or during the Festival of Trees Community Days, De-cember 1-9, 2012.

12.01.12–12.13.12

David Wilson: Cartoonist Armory Art Center

www.armoryart.org

The Armory Art Center presents an exhibition of David Wilson’s cartoons and editorials from the past decade.

12.01.12–04.26.13

Jane Manus:Geometry of Space Armory Art Centerwww.armoryart.org

Though concrete and

heavy in themselves, Manus’s sculptures are artfully connected planes of line and geo-metric shape, joined so as to invoke a com-plex, shifting array of transparent spaces and paradoxically unsub-stantial solid forms.

10.26.12–12.08.12

Scott Armetta: Dark Florida Armory Art Center

www.armoryart.org

This show features works by atmospher-ic landscape painter, Scott Armetta, in his first solo exhibition.

Thru 01.27.13

Clear Water and Blue Hills: Stories in Chinese Art Norton Museum of Artwww.norton.org

Featured in this exhibition are works of art depicting tales from Chinese history and literature.

11.01.12–01.20.13

Keep Calm and Carry On: World War II and the British Home Front, 1938-1951 Norton Museum of Artwww.norton.org


C A L E N D A R { P g. 3 7 o f 4 0 }

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

Image from Jane Manus: Geometry of Space at Armory Art Center, West Palm Beach: Jane Manus, 98 in the Shade, 2009, painted welded aluminum, 78 x 60 x 112”

Keep Calm and Carry On explores the im-pressive gamut of England’s home-front efforts just before, during and after the war years. While mil-lions of British men and women served in the military overseas, England’s entire cre-ative class mobilized to win the war on the home front. Drawings, posters, photographs, film, furniture, fashion, and more, will illus-trate how they did so.

11.01.12–10.06.13

Rob Wynne: I Remember Ceramic Castles, Mermaids & Japanese Bridges Norton Museum of Artwww.norton.org

New York-based artist, Rob Wynne,

who creates stunning and beautiful sculp-tures, reliefs and installations inspired by diverse sources such as art, litera-ture and nature, will create a site-specific project for the Nor-ton’s main lobby. Wynne has manipu-lated glittering, mir-rored glass to create symbolic shapes and texts that simultane-ously appear reflec-

tive and seem invis-ible. For this project, he will integrate the natural world through glass-beaded draw-ings and hand printed wallpaper, and incor-porate examples of art from the Museum Collection.

12.27.12–03.03.13

Say it Loud: Art by African and African-American

Artists in the Collection Norton Museum of Artwww.norton.org

Paintings, sculpture, photographs and works on paper by African artists and artists of African descent comprise this exhibition which celebrates a renewed emphasis on diversity in the Museum Collection. More than 20 artists, whose practices span the 20th century, repre-sent ideas and issues inspired by personal and artistic concerns.

12.09.12–03.03.13

Sylvia Plimack Mangold: Landscape and Trees Norton Museum of Art


C A L E N D A R { P g. 3 8 o f 4 0 }


Image from Keep Calm and Carry On: World War II and the British Home Front, 1938-1951 at Norton Museum of Art, West Palm Beach: Woman’s scarf –British and American forces, 1940s, English silk, 28-1/8 x 28-1/8”, Museum of Fine Arts, Boston, gift of Jean S. and Frederic A. Sharf

www.norton.org

Sylvia Plimack Man-gold is the second artist to be celebrated in the Norton’s RAW (Recognition of Art by Women) program. For the last three decades, she has concentrated not only on the landscape sur-rounding her Hudson River-area studio, but also the individual trees comprising it, considering these subjects in paintings, drawings and prints.

Thru 10.24.12

Watercolors from the Collection Norton Museum of Artwww.norton.org

Watercolors from the Museum Collection, include works by Paul Signac, John Marin,

Charles Demuth and George Grosz.

WINTER PARK

Thru 12.30.12

The Mysterious Content of Softness Cornell Fine Arts Museum at Rollins College cfam.rollins.edu

Bringing together 11 national and in-ternational artists in various stages of their careers, The Mys-terious Content of

Softness explores the transformative power of fiber and its con-nection to the human body. Whether em-ploying time-honored techniques such as knitting, crochet, embroidery and loom weaving, or foraying into new uses of tradi-tional textiles, these artists explore the physical, psychologi-cal and cultural asso-ciations of fiber to the body. (See story in the August/September 2012 issue on pg. 52.)

Thru 12.30.12

The Prints of Gustave Baumann Cornell Fine Arts Museum at Rollins College cfam.rollins.edu

This exhibition centers around Baumann’s mastery of the woodcut printmaking process and includes images of New Mexico and a series of seldom seen prints depicting the rugged coast and mammoth trees of Northern California. (See story in the June/ July 2012 issue on pg. 78.)

10.02.12–04.14.13

Life in the Fast Lane: The Art of David Delong


C A L E N D A R { P g. 3 9 o f 4 0 }


Image from The Mysterious Content of Softness at Cornell Fine Arts Museum at Rollins College, Winter Park: Nathan Vincent, Locker Room, 2010, crocheted yarn, foam, wire, and polyester stuffing, courtesy of the artist. Yarn donated by Lion Brand Yarn. Photography by Steven Miller

The Albin Polasek Museum & Sculpture Gardens www.polasek.org

Over the course of five decades, Ameri-can Realist, David DeLong, produced a body of work remarkable for its breadth, variety and dexterity. An avid motorcycle racer, DeLong considered these machines to be the perfect meta-phor for life and art, explaining that each requires a high level of control and disci-pline. The original works on display focus on the culture of motorcycle racing and include paint-ings, pen and ink drawings and etch-ings from the late 1950s to 2001.

Opening 10.23.12

Focus Exhibition: Lockwood de Forest’s The WreckThe Charles Hosmer Morse Museum of

American Artwww.morsemuseum.org

Lockwood de For-est’s oil painting, The Wreck, c. 1880, is the subject of this Morse focus exhibition. The large Saharan land-scape depicts five

Bedouins riding their camels across a distant horizon at dawn and in the foreground, the skeletal remains of a camel—the wreck of the painting’s title. A friend and busi-ness partner of Louis Comfort Tiffany’s, de Forest (1850–1932) was a fine and success-ful painter as well as an importer and deco-rator. The exhibition will be accompanied by de Forest oil studies

of other desert scenes and explanatory wall panels designed to help the viewer develop a full appreciation of this powerful painting.

Thru 09.29.13

Watercolors by Otto Heinigke— A Glass Artist’s PaletteThe Charles Hosmer Morse Museum of American Artwww.morsemuseum.org

A selection of wa-tercolors by Otto Heinigke (1850–1915), a principal in the prominent Brooklyn stained-glass firm, Heinigke and Bowen, includes scenes rang-ing from Middle Atlantic farms and forests to ocean and river shorelines. On View


C A L E N D A R { P g. 4 0 o f 4 0 }

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

Image from Life in the Fast Lane: The Art of David Delong at The Albin Polasek Museum & Sculpture Gardens, Winter Park: David Delong, Infield, 2001


G a l l e r y A r t i s t s & E x h i b i t s

galleryS A R A S O T A

Gallery: Hodgell Gallerywww.hodgellgallery.com

Artist:SALLY ROGERSROGERS INCORPORATES

some elements with representational or narrative context into her sculptural work. Readily identifi-able components are selected both for the appeal of their line and color as well as for their ambiguity of meaning.

From left: Sally Rogers, Elysium, forged/fabricated steel, cast glass, courtesy of the artist and Hodgell Gallery; Tatyana Klevenskiy, In Shadow, oil on canvas, 36 x 60”, courtesy of the artist and Addison Gallery

B O C A R A T O N

Gallery: Addison Gallerywww.addisongallery.com

Artist: Tatyana Klevenskiy KLEVENSKIY’S PAINTINGS ILLUMINATE THE VIEWER’S eye by her astounding ability to capture and create light on the canvas. Be it a still life study or a simple Russian village landscape, her paintings demon-strate her enchanting ability to bring a calmness and tranquility to the viewer by the magnificence and serenity of her paintings.

C O R A L G A B L E S

Gallery: ArtSpace/Virginia Miller Gallerieswww.virginiamiller.com

Artist:MICHELLE CONCEPCIÓN CONCEPCIÓN’S ABSTRACT

compositions evoke diametrically different interpretations. Some viewers see microscopic

organisms, others may see asteroids or aquatic plant forms. Contrib-uting to the varying interpretations of Con-cepción’s subject matter is their extraordinary illusion of texture.


G A L L E R Y { P g. 2 o f 4 }

galleryD E L T O N A

Gallery: Lyonia Gallerywww.smponline.org

Exhibition: Apprehending Nature/Nature Apprehending

ERIC BREITENBACH’S imagery stems from care-ful examinations and play-

ful photographic experiments with common plant life, most of which was found in the photographer’s own backyard.

N E W S M Y R N A B E A C H Gallery: Arts on Douglas Fine Art and Collectibleswww.artsondouglas.net

Artist: Anna Tomczak“ARTIFACTS DEPICT MY PER-sonal experience through visual narrative and combine color, light and texture to welcome the interpretation of the viewer. I am interested in the impact of images combined together—textures, air bubbles, patterns of light and shadow.”

Clockwise from top left: Anna Tomczak, Pendula, Polaroid transfer, 20 x 24”, courtesy of the artist and Arts on Douglas Fine Art and Collectibles; Michelle Concepción, Twist, 63 x 63”, 2007, acrylic on canvas, courtesy of the artist and ArtSpace/Virginia Miller Galleries; Eric Breitenbach, Untitled from the series Apprehending Nature/Nature Apprehending, gelatin silver print, courtesy of the artist and Lyonia Gallery

G A L L E R Y { P g. 3 o f 4 }


F T . L A U D E R D A L E

Gallery: Artists Haven Gallerywww.artistshavengallery.com

Artist:MONIKA JENSEN JENSEN’S ABSTRACT paintings explode with brilliant color and have an artistic flair that con-sists of a desirable tex-

ture that must be seen. There is an aura of pas-sion to her art, yet also a distinct sense of balance as she creates canvases that have no boundaries.

From left: Monika Jensen, Composition 53, oil on canvas, 24 x 24”, courtesy of the artist and Artists Haven Gallery; Susan Silver Brown, The Blooming of Benevolence’s Offering, cast lead crystal glass and bronze, wallmount, 28 x 14 x 15”, courtesy of the artist and Adamar Fine Arts

M I A M I Gallery: Adamar Fine Artswww.adamargallery.com

Artist: Susan Silver Brown“I THINK OF THESE SCULPTURES AS ‘MYSTICAL SURREALISM.’ In this intoxicatingly passionate journey of being an artist, besides being influenced by African and Oceanic art, the primal, and travel, I’ve also been influenced by the surrealists. Mark Chagall and Dali have been major influences as well as Jungian psychology, Buddhism, Francesco Clemente, Georgia O’Keeffe, Frida Kahlo and Eckhart Tolle,” says Sil-ver Brown. “Glass is the perfect medium….With its fourth dimension of being able to see through the translucency and the breath of bubbles from within…It becomes spiritually and physically charged with life.”


N A P L E S

Gallery: Longstreth Goldberg Artwww.plgart.com

Artist: Alberto J. Carol “MY PAINTINGS ARE BASED on photographs usually shot by myself. I strive to render an accurate depiction of the object, but the deeper I go into it, the deeper I reach into myself. The more I try to capture the object, the more it boosts my feelings and imagination.”

P A L M B E A C H

Gallery: Holden Luntz Gallerywww.holdenluntz.com

Artist: Roberto EdwardsEDWARDS’ PHOTOGRAPHS ARE accurate records of an organic project involving models and art-ists who approach the human body as a three-dimensional canvas. His art is spontaneous, collabora-tive and creative.

G A L L E R Y { P g. 4 o f 4 }

M I A M I

Gallery: Zadok Gallerywww.zadokgallery.com

Artist:

PATRICK JACOBSJACOBS CREATES

intricate dioramas placed behind glass portals, which appear as reflec-tions into another world. Each of Jacob’s portals instantly transports the

viewer into an altered reality, the result of a highly detailed and labor-intensive process, which can take from weeks to months for the artist to complete.

