On View 08-09.2012

Von iewA U G U S T / S E P T E M B E R 2 0 1 2F L O R I D A

THE MYSTERIOUS Content of SoftnessA T C O R N E L L F I N E A R T S M U S E U M , W I N T E R P A R K

P L U S

UNNATURALA T B A S S M U S E U M O F A R T , M I A M I B E A C H

HISTORIES in Africa :20 Years of Photography by Elizabeth Gilbert

A T T H E C U M M E R M U S E U M O F A R T & G A R D E N S , J A C K S O N V I L L E

FLORAda & Flowing Waters :The Art of Mark Messersmith,

Margaret Ross Tolbert & Anna Tomczak A T T H E A P P L E T O N M U S E U M O F A R T , O C A L A

A N D

STRIPPED BARE + Bathed :The Preservation of Dalí’s Masterworks

A T T H E D A L Í M U S E U M , S T . P E T E R S B U R G

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

ON THE COVER :

LISA KELLNER,

ALMOST PERFECT (DETAIL),

2011, SILK, PIGMENT,

PAINT, THREAD, EMBROIDERED

TEXT (“ALMOST PERFECT”),

SURGICAL PINS, 42 x 31 x 6”

RIGHT:

LISA KELLNER, IM PLANT,

2012, SILK, PIGMENT, PAINT,

BLEACH, THREAD, HAND FORMED

AND PAINTED SILK RODS,

VARIABLE, ROUGHLY 12 x 12’ AREA

IMAGES COURTESY

OF THE ARTIST

52 Winter Park THE MYSTERIOUS CONTENT OF SOFTNESS Consisting of a diverse range of sculptures, installations and crafts, The Mysterious Content of Softness, hosted by Cornell Fine Arts Museum at Rollins College, explores the transformative power of fiber—its connection to the human body and potential for capturing the fluidity of life.

CONTENTSA u g u s t / S e p t e m b e r 2 0 1 2 V o l . 3 , N o . 3

Von iewA U G U S T / S E P T E M B E R 2 0 1 2F L O R I D A

THE MYSTERIOUS Content of SoftnessA T C O R N E L L F I N E A R T S M U S E U M , W I N T E R P A R K

P L U S

UNNATURALA T B A S S M U S E U M O F A R T , M I A M I B E A C H

HISTORIES in Africa :20 Years of Photography by Elizabeth Gilbert

A T T H E C U M M E R M U S E U M O F A R T & G A R D E N S , J A C K S O N V I L L E

FLORAda & Flowing Waters :The Art of Mark Messersmith,

Margaret Ross Tolbert & Anna Tomczak A T T H E A P P L E T O N M U S E U M O F A R T , O C A L A

A N D

STRIPPED BARE + Bathed :The Preservation of Dalí’s Masterworks

A T T H E D A L Í M U S E U M , S T . P E T E R S B U R G

62 Miami Beach

UNNATURALA new exhibition at Bass Museum of Art, UNNATURAL pres-ents a fusion of reality, fantasy and simulation, while reflecting the freedom of the imagi-nation and the wonders of simulation technol-ogy, which make the inconceivable con-ceivable.

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

TOP (LEFT TO RIGHT):

Boaz Aharonovitch,

Dark Matter, 2010-2012;

Elizabeth Gilbert,

The Circumcisionist (detail);

Mark Messersmith,

Wild As Angels;

A conservator works on

Salvador Dalí’s

The Hallucinogenic Toreador,

photo by Chuck Bendel

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

72 Jacksonvil le

HISTORIES IN AFRICA The Cummer Museum of Art & Gardens will be featuring Elizabeth Gilbert’s glorious B&W photographs of a magnificent and sometimes harsh land-scape and its peoples.

80 Ocala

FLORAda AND FLOWING WATERS Works by Mark Mess-ersmith, Margaret Ross Tolbert & Anna Tom- czak portray a lush and beautiful portrait of natural Florida in a new show at the Appleton Museum of Art.

92 St . Petersburg

STRIPPED BARE + BATHED Conservation efforts are usually off-limits to the public, which makes this exhibit a rare opportunity to witness the skill and science involved in preserving several great Masterwork paintings at The Dalí Museum.