Clockwise from top: Alberto J. Carol, Presence No. 4, 2000, acrylic/canvas, 36 x 36”, courtesy of the artist and Longstreth Goldberg Art; Patrick Jacobs, Fly Agaric Cluster #5, 2012, diorama viewed through 2” window, styrene, acrylic, cast neoprene, paper, polyurethane foam, ash, talc, starch, acrylite, vinyl film, copper, wood, steel, lighting, BK7 glass, 11 x 14 x 8-3/4”, courtesy of the artist and Zadok Gallery; Roberto Edwards, Pedro Ruiz (Colombia) #3 Cuerpos Pintados–Painted Bodies, 1997, printed 2012, archival Lambda color photograph, 51-1/4 x 39-1/2”, courtesy of the artist and Holden Luntz Gallery

On view through 01.02.13

a t V E R O B E A C H M U S E U M of A R T

www.verobeachmuseum.org

POP ARTRE V I S IT E DA 21st Century Perspective


Andy Warhol, Pepper Pot, from Campbell Soup I, 1968, color serigraph on paper, ed. H/Z, 35-1/8 x 23-1/8”,

Collection Vero Beach Museum of Art, Museum Purchase, 2000.010


This article consists of excerpts

from an essay by Jay Williams,

Curator of Exhibitions and Collections,

Vero Beach Museum of Art

Jasper Johns, Figure 7, from the

Color Numerals Series, 1969,

color lithograph, 38 x 31”, Collection of

Mr. and Mrs. James Singer

POP ART REVISITED: A 21st Century Perspective

PRESENTED BY THE VERO BEACH MUSEUM OF ART,

Pop Art Revisited: A 21st Century Perspective includes iconic works by the major artists associated with one of the 20th century’s most important art movements.

The original antecedents of Pop Art were images in slick magazines, billboards, comic books, newspapers,

and advertising. Classic Pop Art was the product of a very different world—bold, brash, consumption-driven, post-war America—but it is relevant to today’s media-driven world. The debate surrounding Pop Art contained some familiar questions about controversial subject matter in art: Were artists giving up the higher calling of making personal statements and giving in to an overwhelming tide of commercial

Pimagery? Was “high culture” changed for the worse by this brash new phenomenon? Was Pop Art a corrupting influ-ence on the artistic standards of major galleries and muse-ums? As the debate surround-ing these and other questions went on in the early ’60s, the phenomenon of Pop Art com-

manded the attention of New York’s most important critics, curators and gallery owners.

Fifty years ago, the respected art dealer, Sidney Janis, pre-sented an exhibition that shook New York’s art scene. The show did not feature the Euro-pean painters he had champi-oned such as Pablo Picasso,

Text by

JAY WILLIAMS

00 O n V i e w M a g a z i n e . c O M • O c t O b e r / D e c e m b e r 2 0 1 2 2 0 1 1

In Vibrant Color

Piet Mondrian, Marcel Duch-amp, Fernand Leger and Max Ernst, nor did it include the work of the American Abstract Expressionists, Willem de Kooning and Jackson Pollock, he represented. Janis called his exhibition The New Realists, a term that applied to contem-porary European artists such as Arman, Christo and Enrico

Baj, but also included in this show were works of art by Robert Indiana, Roy Lichten-stein, Claes Oldenberg, James Rosenquist, Wayne Thiebaud, Andy Warhol and Tom Wes-selmann—artists who would

become known universally as Pop Artists. Janis explained that the “new Factual Artist” found “inspiration in urban cul-ture” and mass media—includ-ing “the billboard, magazine, comic strip, daily newspaper,” and he went on to say that they were “attracted to abundant everyday ideas and facts” and “accumulations...of mass-pro-

duced objects.” Janis was aware that Robert Rauschenberg, Jas-per Johns, Jim Dine and Allan Kaprow had laid the ground-work for these “new Factual Artists” by transforming com-mon objects and everyday events into a series of non-tradi-tional paintings, assemblages of found objects, and Happenings.

Throughout his career, Rob-ert Rauschenberg enjoyed a

“collaboration with materials” that redefined the idea of sub-ject matter. He once stated: “I don’t want a picture to look like something it isn’t....I want it to look like something it is. And I think a picture is more like the real world when it’s made out of the real world.”

Rauschenberg’s early “com-bines” were part painting, part

found-object sculpture, that often included art reproductions, postcards, photographs from magazines, newspaper head-lines and illustrations. By the early ’60s, he had experimented with collaging found images in their original form, and also transferring, screen-printing, or photographically reproducing these everyday images in his paintings and prints—a process

Robert Rauschenberg, Signs,

1970, color serigraph, 44-5/8 x 35-1/4”,

Collection of University of

South Florida, Museum Purchase



“ I don’t want a picture to look like something it isn’t....I want it to look like something it is. And I think a picture is more like the real world when it’s made out of the real world.”

—RobeRt RauschenbeRg

of transformation that was key to the Pop Art movement.

Jasper Johns, a close friend of Rauschenberg, had also gravi-tated toward pre-existing motifs such as American flags, numer-als, maps and coffee cans, described by Johns as “things the mind already knows.” Both of these young artists antici-pated Pop Art by experiment-ing with images from everyday culture years before anyone in America used that term. Johns’ first such painting was Flag (1954). During the next six years, Johns followed this ini-tial flag painting with variations that were increasingly abstract. Like Rauschenberg, Johns worked freely between two and three-dimensional media.

Rauschenberg and Johns set the stage for the appropriation, re-use and transformation of everyday objects and images by their contemporaries, and bridged the gap between the painterly Abstract Expression-ism of the early 1950s and the harder-edged flat shapes more common to Pop Art.

From the beginnings of Pop Art, the meaning of these imag-

es was hotly debated and the critical response to the burgeon-ing number of Pop-related exhi-bitions was mixed. In an article in which he referred to Pop art-ists as “the new vulgarians,” Max Kozloff saw in the work of Lichtenstein and Rosenquist “blatantly familiar images”...on the one hand “demonstrat-ing that the recognizable is not necessarily communica-tive at all,” and on the other hand, that these were “precre-ated” images that required the viewer, rather than the artist, “to contribute the imaginative values.” Clement Greenberg, a champion of Abstract Expres-sionism, saw little value in Pop artists’ subject matter and gave only faint praise to their “clear and straightforward handling of their pictures,” noting that “novelty, as distinct from origi-nality, has no staying power.”

Given the large number of Pop-related exhibitions and the sometimes hostile critical response to them, it made per-fect sense for the Museum of Modern Art to organize A Sym-posium on Pop Art in Decem-ber, 1962. American Art Cura-

tor, Henry Geldzahler, who was something of a misfit at the gen-erally conservative Metropoli-tan Museum of Art, comment-ed: “I have heard it said that Pop Art is not art, and this by a museum curator....Why are we




mistrustful of an art because it is readily acceptable?...The new art draws on everyday objects and images. They are isolated from their ordinary context, and typified and intensified. What we are left with is a heightened

awareness of the object and the image, and of the context from which they have been ripped, that is, our environment.”

Through the mid-’60s, the debate about Pop Art continued in the press. As early as 1974,

Jasper Johns, Flags 1, 1973, screenprint,

edition of 65 plus artist’s proofs,

27-3/8 x 35-1/2”, gift of Hilde Babin in

honor of William S. Youngman, Jr.,

©Jasper Johns/Licensed by VAGA, New York

the Pop Art pioneer, Lawrence Alloway, declared that the work of the Pop Artists “[had] been legitimated...as representative of a certain view of culture and the world.” Their view was focused outwardly—unlike the inward view of the abstract expression-ists—and recognized the impor-tance of the ever-present, over-bearing images and symbols of the commercial world of adver-tising and publishing.

Living in the “now” and having a continuing artistic dialogue with the surrounding visual environment was what Pop Art was and is all about. Confusion arises when a critic or audience member assumes that a known visual symbol—a flag, a historical work of art, a word, or a photo of a political figure—retains only its original meaning when it is removed from its common context. When it moves from the every-day world, where it has a known significance, it is redefined as it becomes part of a work of art. The word or image may retain part of its popular meaning, take on a totally different meaning, or represent several meanings

simultaneously. The audience member who perceives a work of Pop Art participates in defin-ing its meaning in contemporary culture. Whatever a Pop Art painting or print meant in the ’60s, it is likely to have taken on



Above:

Andy Warhol, Grace Kelly, 1984,

screenprint, 48-5/8 x 40-11/16 x 1-7/8”

(framed), Collection of the

Southern Alleghenies Museum of Art,

Margery Wolf-Kuhn Art

Acquisition Endowment Fund, 87.011

Opposite:

Andy Warhol, Portrait of Marilyn, 1967,

color serigraph, 40 1/8 x 40 1/4,

Collection of Mississippi Museum of Art,

Bequest of Sarah Virginia Jones


new meanings in the present. Even Andy Warhol’s por-

traits, as universal as they may seem, are also subject to continu-al redefinition. His most famous subject, seen in his Portrait of Marilyn (1967), was based on a publicity photograph for the 1952 film, Niagara. Monroe received star billing in this film, which marked the beginning of a major publicity build-up by her Hollywood publicists. War-hol’s misaligned screens of red, pink, green and yellow trans-form the PR image of the glam-orous star into a frightful mask. Warhol’s masked goddess of 1967 remains a powerful image, but one that defies stereotyping. To see Warhol’s Grace Kelly (1984) and Jacqueline Ken-nedy II (1965), as art images, as opposed to artistic versions of publicity stills, requires us to think of them as historical icons (their deaths having given them a kind of immortality). Warhol forces us to consider what soci-ety needs these figures to repre-sent. While Warhol said that his subject matter was inspired by the historical portraits of Hans Memling, he was also obsessed

with the forces of conformity and individuality in society: “Those who talk about indi-viduality the most are the ones who most object to deviation…Some day everybody will think just what they want to think, and then everybody will probably be thinking alike.” His Flowers (a portfolio of ten screenprints on paper, 1970) have been interpreted as a wry comment on the supposedly individualis-tic flower-power culture of the ’60s. A continuation of a similar series of silkscreened canvases from 1964, they were based on an image he found in Popular Photography magazine. War-hol’s Pepper Pot Campbell’s Soup (1968) sums up his take on conformity. Asked why he painted soup cans, he said that he “used to have the same lunch every day, for 20 years,” and at times, talked about wanting to be a machine. Yet, as a sur-prisingly religious person, he believed that works of art could


Andy Warhol, Flowers, 1970,

screenprint, 36 x 36”,

Collection of

Mr. and Mrs. James Singer

have the kind of power found in a religious icon: “The situation, physical ideas, physical pres-ence,” he said, “I feel that is the comment.”

The artist who dealt most directly with consumption and materialism was Claes Old-enburg. Oldenburg installed his first monumental outdoor sculpture, a giant lipstick on tank treads, in 1969. He went on to create some of America’s most notable works of public Pop Art, such as the forty-five foot high Clothespin (1976) in downtown Philadelphia. Before making any actual outdoor sculpture, Oldenburg created a drawing entitled Proposed Colossal Monument to Replace the Washington Obelisk, Wash-ington, DC, Scissors Closed (1967). This drawing was the prototype for the color litho-graph, Scissors as Monument (1967). In his notes about the

Claes Oldenberg, Scissors as Monument

(Scissors Obelisk, Washington, DC)

from National Collection of Art portfolio, 1967,

lithograph, 30 x 22”, Collection of Fred

Jones Jr. Museum of Art, The University of

Oklahoma, Norman; Museum Purchase, 1969

piece, Oldenburg wrote that scissors were “a central tool in my activity,” referring to the cutting of material for his soft sculpture. “I realized that showing them closed would bring in what is imagined as well as what can be seen—open does not evoke closed, whereas closed evokes open. Also, a mood of anticipation, like the period before dawn.” His inventive way of capturing the spirit of consumer culture has given this Pop insider’s sculpture staying power.

From the pioneers of Pop—Hamilton, Rauschenberg and Johns—to the mainstream Pop artists—Lichtenstein, Rosen-quist, Warhol, Indiana, Wes-selmann, Thiebaud and Olden-burg—these artists have held our attention for more than five decades. Their works in Pop Art Revisited clearly demon-strate that the Pop artists were a collection of strong individuals who shared an obsession with the images and objects of main-stream culture, not members of an orchestrated movement with a political or social agenda. Yet, these artists could not have been

more effective in changing our way of thinking about art.