On View Destination: NEW YORK CITY

108 The Museums: An overview of New York City’s outstanding art venues

120 A Gallery Tour: A fine art gallery listing

CONTENTSA u g u s t / S e p t e m b e r 2 0 1 2 V o l u m e 3 , N o . 3

5COMMENTARY

6MUSE Rob Kaz: Friends and Places —An On View Interview with artist, Rob Kaz, and his imaginative world of fantasy and whimsy.

14CALENDAR Museum exhibitions

48GALLERYA selection of gallery artists and exhibitions


Fo c u s

102 MARTIN SCHOELLERNaples Museum of Art presents a selection of arresting, large-format color images—many of which are Schoeller’s most famous celebrity portraits.

I n s i g h t

104 RANIA MATAR Matar’s unique exhibit, at the Southeast Muse- um of Photography, reveals the hopes, dreams and frustrations of young women in the setting of their own rooms.

Pr o f i l e

106TRENT MANNINGManning’s new show, at Polk Museum of Art, is living proof that one man’s trash is another man’s treasure.

S p o t l i g h t

100HILLERBRAND+MAGSAMENDunedin Fine Art Center hosts a presentation of

humorous and provocative imagery by the collaborative team, Hillerbrand+Magsamen,

that explores the stresses, expectations and predilections of society and the domestic realm.

PICTURED:

HILLERBRAND+MAGSAMEN,

Diana (detail), 2011,

Archival Pigment Print,

©hillerbrand+magsamen

C O M M E N T A R Y

Nature has loNg beeN a source of creative inspiration. It’s power, mystery and beauty has cap-tivated the hearts and minds of artists for genera-tions. Through a diverse range of media, artists con-tinue to explore, interpret, challenge and celebrate its wonders, creating narratives and opening dialogs that allow our minds to examine and question our beliefs and perceptions of nature, in all its forms, as it applies to our personal lives and to the world around us. In The Mysterious Content of Softness, on pg. 52, artists explore the transformative power of fiber, it’s connection to the human body and potential for capturing the nature of the flesh and conveying an affinity for life. UNNATURAL, on pg. 62, presents a fusion of reality, fantasy and simulation as it ques-tions conventional means and methods of represent-ing the natural world, while FLORAda and Flow-ing Waters, on pg. 80, elegantly portrays a lush and beautiful portrait of natural Florida as interpreted by three of the state’s most prominent artists.

Additional highlights include: Histories in Africa: 20 Years of Photography by Elizabeth Gilbert, on pg. 72, a moving photographic journey into the vanishing culture of the Maasai warriors of Kenya and Tanzania; Stripped Bare+Bathed: The Preservation of Dalí’s Masterworks, on pg. 92, a rare opportunity to witness the restoration of Dalí’s great Masterworks; and much more—enjoy!

Nature- Inspired

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]

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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 • a u g u s t / s e P t e M b e r 2 0 1 2 5

Von iewM A G A Z I N E

...

O T E N T C O L O R S , E N G A G I N G

atmospheres and a dramatic sense of light are what Central Florida-based artist, Rob

Kaz, hopes will draw viewers into his imaginative world of fantasy and whimsy.

“Quite simply, I want [viewers] to long to be in the painting, to take comfort and

smile with a sense of whimsy, a sentiment in my paintings that can be contributed

to my influential background in professional studio animation and video game art.”

Much of Rob’s work is a mirror of his background in animation. Following

graduation from University of Central Florida, he began working for a number of

small animation studios. At that time, Disney had recently relocated their Florida-

based animation studios to California, which left behind many animators in Central

Florida who chose not to uproot. As a result, he found himself working along-

PRob Kaz:

Friends and Places AN ON VIEW INTERVIEW. . .

MUSE


AN ON VIEW INTERVIEW. . .

Summer art camps are growing in popularity because of the positive experience

the children are having.

side “quite possibly the most talented artists I’ve ever known, right there in those

small studios,” he recalls. “Their influence was invaluable.” Rob had the opportu-

nity to work in many areas of film—in particular, the time spent in character cre-

ation and environments heavily influenced his painting style. He approaches each

painting with a conscious sense of balance between earth and water. “I find natural

beauty and a soothing logic in water that meets land, that I hope relates as emo-

tions—even if not parallel to my own,” he says.

Rob recently inked a deal with Disney Fine Art by Collectors Editions and is now

among a handful of artists who can paint Disney fine art, featuring many favorite

Disney characters. On View recently chatted with Rob about his work...