Today, no one would dare to refer to James Rosenquist or Robert Rauschenberg as one of a group of “genial jesters,” as a reviewer did after seeing an exhibition by six major Pop painters at the Guggenheim in 1963. As late as 1974, Hilton Kramer scoffed at the notion that Pop Art could be justified as “some sort of grand synthesis of high culture and mass cul-ture,” and, yet, that is exactly what these artists achieved. We are still fascinated by their images and recognize that their meanings are multi-layered and complex. Fortunately, we are no longer put off or offended by the Pop artists’ borrowing from popular culture, but we are still learning to open our eyes and minds to new forms of visual language, whether they origi-nate in the realm of computers and the internet or in some other region outside high culture. The message of Pop Art urges us to approach the visual culture of the 21st century with the attitude they brought to their vibrant era.On View



“Best known for delighting

television audiences with her

hilarious antics, comedienne

Lucille Ball had hoped to

make her mark as an actress

on the big screen. From 1929

to 1950, she appeared in

more than seventy films, but

Hollywood stardom remained

elusive. Weary of roles that

offered steady work but little

satisfaction, Ball was delight-

ed when CBS offered her the

chance in 1950 to star in a

new television show based on

her radio program, My Favor-

ite Husband. When she pro-

posed casting her husband,

Desi Arnaz, as her costar,

CBS balked at the idea of

pairing Ball with the Cuban-

born bandleader. The network

relented after the couple

agreed to pay for and produce

the show’s pilot through their

own newly formed company,

Desilu Productions. A huge

hit with the public when it

debuted on CBS in October

1951, I Love Lucy proved to

be the perfect showcase for

Ball’s comedic talents.”

—National Portrait Gallery,

Smithsonian Institution

Harry Warnecke and

Robert F. Cranston, Lucille Ball,

1944, color carbro print,

National Portrait Gallery,

Smithsonian Institution; gift of

Elsie M. Warnecke

Vintage Celebrity Portraits from the Harry Warnecke Studio

VibrantColorIn

10.27.12-01.12.13 Polk Museum of Art ,

Lakeland www.polkmuseumofar t .o rg



WE ARE SO USED TO VIEWING images in color today, but in the mid-1930s, most folks had never seen a color photograph. Pioneer-ing photographer, Harry Warnecke (1900-1984), and his associates at the New York Daily News’ Color Studio changed all that when they began creating brilliant, eye-pop-ping portraits for the newspaper’s Sunday News magazine.

W

“A trumpet virtuoso with a wide

smile and an ebullient personal-

ity, Louis Armstrong was a jazz

pioneer who helped to trans-

form that musical genre into

an international phenomenon.

In the process, he became one

of the most beloved Ameri-

can entertainers of the 20th

century. Raised in New Orleans,

Armstrong moved to Chicago

in 1922 to join King Oliver’s

Creole Jazz Band. Several years

later, he formed his own band,

billed himself as the ‘World’s

Greatest Trumpet Player,’ and

helped to develop the jazz style

popularly known as ‘swing.’ His

technical prowess, rhythmic

ingenuity, memorable improvi-

sations, and lively ‘scat’ singing

made Armstrong a standout.

As Duke Ellington observed,

‘Satchmo’ became the ‘epitome

of jazz’ as he played before ca-

pacity audiences across Ameri-

ca and abroad. A consummate

performer first and foremost,

Armstrong modestly declared,

‘I never tried to prove nothing,

just always wanted to give a

good show.’” —National Portrait

Gallery, Smithsonian Institution

Harry Warnecke and

Gus Schoenbaechler, Louis Armstrong,


National Portrait Gallery, Smithsonian

Institution; gift of Elsie M. Warnecke

In Vibrant Color


In Vibrant Color“After more than a decade

on the vaudeville circuit,

ventriloquist, Edgar Bergen,

and his wisecracking wooden

cohort, Charlie McCarthy,

rocketed to national fame in

1936 with their radio debut

on the Rudy Vallee Show. The

monocled dummy and his

human straight man proved

so popular with the listening

audience that when NBC gave

the pair their own program in

1937, it quickly became one

of radio’s top-rated shows.

One reviewer credited the

success of the act to Bergen’s

ability to endow an ‘inanimate

bit of timber’ with ‘as distinct

and as assertive an individual-

ity’ as any entertainer in show

business. Although other

characters such as country

bumpkin, Mortimer Snerd,

were later added to the act,

the irrepressible Charlie

McCarthy remained its star.

When Bergen announced his

intention to one day donate

his rambunctious alter ego to

the Smithsonian, Charlie fired

back, ‘Well, I won’t be the

only dummy in Washington.’”



Harry Warnecke, Robert F. Cranston

and Gus Schoenbaechler,

Edgar Bergen, 1948, color carbro

print, National Portrait Gallery,


A true newsman, who cred-ited his assistants on all of his works, Warnecke convinced the Daily News to invest in expensive technology that introduced color photography to a broad audience. Employ-ing a special one-shot camera of his own design, he produced color images by utilizing the technically demanding tri-col-or carbro process that yields richly-hued prints because the color actually derives from pigment that is suspended in gelatin rather than from color dyes. That’s one of the reasons why the color carbro prints from the ’30s and ’40s still have this wonderful, vivid color, unlike the dye-based color processes that we are familiar with today.

Warnecke and his team pho-tographed hundreds of people in the news, from beloved film stars and athletes to military leaders and government offi-cials, as they had never been seen before. His mastery of the process left lasting photographs and glimpses into popular cul-ture of the 1930s and ’40s. His methods and portraits were grounded in simplicity and real-ism, unlike many of the celeb-

Below:

Photographed just after

the end of World War II in 1945,

General Dwight D. Eisenhower

flashes a victorious smile in

front of an American flag backdrop.

Warnecke’s photos always captured

the spirit of the time, and the

high circulation of the Daily News

attracted many famous figures

outside the entertainment world.e

monocled dummy anHarry Warnecke and Robert F. Cranston

Dwight D. Eisenhower, 1945,

color carbro print, National Portrait Gallery,

Smithsonian Institution; gift of

Elsie M. Warnecke

In Vibrant Color


rity portraits of today. Because color took priority over dramat-ic shadows and special effects, he produced the sorts of uplift-ing, kitschy images that have become the hallmark of Ameri-can nostalgia.

Yet after his death in 1984, many of Warnecke’s portraits were forgotten. “He sort of fell off the radar,” says Ann Shumard, Curator of Photo-graphs for the National Portrait Gallery. “It’s the difference between a fine art photogra-pher and the photographers who worked for major newspa-pers. The photographers at Life and Look certainly were more well known because they had national circulation.”

Twenty-four of these pho-tographs from the 1930s and ’40s have been brought together for the exhibition, In Vibrant Color: Vintage Celeb-rity Portraits from the Harry Warnecke Studio, at Polk Museum of Art in Lakeland, on view from October 27th through January 12th. The exhibition, which has been organized by the Smithson-ian’s National Portrait Gallery, is the first Smithsonian show traveling to the Polk Museum


In Vibrant Color

Below:

“...[Gene] Autry got his start on

the radio in 1927 as ‘Oklahoma’s

Yodeling Cowboy’ and later gained an

enthusiastic following as the ‘Na-

tion’s Number One Singing Cowboy’

on radio’s National Barn Dance pro-

gram....[he] went on to star in dozens

of low-budget westerns...and also

enjoyed a lucrative recording career,

with hits that included Tumbling

Tumbleweeds (1935) and Rudolph

the Red-Nosed Reindeer (1949). In

the 1950s Autry made the move to

television, forming a production com-

pany and starring in his own series.”

——National Portrait Gallery,


Harry Warnecke and Robert F. Cranston,

Gene Autry, 1942, color carbro

print, National Portrait Gallery, Smithsonian

Institution; gift of Elsie M. Warnecke

“Before signing a film

contract with Republic

Pictures in 1943, Dale Evans

enjoyed modest success

as a singer, performing in

nightclubs and on the radio.

But when Republic cast her

opposite singing cowboy,

Roy Rogers, in The Cowboy

and the Senorita (1944),

her career was transformed.

Teamed with Rogers in more

than 25 films between 1944

and 1951, Evans became

‘Queen of the West’ to Rog-

ers’s ‘King of the Cowboys.’

When the couple married on

New Year’s Eve in 1947, they

became off-screen partners

as well. Following the wed-

ding, Republic announced

that Dale Evans would no

longer play Roy Rogers’s

leading lady. But after fans

protested, that plan was

scrapped and Evans returned

to the screen with her hus-

band. She also co-starred

with him when the Roy

Rogers Show debuted on

television in 1951, and

composed the Happy Trails

theme song with which the

pair closed each episode.”



Harry Warnecke, Dale Evans,


National Portrait Gallery,



COCKTAILCulture

“Convinced that being ‘a

definite personality’ was

one of the keys to stardom,

W. C. Fields invented a

larger-than-life persona as

a loveable misanthrope that

was part and parcel of the

comic characters he por-

trayed. After an early career

as a masterful juggler on

the vaudeville circuit, Fields

found his way to Broadway

in 1915, where he joined

Florenz Ziegfeld’s celebrated

Follies and honed his come-

dic skills. He scored a hit as

a small-time con artist in the

Broadway musical, Poppy

(1923), and reprised the

role in D. W. Griffith’s Sally

of the Sawdust (1925)—just

one of the many silent films

that showcased his talent.

Fields made the transition to

talking pictures with ease,

delivering memorable per-

formances in movies such as

David Copperfield (1935),

The Bank Dick (1940), and

My Little Chickadee (1940),

for which he wrote the

original screenplay with

co-star, Mae West.”



Harry Warnecke and Lee Elkins,

W.C. Fields, 1938, color

carbro print, National Portrait

Gallery, Smithsonian Institution;

gift of Elsie M. Warnecke

of Art—a Smithsonian affili-ate since August, 2010.

“This exhibition is very important within the context of the history of photography,” says Adam Justice, Polk Muse-um of Art’s Curator of Art. “Warnecke was one of the first photographers to experiment with color photography and the first to produce a color photo-graph for a news publication. The famous subjects of these portraits, many of whom are primarily known through black-and-white imagery, take on new auras when viewed in color and work to enlighten our inter-pretations of 1930s and ’40s American culture. We are cer-tainly very excited about being the first institution outside the Smithsonian to host In Vibrant Color, and proud to be bringing

this nationally acclaimed exhi-bition to Polk County.”

Drawing from the National Portrait Gallery’s collection of large-format, color carbro photographs, the exhibition includes actors, Lucille Ball and Roy Rogers; trumpeter, Louis Armstrong; baseball star, Ted Williams; Olympian, Babe Didrikson Zaharias; and Gen-eral George S. Patton. Many of the photos were donated by Warnecke’s widow, Elsie, to the NPG’s Permanent Collection.

“You can tell Warnecke was never intimidated by his sub-jects,” Shumard once told The Washington Post. “He had fun doing these pictures. They real-ly are visual documents from a time gone by, to move us and intrigue us. They’re just… delightful.” On View


In Vibrant Color

“ The famous subjects of these portraits, many of whom are primarily known through black- and-white imagery, take on new auras when viewed in color...” —AdAm Justice, curAtor of Art, PmoA

Reference photo for Norman Rockwell’s Mathew Brady Photographing Lincoln, 1975, photo by Louie Lamone. Licensed by Norman Rockwell Licensing, Niles, IL. Norman Rockwell Museum Digital Collections.


B E H I N D the C A M E R A

Norman ROCKWELL

a t t h e

V E R O B E A C H M U S E U M o f A R Tw w w . v e r o b e a c h m u s e u m . o r g

10.13.12-01.13.13

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

V E R O B E A C H M U S E U M O F A R T P R E S E N T S A landmark exhibition that sheds new light on Norman Rockwell’s art and artistry—Norman Rockwell: Behind the Camera is the first exhibition to explore in depth, Rockwell’s richly detailed study photographs, created by the artist as references for his iconic paintings. Organized with Norman Rockwell Museum and author/guest curator, Ron Schick, whose companion book of the same name was released by Little, Brown and Company, the exhibition (and publication) reveals a rarely seen yet fundamen-tal aspect of Rockwell’s creative process, and unveils a signifi-cant new body of Rockwell imagery in an unexpected medium.

This page and opposite: Reference photo for Norman Rockwell’s Breakfast Table Political Argument, 1948, photo by Gene Pelham, licensed by Norman Rockwell Licensing, Niles, IL, Norman Rockwell Museum Collections; Breakfast Table Political Argument, 1948, tear sheet, cover illustration for The Saturday Evening Post, October 30, 1948, ©1948 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Digital Collections


Rockwell’s photographs, displayed alongside his paintings, drawings and commercial illustrations, present a fascinating view of the development of some of the artist’s most memo-rable images. At the same time, the photographs themselves—each painstakingly staged by Rockwell and involving an array of models, costumes, props and settings—are works of art in their own right.

Rockwell’s study photographs are part of the Norman Rock-well Archives, a 200,000-object collection of Rockwell’s papers, photographs and mementos, housed at the Norman Rockwell Museum in Stockbridge, MA. Curator, Ron Schick, is the first

NORMAN ROCKWELL: Behind the Camera

This page and opposite: Reference photo for Norman Rockwell’s Breakfast Table Political Argument, 1948, photo by Gene Pelham, licensed by Norman Rockwell Licensing, Niles, IL, Norman Rockwell Museum Collections; Breakfast Table Political Argument, 1948, tear sheet, cover illustration for The Saturday Evening Post, October 30, 1948, ©1948 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Digital Collections


researcher to undertake a comprehensive study of the Museum’s newly digitized photography archives—a repository of nearly 20,000 images encapsulating Rockwell’s use of photography over four decades.

Norman Rockwell (1894–1978) is best known for his images of everyday American life. A masterful storyteller, Rockwell painted nuanced scenes of people and events inspired by his New England hometown. Born in New York City in 1894, he enrolled in art classes at the New York School of Art at the age of fourteen, and quickly found success as a commercial illustra-tor, receiving his first commission before his sixteenth birthday. Rockwell’s illustrations were extremely popular in his lifetime and were seen across America in books, advertisements, calen-dars and popular magazines, but it was his work with the Satur-day Evening Post that made him a household name. And while he is remembered for his nostalgic approach to American daily


Opposite and above: Reference photo for Norman Rockwell’s Expense Account, 1957, photographer unidentified, licensed by Norman Rockwell Licensing, Niles,IL, Norman Rockwell Museum Collections; Expense Account, 1957, oil on canvas, 38 x 35-3/4”, cover illustration for The Saturday Evening Post, September 20, 1958, ©1957 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Collections

Opposite and above: Reference photo for Norman Rockwell’s Expense Account, 1957, photographer unidentified, licensed by Norman Rockwell Licensing, Niles,IL, Norman Rockwell Museum Collections; Expense Account, 1957, oil on canvas, 38 x 35-3/4”, cover illustration for The Saturday Evening Post, September 20, 1958, ©1957 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Collections

Above left to right: Art Critic, 1955, tear sheet, cover illustration for The Saturday Evening Post, April 16, 1955, ©1955 SEPS: Licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Archival Collections; Reference photograph for Art Critic, photo by Gene Pelham, 1955, inkjet print, Norman Rockwell Art Collection Trust; Reference photograph for Art Critic, photo by Bill Scovill, 1955, inkjet print, Norman Rockwell Art Collection

life, Rockwell also seriously addressed major social issues of the time in some of his later work.

Early in his career, Rockwell hired professional models to pose for the characters in his paintings. Beginning in the mid-1930s, however, the evolving naturalism of his work led him to embrace photography, which had increasingly come in vogue as a useful tool for fine artists—and a natural ally of commercial illustrators working on tight deadlines. For Rockwell, already known as “the kid with the camera eye,” photography was more than an artist’s aid. The camera brought a heightened sense of realism to his work and opened a window to the keenly observed

authenticity that signifies his art. Working with friends and neighbors rather than professional models provided him with a wide array of “everyday” faces, while the camera’s ability to capture a fleeting expression or freeze a difficult pose gave him free reign to imagine and construct his visual narratives, captur-ing the fine details and nuances of his beloved characters.

Before committing his ideas to canvas, Rockwell brought them to life in studio sessions. He carefully orchestrated each element of his design for the camera, selecting props and loca-tions, choosing and directing his models, even getting in on the action to pose and perform. In fact, Rockwell’s photographic



Above left to right: Art Critic, 1955, tear sheet, cover illustration for The Saturday Evening Post, April 16, 1955, ©1955 SEPS: Licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Archival Collections; Reference photograph for Art Critic, photo by Gene Pelham, 1955, inkjet print, Norman Rockwell Art Collection Trust; Reference photograph for Art Critic, photo by Bill Scovill, 1955, inkjet print, Norman Rockwell Art Collection


archive reveals that the artist himself is his most frequently cap-tured model. Rockwell staged his photographs much as a film director works with a cinematographer, instructing his camera-men when to shoot, yet never personally firing the shutter. He created numerous photographs for each new subject, some-times capturing complete compositions and other times, piecing together separate pictures of individual elements.

Photography brought all the essential elements of Rockwell’s art completely under his control. For an artist with a “camera eye,” narrative genius and commitment to painstaking perfec-tionism, no better instrument could have been devised. On View


Above images: Reference photos for Norman Rockwell’s Going and Coming, 1947, photos by Gene Pelham, licensed by Norman Rockwell Licensing, Niles, IL, Norman Rockwell Museum Collections; Opposite: Going and Coming, 1947, tear sheet, cover illustration for The Saturday Evening Post, August 30, 1947, ©1947 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Digital Collections

Above images: Reference photos for Norman Rockwell’s Going and Coming, 1947, photos by Gene Pelham, licensed by Norman Rockwell Licensing, Niles, IL, Norman Rockwell Museum Collections; Opposite: Going and Coming, 1947, tear sheet, cover illustration for The Saturday Evening Post, August 30, 1947, ©1947 SEPS: licensed by Curtis Publishing, Indianapolis, IN, Norman Rockwell Museum Digital Collections

Through NOVEMBER 11th at the

FLORIDA MUSEUM of PHOTOGRAPHIC ART S, Tampa • www.fmopa.org

Portraits of POWERPhotographs by PLATON



Through NOVEMBER 11th at the

FLORIDA MUSEUM of PHOTOGRAPHIC ART S, Tampa • www.fmopa.org

Sheikh

Sharif Sheikh Ahmed,

President, Somalia,

© 2011 Platon

A N E X T R A O R D I N A R Y E X H I B I T I O N O F images by portrait photographer, Platon, is on display at Florida Museum of Photographic Arts in Tampa. Featured are some of the world’s most powerful personalities presented as we’ve never seen before, providing viewers with a glimpse at what lies behind their carefully constructed auras.

As Platon once stated in an interview with BBC’s World News Today: “We’re all used to seeing these characters on the podium making dramatic speeches, but we never see them up close and personal, and I wanted to show in a humble, honest way, what it’s really like to connect with them on an intimate level.”

All the subjects Platon has photographed are used to being in con-trol, yet for a few seconds, Platon has been the one in control, deter-mining with a click of a button, which momentary truth is captured and how each figure will be permanently represented in history.

“Artists have been making portraits of the mighty for centu-ries—from Velázquez’s Philip IV to Lucian Freud’s Elizabeth II—and the act of portrait-making can leave the royal or the tyrant, the President or the diplomat, with a sudden feeling of disequilibrium, of a transfer of power….History is full of leaders who cannot bear the result of their sittings. Winston Churchill publicly praised a portrait of him by Graham Sutherland, but soon decided that it made him look senile. His wife, Clementine, destroyed it. Usually, it seems, politicians seek out a portrait artist at the beginning of

APortraits of

POWER:Photographs by

PLATON


Opposite:

Silvio Berlusconi,

Prime Minister, Italy,

© 2011 Platon

their career. On February 27, 1860, the day he delivered his career-defining speech at Cooper Union, Abraham Lincoln walked over to Mathew Brady’s studio and had his picture taken. The greatest of American political lives had begun.”—from The New Yorker, December 7, 2009

In 1976, as renowned photographer, Richard Avedon, was about to photograph Henry Kissinger, the US Secretary of State made a request —“Be kind to me,” he said. Did Kissinger want Avedon to make him appear wiser, warmer or perhaps more sincere than he thought he was? Avedon later wrote: “Isn’t it trivializing and demeaning to make someone look wise, noble (which is easy to do), or even conventionally beautiful when the thing itself is so much more complicated, contradictory and therefore, fascinating?”

In September of 2009, during a meeting of world leaders at the United Nations in New York, Platon, a staff photographer for The New Yorker magazine, was granted unprecedented access to the event and set up a makeshift studio off the floor of the Gener-al Assembly, where he proceeded to lure the likes of Mahmoud Ahmadinejad, Hugo Chávez and Muammar Gaddafi in front of his camera. The artist recalled what Israeli Prime Minister, Benjamin Netanyahu, asked just before his portrait was taken—“Platon,” he said, “make me look good.”

Born in London in 1968, Platon was raised in the Greek Isles until his family returned to England in the 1970s. He received his BA with honors in Graphic Design from St. Martin’s School of Art and his MA in Photography and Fine Art at the Royal College of Art. After working for British Vogue for several years, he was invited to New York to work for the late John Kennedy Jr. and his political magazine, George.

Platon shot portraits for a range of international publications, including Rolling Stone, The New York Times Magazine, Vanity Fair, Esquire, GQ and The Sunday Times magazine. He also devel-oped a special relationship with Time magazine, producing over 20 covers. In 2007, Platon photographed Russian Premier, Vladimir Putin, for Time magazine’s Person Of The Year cover. The image was awarded 1st prize at the World Press Photo contest.

In 2008 he signed a multi-year contract with The New Yorker.

Portraits ofPOWER:

Photographs byPLATON


Opposite:

Vladimir Putin,

Prime Minister, Russia,

© 2011 Platon

As the staff photographer, he has produced a series of large-scale photo essays, two of which won ASME Awards in 2009 and 2010. Platon’s New Yorker portfolios have focused on many themes, including President Obama’s inauguration, the US military, por-traits of world leaders, and the Civil Rights Movement.

The following year, Platon teamed up with the Human Rights Watch to help them celebrate those who fight for equality and jus-tice in countries suppressed by political forces. These projects have highlighted human rights defenders from Burma as well as the leaders of the Egyptian revolution. Platon photographed Burmese opposition leader, Aung San Suu Kyi, for the cover of Time, just days after her release from house arrest.

Platon’s first monograph, Platon’s Republic, was published in 2004 by Phaidon Press. To coincide with its publication, his work was exhibited in London and New York. His second book, Pow-er—a collection of portraits of over 100 world leaders—was pub-lished in 2011 by Chronicle. The book includes portraits of Barack Obama, Mahmoud Ahmadinejad, Dmitry Medvedev, Benjamin Netanyahu, Hugo Chavez, Mahmoud Abbas, Tony Blair, Robert Mugabe, Silvio Berlusconi and Muammar Gaddafi.

In recent years, public speaking has progressively played a major role in Platon’s career as a communicator and storyteller. He has been invited to be a keynote speaker at the World Economic Forum, Yale University, the London School of Economics, the National Portrait Gallery in London and the International Center of Photog-raphy in New York. He has also appeared on a range of television media, including Charlie Rose (PBS), Morning Joe (MSNBC), Fareed Zakaria’s GPS (CNN) and the BBC World News.

In 2011, his work was exhibited in New York at the Matthew Marks Gallery and the Howard Greenberg Gallery. The New York Historical Society also exhibited a solo show of Platon’s Civil Rights photographs, which remain part of the Museum’s Perma-nent Collection. Platon’s advertising credits include the United Nations Foundation, Credit Suisse Bank, Exxon Mobil, Diesel, The Wall Street Journal, Motorola, Nike, Converse, IBM, Rolex, Ray-Ban, Tanqueray, Kenneth Cole, Moschino and Timex. Platon lives in New York with his wife, daughter and son. On View

Portraits ofPOWER:

Photographs byPLATON


Opposite:

Mahmoud Ahmadinejad,

President, Iran,

© 2011 Platon

S CU LP T U R E S & P H O T O G R A P H S, 1 9 7 8-1 9 9 512.07.12-04.07.13 a t t he M U S E U M o f F L O R I D A A R T , DeLand • w w w. m u s e u m o f f l o r i d a a r t . o r g

HANSONDUANE

S CU LP T U R E S & P H O T O G R A P H S, 1 9 7 8-1 9 9 512.07.12-04.07.13 a t t he M U S E U M o f F L O R I D A A R T , DeLand • w w w. m u s e u m o f f l o r i d a a r t . o r g


HANSONDUANE


EVER SINCE DUANE HANSON MADE HIS

American museum debut at the Whitney Muse-um of American Art in 1978, he has continued to delight viewers with his lifelike and life-sized sculptures of Americans from virtually all walks of life. “I’m mostly interested in the human form

as subject matter and means of expression for my sculpture,” the artist once said. “What can generate more interest, fascination, beauty, ugliness, joy, shock or contempt than a human being?...”

DUANE HANSON: Sculptures & Photographs,

1978-1995

Opposite:

Bodybuilder, 1989,

painted polyvinyl

with accessories

Duane Hanson: Sculptures & Photographs, 1978-1995, hosted by the Museum of Flor-ida Art in DeLand, presents nine hyperrealistic conceptual works by the sculptor as well as a selection of photograph-ic “sketch book” studies that enhance our understanding of the artist’s process.

“Duane Hanson’s sculptures are soundly rooted in the ‘Photo Realism’ school, stemming from the ‘Pop Art’ movement of the mid-1960s. This style is

generally associated with paint-ers such as Chuck Close and Richard Estes, but Duane Han-son is the preeminent sculptor of this genera,” says David Fithian, the Museum’s Curator of Art and Exhibitions. “This exhibition will give viewers a unique chance to experience first-hand these superb works in the intimate atmosphere of the Museum’s upper galleries.”

The initial, close-up encoun-ter with a Hanson sculpture encourages the viewer to ad-

E

mire his technique. Some may think the artist merely made casts of real people and then glued the parts together, in-serted body-hairs, glass eyes and teeth. Hanson’s figures are actually composites of cast-ings from various people or “New People,” composed of polyester resin and fiberglass.

In his vignettes of American life, Hanson hasn’t missed a single detail. After casting his figures from live models in his studio, he adorned them with every attribute of lifelikeness, right down to tiny body hairs and varicose veins. He also hand-picked their clothes from second-hand shops, and metic-ulously accessorized them.

We have all come across Hanson’s people at one time or another—at the market or the gas station or while simply walking about town. Hanson’s people are not beautiful. His figures are often overweight, garishly dressed and exhaust-ed. Some appear merely tired out—others simply seem tired of living. “I’m not duplicating life, I’m making a statement

about human values,” Hanson once explained. “I show the empty-headedness, the fatigue, the aging, the frustration. These people can’t keep up with the competition. They’re left out,

psychologically handicapped.”Human values and desti-

nies comprise the focus of his work. He transformed life into art and, in so doing, sharpened our view of the world, fellow


DUANE HANSON: Sculptures & Photographs,1978-1995

human beings and our own lives as well.

Duane Hanson was born in Alexandria, Minnesota, on January 17, 1925. He received his BA from Macalester col-

lege in St. Paul, MN, in 1946 and his MFA from the Cran-brook Academy of Art in Bloomfield Hills, MI, in 1951. From 1953 to 1960, Hanson lived in Munich and Bremer-haven, Germany, working as an art teacher for the US Army dependent school system. It was in Germany that he began to experiment with synthetic media, particularly, polyes-ter resin and fiberglass—the materials that would become his signature media. He spent the following years perfecting his artistic skills and the use of these materials in such a way that the boundaries between real and artificial seem to blur.

Hanson moved back to the US in 1960 and from 1962-’65, he was an art professor at Oglethorpe University in Atlanta. It was during his time at Oglethorpe that he received a grant from the Ella Lyman Cabot Trust to develop his work with life-sized polyester resin and fiberglass sculpture.

The subjects of his sculptures during the mid- to late 1960s were political. Though he later tempered his political message, he continued to address the roles of the working class—housewives, repairmen, office

Above:

Self Portrait with Model,

1979, painted polyvinyl with

accessories


cleaners, dishwashers, muse-um guards and janitors.

One of the first sculptures Hanson created after mov-ing to South Florida in 1965, was Abortion, a mixed-media rendering of a dead pregnant woman, sprawled on a table and covered with a sheet. When the work was publicly displayed for the first time in Miami the fol-lowing year, it provoked strong reactions—both favorable and negative—and Hanson sud-denly became a celebrity in the South Florida art scene.

Hanson’s provocative, life-like sculptures soon attracted attention beyond Florida. In 1967, New York art dealer, Ivan Karp, began to woo Han-son away from Miami and in 1969, the artist moved to Man-hattan. His works were shown in solo exhibitions in New York and Germany, and he created more than 25 sculptures over the next four years.

Although Hanson’s move broadened his exposure in the New York art world, he grew tired of the city. In 1973 he returned to South Florida, set-tling in Davie, where he lived for the rest of his life.

Despite his absence from New York, Hanson’s work

gained popularity. It was dur-ing the 1970s that he attained international recognition. In 1974, a retrospective of Han-son’s work toured Europe and in 1976, his work went on a major tour of museums in the US. His solo show at the Whitney Museum of Ameri-can Art in 1978 attracted more than 297,000 visitors, setting an attendance record for the Museum.

Among the many awards and accolades Hanson received, he was perhaps most proud of those that identified him as a Florida artist. In 1983, he was given the Ambassador of the Arts Award of the State of Florida and two years later, he received the first annual “Florida Prize” of $10,000 for his outstanding achievements in sculpture. In 1987, he was honored with a “Duane Hanson Day” procla-mation in Broward County, and was inducted into the Florida Artists Hall of Fame in 1992.

Hanson is regarded as one of the most influential Ameri-can sculptors of the 20th cen-tury, committed to Realism, and considered by many to be the most popular and signifi-cant artist ever to have come out of South Florida. On View

DUANE HANSON: Sculptures & Photographs,

1978-1995

Opposite:

Queenie II,

1988, painted polyvinyl

with accessories


P h o t o g r a p h y f r o m E u r o p e a n d A m e r i c a B e t w e e n t h e W a r s


Berenice Abbott, Manhattan Bridge, 1936, gelatin silver print, on loan from a private Florida collection, ©Berenice Abbott/Commerce Graphics

a t t h e

SAMUEL P. HARN MUSEUM of ART,G a i n e s v i l l e • w w w. h a r n . u f l . e d u

10.09.12– 01.06.13

T H E

M O D E R N IMPULSEP h o t o g r a p h y f r o m E u r o p e a n d A m e r i c a

B e t w e e n t h e W a r s

O n v i e w

THE SAMUEL P. HARN MUSEUM

of Art at the University of Florida presents an exhibition that reflects a transformative moment in photographic history during the tumultuous interwar years. The Modern Impulse: Photography from Europe and America Between the Wars explores how the newly portable 35mm camera was celebrated as an instrument of poetry, analysis and social change. Covering the years between 1918 and 1945, the exhibition highlights over 40 artists who expanded the new medium and changed the way the world was perceived.

The Modern Impulse

Above: John Gutmann, Chicago, 1936, gelatin silver print, on loan from a private Florida collection,©1998 Center for Creative Photography, Arizona Board of Regents

Opposite:Berenice Abbott, New York at Night,c. 1932, gelatin silver print, on loan from a private Florida collection, ©Berenice Abbott/Commerce Graphics


Text by

KERRY OLIVER-SMITH,

Harn Curator

of Contemporary Art


The Modern Impulse show-cases more than 135 pho-tographs, books, illustrated magazines and films drawn from four regions that were among the era’s most promi-nent centers of photographic innovation—France and the Czech Republic in Europe, and New York and California in the US. Artists featured in the exhibition include such innovative talents as Berenice

Abbott, Henri Cartier-Bresson, Imogen Cunningham, Fran-tisek Drtikol, Walker Evans, André Kertész, Helen Lev-itt, Josef Sudek and Jaroslav Rössler. Celebrating technol-ogy while embracing sponta-neity and improvisation, these artists captured the spirit, vital-ity and invention of a new age.

Photographers from both sides of the Atlantic caught the fleeting moments of everyday life, focusing on cities, street life and the contours of indus-trial and natural forms. Their work ranged from abstraction to realism and was influenced by artistic movements such as Surrealism, Constructivism and New Objectivity along with creative approaches to documentary and reportage. Broadly, the work reflects what artist and theorist, László Moholy-Nagy (1895–1946), described as a ‘new vision,’ a perspective that emerged from the technical culture of the 20th century, incorporating a multitude of unconventional forms and techniques such as unusual cropping and camera angles, high contrast and pho-tomontage in both experimen-tal and straight photography.

The works displayed in the

The Modern Impulse

Opposite: Edward Weston, Pepper 30,

1930, gelatin silver print, on loan from a private Florida collection,

photograph by Edward Weston,©1981 Center for Creative Photography,

Arizona Board of Regents

Below:Imogen Cunningham, Amaryllis,

1933, gelatin silver print, on loan from a private Florida collection,

©1933, 2012 The Imogen Cunningham Trust, www.ImogenCunningham.com

exhibition are organized by the following five thematic areas, which reflect the diver-sity of production and expres-sion under the “new vision” movement:

ART AND TECHNOLOGY: NEW VISION AND THE MODERN CITYResponding to the new urban-ism of the 1920s, photogra-phers in Europe and America reflected the aesthetics of the “new vision” in metropolitan landscapes, creating ground-breaking work that emphasized the abstract forms, geometry and formal rhythms of city life and industrial production. Ber-enice Abbott’s photographs of New York City skyscrap-ers are iconic examples of this approach, which was also adopted by artists such as Alma Lavenson and Peter Stackpole in California and Josef Ehm in the Czech Republic.

PURE PHOTOGRAPHY AND NEW OBJECTIVITYSeeking an objective realism that pinpointed the essence of pure form, photographers like Edward Weston, Imogen Cun-ningham and Ansel Adams formed the Group f.64—ref-erencing an aperture that ren-ders clear and precise repre-sentation. They advocated the use of modernist principles to capture the contours and tex-tures of organic and industrial

The Modern Impulse

“The Modern Impulse offers a window into one of the most artistically fertile periods in the history of photography.”

—Rebecca Nagy, DiRectoR of the haRN MuseuM of aRt

Opposite: Marion Post Wolcott,Jitterbugging in a Juke Joint, Clarksdale, Mississippi,1939, gelatin silver print, on loan from a private Florida collection

Below: John Gutmann, New Orleans, 1937,gelatin silver print, on loan from a private Florida collection,©1998 Center for Creative Photography, Arizona Board of Regents

subjects. Their works are nota-ble for the use of close-ups, cropping and flattening to de- emphasize contextual sur-roundings and focus instead on textural details and form.

DREAMS, MEMORY AND DESIRE: SURREALISM IN FRANCE AND THE CZECH REPUBLICDuring the interwar period, artists such as Brassaï, Henri Cartier-Bresson and André Kertész connected the ordi-nary and the fantastic, the real and the surreal. They saw the city as a labyrinth of ephem-eral moments, obscure places, forgotten objects, and margin-al people linking to a deep-er mystery behind ordinary appearances. This style was especially prevalent in the Czech Republic, where Jaro-

slav Rösler, Eugen Wiskovsky and others carried on the Surrealist project beyond the parameters of the two World Wars.

SOCIAL ACTIVISM AND MODERN LIFE: DOCUMENTARY AND REPORTAGEIn the 1930s, economic tur-moil and political extremism on both sides of the Atlantic inspired many photographers to use the camera as a tool for activism, uniting modern-ist aesthetics with progres-sive ideas. American artists like Walker Evans, Marion Post Wolcott, Paul Strand and Weegee captured the social hardships of the Great Depres-sion, often with support from Franklin Delano Roosevelt’s Works Progress Administra-tion (WPA) and Farm Security Administration (FSA).

MASS MEDIA: PHOTOGRAPHY FOR THE PUBLICThe increasing recognition of photography as a new 20th cen-tury art form was accompanied by an explosion in the mass distribution of photographic images in the interwar period in

Opposite:Walker Evans, Sharecropper’s Family,

Hale County, Alabama, 1936,gelatin silver print, on loan

from a private Florida collection, ©Walker Evans Archive,

The Metropolitan Museum of Art

Below:Henri Cartier‑Bresson,

On the Banks of Marne, France, 1938, gelatin silver print, on loan from

a private Florida collection, ©Henri Cartier‑Bresson/Magnum Photo

The Modern Impulse

magazines such as Life, Look, Vanity Fair and Harper’s Bazaar as well as Vu, Mina-taure and De Stijl in Europe. These publications introduced new styles of photography to American and European read-ers, and gave artists a com-mercial platform on which to establish themselves. Books, magazines and films from this period will be featured.

“The Modern Impulse offers a window into one of the most artistically fertile periods in the history of photography,” said Rebecca Nagy, Director of the Harn Museum of Art. “We’re delighted to share a remarkable exhibition that meaningfully contributes to a greater understanding of 20th century visual culture.” On View


HENRI CARTIER-BRESSON was one of the most influen-tial photographers of the 20th century. His images of world events and the people—fa-mous and otherwise—who made these events happen, have helped shape our under-standing of the last century.

The Tampa Museum of Art is the only US venue to host the international exhibition, The Man, the Image & the World. Henri Cartier-Bresson, A Ret-rospective. “We are dedicating the majority of our galleries to this exhibition, giving this Mas-ter his due,” said Museum Exec-utive Director, Todd D. Smith.

From his first works of the 1930s that stand out for their composition, the theatrical na-ture of the images and the selec-tion of details, Cartier-Bresson succeeded in recording impor-tant moments with his camera. His 1952 book, Images a la Sau-vette (The Decisive Moment), introduced his ideas about cre-ating images that combined sto-ry, action and emotion. Entire stories are often condensed into a single image, the so-called


RETROSPECTIVE{ H E N R I C A R T I E R - B R E S S O N }

E x h i b i t i o n

The Man, the Image & the World. Henri Cartier-Bresson, A Retrospective

On view October 6th–January 13th at the Tampa Museum of Art

www.tampamuseum.org

“decisive moment.” The pho-tographer once said that pho-tography was “putting one’s head, one’s heart and one’s eye on the same axis.”

Travel was a key element in Cartier-Bresson’s life and his work. Following trips to Mex-ico, the artist was sent on large-scale global reporting assign-ments to the US, the Soviet Union, Chi-na, India, Bali and Indonesia. His im-ages provided early and probing views behind the Iron Curtain and into the highly hidden cultures in South-east Asia and the In-dian Subcontinent. His work is not only considered a benchmark for photojournalism in the 20th century but also for the ethics of photography.

Born on August 22, 1908 in Chanteloup, France, Cartier-Bresson studied painting before embarking on a career in pho-tography in the 1930s. His life took a dramatic turn in 1940,

following the German inva-sion of France. He joined the army but was soon captured by German forces and forced into prisoner-of-war camps for the next three years. In 1943, after two failed attempts, he escaped and immediately returned to his photography and film work.

Along with friends such as Robert Capa, Cart-ier-Bresson found-ed Magnum Pic-tures in 1947. Op-erating in Paris and New York City, this organization of photojournal-ists successfully changed the man-ner in which pho-tojournalists were treated and recog-

nized by printed sources.The Man, the Image & the

World. Henri Cartier-Bresson, A Retrospective includes over 330 photographs, films and im-portant publications. Cartier-Bresson chose the works for this exhibition before his death in 2004, just a few weeks shy of his 96th birthday. On View

Above:

Place de l’Europe. Gare Saint Lazare.

Paris, France. 1932

all images

©Henri Cartier-Bresson/

Fondation HCB / Magnum Photos

This exhibition is held in

conjunction with the

Foundation Henri Cartier-

Bresson and Magnum

Photos/Paris.

opposite page:

The Maharadjah of Baria

arrives on an elephant,

escorted by his cousins, to

marry the Maharadjah

of Jaipur’s daughter. Jaipur,

Rajasthan, India. 1948

R E T R O S P E C T I V E

Henri Cartier- Bresson’s images helped establish

photojournalism as an art form.

“ W H E N Y O U S U B M E R G E

yourself underwater, you sud-denly find another dimension; another way of seeing, another way of existing.

What if… the real world is the world we do not see?

What if… the possibilities and imaginative solutions that ex-ist, are far beyond our compre-hension?

As a child, I used to watch ‘The Twilight Zone,’ an intrigu-ing, imaginative, black and white television program that fired up my imagination.‘What if’ be-came my constant question. To-day, ‘what if’ continues to linger on my mind. The ‘what if’ opened up a huge amount of possibilities, and my perception of the ordi-nary was never ordinary again. This exhibition is about the cos-mos, Sacred Geometry, the un-known, the mysterious and the magical.” — Lydia azout

Out of the Ordinary Geome-try presents large-format sculp-tures and installations, con-ceived by the artist specifically for the Museum’s space.

“Throughout her career as

114 O n V i e w M a g a z i n e . c O M • o c t o b e r / d e c e m b e r 2 0 1 2

FORM{ L Y D I A A Z O U T }

E x h i b i t i o n

Out of the Ordinary Geometry by Lydia Azout

On view through October 21st at The Patricia & Phillip Frost Art Museum, Miami

http://thefrost.fiu.edu

a sculptor, Azout has focused on the basic elements of form and shape as symbolic of the powers of nature, especial-ly the feminine forces she re-gards as reflections of creativi-ty, cosmic order and harmony,” says Frost Art Museum Director, Carol Damian. “Often working with monumental structures, which she makes out of wood, steel and other ma-terials, Azout boldly faces the challenges of size and space as she explores the ob-ject’s potential to ex-press something be-yond its geometric references and delve into a world that ac-knowledges the spir-itual through a con-temporary aesthet-ic. Her installation for the Frost Art Museum calls for the viewer to momentarily suspend the de-mands of the everyday to inter-act on an emotional basis with the sculptural forms. The large-scale, site-specific work is multimedia and constructed out of different

types of steel and projections to produce a confrontation with the materials, potentially extend the human experience beyond that of the merely functional or obvious, and enter into a relationship di-rected at perception and person-al response. We hope the experi-ence will be memorable and in-

spirational.” Azout studied

at David Manzur’s workshop in Bogo-tá, Colombia, from 1970 to 1974. She continued her stud-ies with Luis Cam-nitzer in Lucca, Ita-ly, and at the Gran-ite and Art Institute in Petrasanta, Italy.

Since 1978, she has exhibited in im-portant galleries, museums and bi-

ennials. Azout’s work is part of permanent collections in Mexi-can, Colombian, Puerto Rican, Venezuelan and American mu-seums, as well as numerous pri-vate collections throughout the world. She currently lives and works in Bogotá. On View

opposite

(top to bottom):

1. Major Temple, 2006,

Weathering steel, steel, and

copper, 34 x 380 x 242”

2. Feminine Forces, 1997,

Steel With a Rust Patina,

107 x 107 x 292”

above:

Tree of Thoughts 2, 2012,

Steel, stainless steel,

and copper, 116 x 54 x 34-1/2”

Photography by Ramon Giovanni

left: Lydia Azout,

courtesy of the artist

F O R M

“This exhibition is about the cosmos, Sacred Geometry,

the unknown, the mysterious and

the magical.”

THE JAPANESE HAVE LONG been known for excellence in their theater arts. Kabuki, noh and ningyō-jōruri (pup-pet theater, more common-ly known as bunraku) have served as cultural ambassa-dors since Japan’s opening to the West in the mid-19th cen-tury, introducing the world to a distinctive view of Jap-anese art and culture. Earlier forms and traditions, howev-er, remain virtually unknown outside of Japan. Mechani-cal puppet theater (karakuri-ningyō), for example, easily rivaled in popularity that of both kabuki and more tradi-tional puppet theater during the 17th and early 18th centu-ries. Dioramas of hyper-realis-tic dolls known as iki-ningyō (lifelike human forms) were all the rage in Edo (present-day Tokyo) for much of the 19th century, and were collected by museums in the West.

While the term “doll” in the West is associated with a child’s plaything, in Japan, “ningyō,” usually translated as doll, de-scribes an inanimate human


CRAFT{ N I N G Y O }

E x h i b i t i o n

Entertaining the Gods and Man: Japanese Dolls and the Theater

On view October 2nd–January 27th at Morikami Museum and Japanese Gardens, Delray Beach

www.morikami.org

shape or form. It is not a play-thing but rather a tangible ar-tistic form that carries myriad cultural meanings. Ningyō, both mechanical and static, were once the central focus of large festival floats in nu-merous commu-nities around Ja-pan. Today, we can still witness some of the grandeur of these doll-related forms of entertainment during the Gion Matsuri in Kyoto and the fes- tivals connected with Tōshōgū and Wakamiya Hachi-man shrines in Na-goya.

Although most cultures in the world have puppet-relat-ed theatrical traditions—Punch and Judy in the European tra-dition, warang shadow puppet-ry of Indonesia, or the large-scale marionettes of the Sin-halese tradition—few cultures can approach the depth and sophistication of doll-relat-

ed entertainment as the Jap-anese. While the hina-ningyō associated with the Girl’s Day display and the intensely mar-tial forms associated with the Boy’s Day festival have become familiar to those with at least a

passing interest in Japanese arts and culture, few have had the opportu-nity to be exposed to the rich tradi-tions surrounding dolls and the the-ater. Ningyō, both entertaining in and of themselves and commemorative of various theatri-cal traditions, have been a part of Ja-pan’s cultural to-pography for cen-turies.

Entertaining the Gods and Man presents over 60 exam-ples of these visually power-ful and intellectually engaging works of art in an effort to illu-minate this rich, undiscovered world and little-explored area of Japanese culture. On View

opposite page:

Mitate gosho-ningyô of a Sanbasô

performer, 18” tall, early 20th

century, Rosen Collection

Above

(top to bottom):

1. Ishô-ningyô depicting a Shishi

Mai (Lion Dance), 18-1/4” tall,

Edo Period, 18th century,

Blewis Collection

2. Takeda-ningyô depicting a war-

rior with a pistol, 18” tall, Edo

Period, 19th century

left: Tamaya Shobei VIII

(dates unknown), Karakuri

gosho-ningyô, 20th century

C R A F T

Few cultures can approach the

depth and sophistication of

doll-related entertainment as

the Japanese.

THE POWER OF WASHINGTON, D C WILL SEDUCE YOU. It was created with a single goal in mind—to showcase the greatness of our nation. With its impressive monuments and museums, its stately government buildings and mansions, DC is easily recognizable as the United States’ capital city. And within this 61-square-mile city, you’ll find staggering achievements in everything from architecture and art, litera-ture, history and political prowess.

Our tour of the city’s finest art museums includes: Art Mu-seum of the Americas; Corcoran Gallery of Art; Hillwood Es-tate, Museum & Gardens; National Gallery of Art; National Museum of Women in the Arts; the Smithsonian museums: American Art Museum and the Renwick Gallery, Freer Gal-lery of Art and Arthur M. Sackler Gallery, Hirshhorn Muse-um and Sculpture Garden, National Museum of African Art, and Na-tional Portrait Gallery; The Kreeger Museum; and The Phillips Collec-tion. On View

Washington D CThe museums . . .

VonD E S T I N A T I O N

iew


DC

WA

SH

ING

TO

N D

C W

A


WITH ITS UNIQUE regionalfocus, the Art Museum of the Americas’ Permanent Col-lection of 20th century Latin American and Caribbean art is one of the most important col-lections of its kind in the US.

Established in 1976, the Museum’s Collection has grown to nearly 2,000 objects, including: painting, sculpture, installations, prints, drawings and photographs. The works reflect the rich diversity of artistic expression found in

the region and provide an overview of stylistic and icon-ographic trends beginning in the early 20th century.

Noted architect, Paul Cret, designed the Spanish colonial style building which houses the Museum. The Museum’s white walls, red tiled roof and loggia, decorated with richly colored tiles, provides a warm and intimate atmosphere in which to enjoy art. On View

CLOCKWISE FROM TOP:

1. ALEJANDRO OBREGON,

ESTUDIANTE MUERTO

(THE DEAD STUDENT), 1956,

OIL ON CANVAS, 55 x 69”

2. CANDIDO PORTINARI,

RETURN FROM THE FAIR, 1940,

OIL ON CANVAS, 40 x 32”,

GIFT OF JOSE GOMEZ-SICRE

3. ARMANDO MORALES,

FIGURES, 1972,

OIL ON CANVAS, 40 x 32”

IMAGES COURTESY OF

ART MUSEUM

OF THE AMERICAS

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

Art Museum of the Americas

ART MUSEUM OF THE AMERICASwww.museum.oas.org

201 18th St., NWWashington, DC202.458.6016

Info

W

DC

WA

SH

ING

TO

N D

C W

A

FOUNDED IN 1869 by Wil-liam Wilson Corcoran, the Corcoran Gallery of Art is the largest privately supported cul-tural institution in Washington, DC. The Museum’s main focus is American art. Its historic American Collection spans the history of American art from colonial times through 1980 and includes remarkable paint-ings by such distinguished art-ists as John Singleton Copley, Frederic Church, Mary Cas-satt, Winslow Homer, George

Bellows, and Edward Hopper. The Corcoran also has par-

ticularly strong collections of Colonial and Federal era por-traiture, neoclassical sculp-ture, Hudson River School painting, art of the American West, American Impression-ism and early 20th century realism. Its holdings include major works by painters, Albert Bierstadt, Childe Has-sam and John Singer Sargent, as well as sculptors, Paul Manship, Hiram Powers and Bessie Potter Vonnoh. On View

F


Corcoran Gallery of Art and College

of Art + Design

CORCORAN GALLERY OF ART AND COLLEGE OF ART + DESIGN www.corcoran.org

500 17th St., NW Washington, DC202.639.1700

Info

CLOCKWISE FROM TOP:

1. Frederic Edwin Church,

Niagara, 1857, oil on

canvas, 42-1/2 x 90-1/2”,

Corcoran Gallery of Art,

Washington, DC, Museum

Purchase, Gallery Fund

2. Gordon Parks, American

Gothic, Washington, DC,

1942, gelatin silver print,

43-9/16 x 31-7/8”, Corcoran

Gallery of Art, Washington, DC,

The Gordon Parks Collection

3. Mary Cassatt,

Young Girl at a Window,

ca. 1883-1885, oil on canvas,

39-1/2 x 25-1/2”,

Corcoran Gallery of Art,

Washington, DC, Museum

Purchase, Gallery Fund

images courtesy of the

corcoran gallery of art


DC

WA

SH

ING

TO

N D

C W

A

FOUNDED BY AMERICAN collector and heiress to the Post cereal empire, Marjorie Merriweather Post, Hillwood Estate, Museum & Gardens is one of the premier art collec-tor’s museums in the US. The Museum features the most comprehensive collection of Russian imperial art outside of Russia and a world-renowned collection of 18th century French decorative art and fur-nishings. Encircled by wood-lands, the 25 acre estate pro-

vides visitors a tranquil oasis of luscious formal gardens.

Highlights from the Col-lection, which features more than 16,000 objects, include a diamond crown worn by Empress Alexandra, at her marriage to Nicholas II; Beauvais tapestries designed by François Boucher; two Imperial Easter eggs by Carl Fabergé; La Nuit by William-Adolphe Bouguereau; and a collection of costumes and accessories worn by Mrs. Post or her family. On View

F


Hillwood Estate, Museum

& Gardens

HILLWOOD ESTATE, MUSEUM & GARDENS www.hillwoodmuseum.org

4155 Linnean Ave., NW Washington, DC202.686.5807

Info

CLOCKWISE FROM TOP:

1. HILLWOOD MANSION

2. EASTER EGG, 1895,

FABERGÉ (FIRM); PERKHIN,

MIKHAIL (WORKMASTER),

RUSSIA: ST. PETERSBURG,

GOLD, CHAMPLEVÉ ENAMEL,

DIAMONDS, SATIN, 3-1/8 x 2-3/16”,

BEQUEST OF MARJORIE

MERRIWEATHER POST, 1973

3. FRANK O. SALISBURY,

PORTRAIT OF MARJORIE

MERRIWEATHER POST, 1934,

OIL ON CANVAS, 49-1/4 x 39-1/4”,

BEQUEST OF MARJORIE

MERRIWEATHER POST, 1973

IMAGES COURTESY OF

HILLWOOD ESTATE, MUSEUM

AND GARDENS


DC

WA

SH

ING

TO

N D

C W

A

E S T A B L I S H E D I N 1 9 3 7 , the National Gallery of Art was created for the peo-ple by a joint resolution of Congress, with a substan-tial art collection donated by Andrew W. Mellon. The Gallery’s collection of paint-ings, drawings, prints, pho-tographs, sculpture, medals, and decorative arts, traces the development of Western Art from the Middle Ages to the present—including the only painting by Leonardo da

Vinci in the Americas and the largest mobile ever created by Alexander Calder.

The Gallery’s campus in-cludes the original neoclas-sical West Building designed by John Russell Pope, which is linked underground to the modern East Building, designed by I. M. Pei, and the 6.1 acre Sculpture Garden, which provides an informal, yet elegant, setting for works of modern and contemporary sculpture. Temporary special exhibitions spanning the world and the history of art are pre-sented frequently. On View

E


National Gallery of Art

NATIONAL GALLERY OF ARTwww.nga.gov

4th & Constitution Ave., NWWashington, DC202.737.4215

Info

CLOCKWISE FROM TOP:

1. LEONARDO DA VINCI,

GINEVRA DE’ BENCI [OBVERSE],

CA. 1474/1478, OIL ON

PANEL, NATIONAL GALLERY

OF ART, WASHINGTON,

AILSA MELLON BRUCE FUND

2. PABLO PICASSO,

FAMILY OF SALTIMBANQUES,

1905, OIL ON CANVAS,

NATIONAL GALLERY OF ART,

WASHINGTON, CHESTER

DALE COLLECTION

3. ALEXANDER CALDER’S

GIANT MOBILE HAS GRACEFULLY

PRESIDED OVER THE ATRIUM

OF THE EAST BUILDING

SINCE NOVEMBER 1977.

GIFT OF THE COLLECTORS

COMMITTEE, NATIONAL

GALLERY OF ART, WASHINGTON;

PHOTO: ROB SHELLEY

IMAGES COURTESY OF

NATIONAL GALLERY OF ART


DC

WA

SH

ING

TO

N D

C W

A


THE NATIONAL MUSEUM of Women in the Arts is dedi-cated to recognizing the contri-butions of women artists.

The core of the NMWA’s permanent holdings is the Hol-laday Collection, comprised of art assembled by Wilhelmina Cole Holladay and her hus-band, Wallace F. Holladay, who began collecting art in the 1960s. Their devotion to collect-ing art by women and to creat-ing a museum that would show-case women artists, led to the

establishment of the NMWA. The Permanent Collection

includes more than 4,000 works, providing a comprehensive sur-vey of art by women from the 16th century to the present. The work in the Collection repre-sents a wide range of styles and media—from the Renaissance paintings of Elisabetta Sirani to modern photographs by Bar-bara Morgan to Louise Nevel-son’s contemporary sculptures. The NMWA also has several important special collections, including silver by 18th and 19th century Irish and English women silversmiths. On View

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

National Museum of Women in

the Arts

NATIONAL MUSEUM OF WOMEN IN THE ARTSwww.nmwa.org

1250 New York Ave., NW Washington, DC 202.783.5000

TCLOCKWISE FROM TOP RIGHT:

1. SOPHIE TAEUBER-ARP,

COMPOSITION OF CIRCLES

AND SEMICIRCLES, 1935,

GOUACHE ON PAPER,

10 x 13-1/2”, NATIONAL MUSEUM

OF WOMEN IN THE ARTS

2. CLAUDE RAGUET HIRST,

A GENTLEMAN’S TABLE, AFTER

1890, OIL ON CANVAS,

18 x 32”, NATIONAL MUSEUM OF

WOMEN IN THE ARTS

3. JOAN MITCHELL,

ORANGE, 1981, OIL ON CANVAS,

NATIONAL MUSEUM


IMAGES COURTESY OF

NATIONAL MUSEUM


Info

DC

WA

SH

ING

TO

N D

C W

A


SMITHSONIAN AMERICAN Art Museum is home to one of the largest and most inclusive collections of American art in the world. Its artworks reveal key aspects of America’s rich artistic and cultural history from the colonial period to today. More than 7,000 artists are represented in the Collec-tion, including: John Single-ton Copley, Winslow Homer, John Singer Sargent, Childe Hassam, Mary Cassatt, Geor-gia O’Keeffe, Edward Hopper,

Christo, and David Hockney.The Museum also features

innovative public spaces such as: The Luce Foundation Cen-ter for American Art, a visible art storage and study center that allows visitors to browse more than 3,300 works from the Col-lection; and the Lunder Con-servation Center, the first art conservation facility to allow the public permanent, behind-the-scenes views of the preser-vation work of museums.

The Renwick Gallery houses the Museum’s craft and deco-rative arts collection, which includes works from the 19th century to the present. On View


Smithsonian American Art Museum

and the Renwick Gallery

SMITHSONIAN AMERICAN ART MUSEUM and the Renwick Galleryhttp://americanart.si.edu

8th and F Streets, NWWashington, DC 202.633.1000

S CLOCKWISE FROM TOP:

1. MUSEUM COURTYARD,

PHOTO: KEN RAHAIM

2. GEORGIA O’KEEFFE,

MANHATTAN, 1932, OIL ON

CANVAS, SMITHSONIAN

AMERICAN ART MUSEUM,

GIFT OF THE GEORGIA

O’KEEFFE FOUNDATION

3. ALEXANDER CALDER,

NENUPHAR, 1968, SHEET STEEL,

SMITHSONIAN AMERICAN

ART MUSEUM, GIFT OF THE ARTIST

IMAGES COURTESY OF THE

SMITHSONIAN AMERICAN

ART MUSEUM

Info


THE FREER GALLERY OF Art, along with the Arthur M. Sackler Gallery, forms the Smithsonian Institution’s national museums of Asian art. The two museums are connected by an underground exhibition space.

The Freer houses 25,518 objects spanning 6,000 years of history, including but not limited to, ancient Egyptian

stone sculpture and wooden objects, ancient Near Eastern ceramics and metalware, Chi-nese paintings and ceramics, Korean pottery and porcelain, Japanese Byōbu, Persian man-uscripts and Buddhist sculp-ture. Collections span from the Neolithic to modern eras.

The Sackler Gallery takes you on an underground journey and is home to Dr. Arthur M. Sackler’s incomparable col-lection of art, which includes ancient Chinese jades and bronzes as well as contempo-rary Asian art. On View

T


Smithsonian Freer Gallery of Art &

Arthur M. Sackler Gallery

SMITHSONIAN FREER GALLERY OF ART & ARTHUR M. SACKLER GALLERYwww.asia.si.edu

Freer Gallery of Art: Jefferson Dr. at 12th St., SWArthur M. Sackler Gallery: 1050 Independence Ave., SWWashington, DC 202.633.4880

Info

CLOCKWISE FROM TOP:

1. The Blue Dress,

Thomas Wilmer Dewing

(1851-1938), American, 1892,

Oil on wood panel,

20 x 15-13/16”, Gift of

Charles Lang Freer

2. FREER GALLERY COURTYARD

3. THUNDER GOD, HANGING

SCROLL, KATSUSHIKA

HOKUSAI (1760-1849),

JAPAN, 1847, INK AND COLOR

ON PAPER, 89-5/16 x

26-5/8” (OVERALL), 49-15/16 x

21-3/16” (IMAGE), GIFT OF

CHARLES LANG FREER

IMAGES COURTESY OF

THE SMITHSONIAN’S FREER

AND SACKLER GALLERIES

DC

WA

SH

ING

TO

N D

C W

A

DC

WA

SH

ING

TO

N D

C W

A


T H E S M I T H S O N I A N ’ S Hirshhorn Museum and Sculp-ture Garden presents art in a range of media, including works on paper, painting, installation, photography, sculpture, digital and video art, and works that mix all or some of the above.

The collection of modern art from the late 19th century to mid-20th century and contem-porary art from the 1970s to the present, includes in-depth hold-ings by some of the best-known artists of our time, including

Alexander Calder, Willem de Kooning, Arshile Gorky and Clyfford Still, as well as the work of today’s most promis-ing emerging artists.

The Museum’s architect, Gordon Bunshaft, conceived the Hirshhorn as “a large piece of functional sculpture.” The bold, drum-shaped structure, with a hollow-centered, ele-vated cylinder, floats above nearly four acres of landscaped grounds. The Museum also fea-tures a Sculpture Garden with cool green spaces and a geo-metric reflecting pool, offering visitors an atmosphere of con-templation and retreat. On View

T


Smithsonian Hirshhorn Museum & Sculpture Garden

SMITHSONIAN HIRSHHORN MUSEUM & SCULPTURE GARDENwww.hirshhorn.si.edu

Independence Ave. at 7th St., SWWashington, DC202-633-1000

CLOCKWISE FROM TOP:

1. Hirshhorn

Museum and

Sculpture Garden,

Photo: Lee Stalsworth

2. Andy Warhol,

Marilyn Monroe’s Lips

(detail), 1962,

the Hirshhorn

collection

3. Josef Albers,

Homage to the Square:

Glow, 1966,

the Hirshhorn

collection

IMAGES COURTESY OF

SMITHSONIAN

HIRSHHORN MUSEUM &

SCULPTURE GARDEN

Info

DC

WA

SH

ING

TO

N D

C W

A


THE NATIONAL MUSEUM of African Art, located on the National Mall, special-izes in African art and cul-ture. It was established as a private museum in 1964, and officially became a part of the Smithsonian Institution in 1979.

The Collection of the NMAfA embraces the di-verse artistic expressions found throughout Africa, from ancient to contempo-rary times. Collection objects

range from ceramics, textiles, furniture and tools, to masks, figures and musical instru-ments. The arts of painting, printmaking, sculpture and other media are well repre-sented by living artists whose works highlight individual creativity, address global and local art trends, and innova-tively transform artistic tra-ditions into modern idioms. On View


Smithsonian National Museum

of African Art

SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ARTafrica.si.edu

950 Independence Ave., SW Washington, DC 202.633.4600

TIn

fo

CLOCKWISE FROM TOP RIGHT

1. FACE MASK, CHOKWE PEOPLES,

DEMOCRATIC REPUBLIC OF

THE CONGO, ANGOLA, EARLY 20TH

CENTURY, WOOD, PLANT FIBER,

PIGMENT, COPPER ALLOY,

15-3/8 x 8-3/8 x 9-1/4”,

MUSEUM PURCHASE,

PHOTO: FRANKO KHOURY,

NATIONAL MUSEUM OF AFRICAN

ART, SMITHSONIAN INSTITUTION

2. BOY AND THE CANDLE,

GERARD SEKOTO (1913-1993),

BORN SOUTH AFRICA, 1943,

OIL ON CANVAS, 18-3/16 x 13-1/4”,

MUSEUM PURCHASE,

PHOTO: FRANKO KHOURY,

NATIONAL MUSEUM OF AFRICAN

ART, SMITHSONIAN INSTITUTION

3. BRACELET, YORUBA PEOPLES,

NIGERIA, 16TH CENTURY, IVORY,

5-11/16 x 4-1/8 x 4 1/8”,

GIFT OF WALT DISNEY WORLD CO.,

A SUBSIDIARY OF THE WALT

DISNEY COMPANY, PHOTO: FRANKO

KHOURY, NATIONAL MUSEUM

OF AFRICAN ART, SMITHSONIAN

INSTITUTION

IMAGES COURTESY OF

THE NATIONAL MUSEUM

OF AFRICAN ART

DC

WA

SH

ING

TO

N D

C W

A

T H E S M I T H S O N I A N National Portrait Gallery shares with the Smithson-ian American Art Museum, one of Washington’s oldest public buildings, a National Historic Landmark that was begun in 1836 to house the US Patent Office, and one of the nation’s finest examples of Greek Revival architecture.

Generations of remarkable Americans are kept in the company of their fellow citi-zens at the National Portrait

Gallery. The Gallery presents the wonderful diversity of individuals who have left—and are leaving—their mark on our country and our cul-ture. Through the visual and performing arts, we celebrate leaders such as George Wash-ington and Martin Luther King Jr., artists such as Mary Cas-satt and George Gershwin, activists such as Sequoyah and Rosa Parks, and icons of pop culture such as Babe Ruth and Marilyn Monroe. They all link us to our past, our present and our future. For anyone fas-cinated by famous Americans and their stories, the National Portrait Gallery is a must-visit destination. On View


Smithsonian National Portrait

Gallery

SMITHSONIAN NATIONAL PORTRAITGALLERYwww.npg.si.edu

8th and F Streets, NW Washington, DC 202.633.8300

Info

T


CLOCKWISE FROM TOP:

1. ABRAHAM LINCOLN

BY ALEXANDER GARDNER,

ALBUMEN SILVER PRINT, 1865,

IMAGE: 17-11/16 x 15-3/16”

2. BENJAMIN FRANKLIN

BY JOSEPH SIFFRED DUPLESSIS,

OIL ON CANVAS, CA. 1785,

STRETCHER: 28-1/2 x 23-1/2 x

1-1/2”, GIFT OF THE MORRIS

AND GWENDOLYN CAFRITZ

FOUNDATION

3. GEORGE WASHINGTON

(LANSDOWNE PORTRAIT) BY

GILBERT STUART, OIL ON CANVAS,

1796, STRETCHER: 97-1/2 x

62-1/2”, ACQUIRED AS A GIFT

TO THE NATION THROUGH

THE GENEROSITY OF THE DONALD

W. REYNOLDS FOUNDATION

ALL IMAGES: COLLECTION OF

THE NATIONAL PORTRAIT GALLERY,

SMITHSONIAN INSTITUTION;

COURTESY OF THE NATIONAL POR-

TRAIT GALLERY

DC

WA

SH

ING

TO

N D

C W

A


T H E K R E E G E R M U S E U M is located in the former home of David and Carmen Kreeger, designed by renowned archi-tect, Philip Johnson.

The Museum showcases the Kreegers’ collection of modern art, which includes paintings and sculptures from the 1850s to the 1970s. The Impressionists are represented by nine Monet paintings, as well as works by Renoir, Sisley and Pissarro. Other 20th century European artists include Edvard Munch,

Max Beckmann, Wassily Kan-dinsky and Joan Miró. The American artists are introduced by the graceful motion of an Alexander Calder mobile. Visi-tors can either lose themselves in the infinite space of a painting by Clyfford Still, or enjoy the sly Pop humor of James Rosen-quist’s Bowling Ball Diptych.

Washington artists, such as: Gene Davis, Sam Gilliam, Wil-liam Christenberry and Kendall Buster, as well as examples of traditional African and Asian Art, are also featured in the Museum’s Collection. On View


The Kreeger Museum

THE KREEGER MUSEUMwww.kreegermuseum.org

2401 Foxhall Road, NW Washington, DC 202.337.3050

TIn

fo

CLOCKWISE FROM TOP:

1. THE KREEGER MUSEUM,

PHOTO BY EILEEN WOLD

2. PAUL CÉZANNE,

THE DARK BLUE VASE, III,

CA. 1880, OIL ON CANVAS

3. CLAUDE MONET,

CLIFFS AT LES PETITES-DALLES,

1884, OIL ON CANVAS

IMAGES COURTESY OF

THE KREEGER MUSEUM

DC

WA

SH

ING

TO

N D

C W

A

E N C O U N T E R S U P E R B works of modern art in an inti-mate setting at The Phillips Collection, in Washington’s vibrant Dupont Circle neigh-borhood. The Museum, which opened to the public in 1921, is America’s first museum of modern art.

Paintings by Renoir, Degas, Cézanne, Gauguin, van Gogh, Bonnard, Matisse, Picasso, Braque, Klee, Homer, Whistler, Hopper, Stieglitz, O’Keeffe, Calder and Rothko are among

the many stunning impression-ist and modern works that fill the Museum’s distinctive build-ing, which combines extensive new galleries with the family home of its founder, Duncan Phillips.

The Collection includes nearly 3,000 works and con-tinues to develop with selec-tive new acquisitions, many by contemporary artists. Special exhibitions and frequent chang-es in the arrangement of the Permanent Collection mean that there’s something new on every visit to The Phillips. On View


The Phillips Collection

THE PHILLIPS COLLECTIONwww.phillipscollection.org

1600 21st St., NW Washington, DC 202.387.2151

Info

E


CLOCKWISE FROM TOP:

1. PIERRE-AUGUSTE RENOIR,

LUNCHEON OF THE

BOATING PARTY, 1880-81,

THE PHILLIPS COLLECTION,

WASHINGTON, DC,

ACQUIRED 1923

2. PAUL CÉZANNE, SELF-PORTRAIT,

1878-1880, THE PHILLIPS

COLLECTION, WASHINGTON, DC,

ACQUIRED 1928

3. VINCENT VAN GOGH,

ENTRANCE TO THE PUBLIC

GARDENS IN ARLES, 1888,

THE PHILLIPS COLLECTION,

WASHINGTON, DC,

ACQUIRED 1930

IMAGES COURTESY OF

THE PHILLIPS COLLECTION

FOR A MORE INTIMATE CULTURAL EXPERIENCE, the 50+ independent art galleries within the Washington, DC area offer art lovers an opportunity to view the works of emerging and established artists, and a chance to enjoy the city’s diverse local talent. Contemporary and tradi-tional art, paintings, prints, fine art photography, glass, sculpture and other types of visual art are displayed with-in these fine art venues.

Most of the galleries are located in the Dupont Circle neighborhood, a thriving cultural area with scores of top-notch restaurants, shops and nighttime entertainment, and along R Street and Connecticut Avenue in downtown DC—all easily accessible via one of the world’s best subway systems, the Metro.

On the following pages, On View presents a selection of Washington’s exceptional galleries. On View

O n V i e w M a g a z i n e . c O M • O c t O b e r / D e c e M b e r 2 0 1 2 133

VonD E S T I N A T I O N

iew

Washington D CThe galleries. . .

DC

WA

SH

ING

TO

N D

C W

A

Washington DC Art Galleries

ADAMSON

GALLERY

www.adamsongallery.jimdo.com

1515 14th St. NW

202.232.0707

ADDISON/RIPLEY

FINE ART

www.addisonripleyfineart.com

1670 Wisconsin Ave. NW

202.338.5180

ALEX GALLERY

www.alexgalleries.com

2106 R St. NW

202.667.2599

AMERICAN

PAINTING

FINE ART

www.classicamericanpainting.com

5118 MacArthur Blvd. NW

202.244.3244

BURTON

MARINKOVICH

FINE ART

www.burtonmarinkovich.com

1506 21st St. NW

202.296.6563

CARROLL

SQUARE

GALLERY

www.carrollsquare.com

975 F St. NW

202.638.3000

CIVILIAN

ART

PROJECTS

www.civilianartprojects.com

1019 7th St. NW

202.607.3804

CONNER

CONTEMPORARY

ART

www.connercontemporary.com

1358 Florida Ave. NE

202.588.8750

CURATOR’S

OFFICE

www.curatorsoffice.com

1515 14th St. NW

202.387.1008

GALERIE

BLUE

SQUARE

www.galeriebluesquare.com

1662 33rd St. NW

202.957.1401

GALLERY

PLAN B

www.galleryplanb.com

1530 14th St. NW

202.234.2711

G FINE ART

www.gfineartdc.com

1350 Florida Ave. NE

202.462.1601

GUARISCO GALLERY

www.guariscogallery.com

1120 22nd St. NW

202.333.8533

HAMILTONIAN

GALLERY

www.hamiltoniangallery.com

1353 U St. NW

202.332.1116

HEMPHILL

FINE ARTS

www.hemphillfinearts.com

1515 14th St. NW

202.234.5601

HONFLEUR

GALLERY

www.honfleurgallery.com

1241 Good Hope Rd. SE

202.365.8392

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


DC

WA

SH

ING

TO

N D

C W

A

INTERNATIONAL

VISIONS GALLERY

www.inter-visions.com

2629 Connecticut Ave. NW

202.234.5112

JANE HASLEM

GALLERY

www.janehaslemgallery.com

2025 Hillyer Pl. NW

202.232.4644

KATHLEEN EWING

GALLERY

www.kathleenewinggallery.com

3615 Ordway St. NW

202.328.0955

LA LUNA

GALLERY

www.lalunagallerydc.com

5171 MacArthur Blvd. NW

202.316.4481

LONG VIEW

GALLERY

www.longviewgallerydc.com

1234 9th St. NW

202.232.4788

MAURINE

LITTLETON

GALLERY

www.littletongallery.com

1667 Wisconsin Ave. NW

202.333.9307

MORTON FINE ART

www.mortonfineart.com

1781 Florida Ave. NW

202.628.2787

PARISH GALLERY

www.parishgallery.com

1054 31st St. NW

202.944.2310

P & C ART

www.pcart.com

3108 M St. NW

202.965.3833

PROJECT 4

www.project4gallery.com

1353 U St. NW

202.232.4340

THE RALLS

COLLECTION

www.rallscollection.com

1516 31st St. NW

202.342.1298

THE WATERGATE

GALLERY

www.watergategalleryframe

design.com

2552 Virginia Ave. NW

202.338.4488

TOUCHSTONE

GALLERY

www.touchstonegallery.com

901 New York Ave. NW

202.347.2787

Dupont Circle Art Galleries

FOUNDRY

GALLERY

www.foundrygallery.org

1314 18th St. NW

202.463.0203

MARSHA MATEYKA

GALLERY

www.marshamateykagallery.com

2012 R St. NW

202.328.0088

STUDIO GALLERY

www.studiogallerydc.com

2108 R St. NW

202.232.8734

On View

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


Wa s h i n g t o n D C ga l l e r i e s c o n t i n u e d . . .

on view 10-12.2012

Documents