MUSE

Much of Rob’s work is a mirror of his background in professional studio animation and video game art.

Previous page: Rob Kaz, What’s Up, 28 x 22”, from Friends Along the Way; Beau branches out to reach even more new friends. Above: Rob Kaz, Overlook, 12 x 48”, from Friends Along the Way; Beau looks down on a koi who happens to catch him staring.

All images: ©Rob Kaz Art, courtesy of the artist

Rob Kaz : Fr i ends and P laces

“I like creating art that brings the viewer

into a moment.” —Rob Kaz

MUSE

OV: When did you become interested in art?

RK: I’ve been creating art since I was a child. From paper plates to canvas, I’ve

always looked at blank slates and had the drive to create. I guess it runs in the

family—my dad was an art teacher. Though I never took art classes, even from

my dad, I learned about dedication, determination and focus—both in art and

life—from his example.

OV: Did you plan to pursue a career in art?

RK: I graduated from UCF with a degree in Criminal Justice. While I had a job

lined up in law enforcement following graduation, a hiring freeze put a halt to

Much of Rob’s work is a mirror of his background in professional studio animation and video game art.

Previous page: Rob Kaz, What’s Up, 28 x 22”, from Friends Along the Way; Beau branches out to reach even more new friends. Above: Rob Kaz, Overlook, 12 x 48”, from Friends Along the Way; Beau looks down on a koi who happens to catch him staring.

All images: ©Rob Kaz Art, courtesy of the artist


“I like creating art that brings the viewer

into a moment.” —Rob Kaz


my plans. As fate would have it, I was hired to begin work in an animation stu-

dio after the owner happened upon a few of my paintings and drawings. I later

went on to become an artist at EA Tiburon (Electronic Arts) where I worked

on video games, including Madden, Tiger Woods and NCAA Football. Shortly

after that, I decided to take a leap of faith, to paint professionally as a fine art-

ist—and here I am now!

OV: You recently signed with Disney Fine Art by Collectors Editions.

What has this adventure been like for you?

RK: I am one of the biggest fans of animation art you’ll meet and being able to

paint Disney is really an honor. I have had the privilege of working with many


MUSE


Rob Kaz, Bambi, 30 x 40”, from Disney Fine Art by Collectors Editions

Disney artists and they inspired me to make the transition from animation to fine

art. I want artists and fans alike to enjoy how I try to expand on the movies and

add something more, from my perspective.

OV: Where do you typically find inspiration?

RK: A lot of things influence my art. Life influences my art. Tropical places I

visit, animals I see while walking my dogs, friends I meet throughout my jour-

neys, my imagination—all are influences that can be seen in my finished pieces.

In fact, Beau, the frog character found in many of my paintings, is the product

of such influences. After a tiny green frog hopped onto a glass window near my

office, I watched him for a while, imagining where he might have been, where he


MUSE


Rob Kaz, Atop The Beanstalk, 22 x 28”, from Disney Fine Art by Collectors Editions

was going. I wondered about his encounters with other animals and the curiosity

that landed him on the window. At that moment, Beau was born.

OV: How long does it typically take you to complete a painting?

RK: The length of time varies. It’s hard to say exactly how long a painting takes

as I have started and finished some in a matter of hours and others have taken up

to a week or more. I always say that the signature is the hardest part of the process

because I find it difficult to ever really call a painting complete.

OV: What do you hope people may experience when viewing your work?


MUSE

Rob Kaz,Sunset Lagoon, 30 x 40”, from Places I’d Rather Be;

“I came on a place not unlike this while in the Florida Keys. What a nice feeling to spend the evening

watching the sun go down with nothing to do and nowhere to be.” —R. Kaz


RK: I create scenes that are drawn from my imagination. Even if a painting is

based on a real place or subject, I tend to romanticize the landscape, the sky, etc.

I like creating art that brings the viewer into a moment, whether it’s happiness,

curiosity or tranquility. I don’t hide meaning in my paintings. You won’t find

symbolism or deep, poetic thought, but you will find yourself wondering about the

characters, or longing to be on the shore beneath the shade of a palm. I suppose,

for that reason, my paintings tend to fall into one of two categories, “Places I’d

Rather Be” or “Friends Along The Way”—and sometimes both. On View

To view more of Rob’s paintings, visit DisneyFineArt.com and www.robkazart.com.


MUSE

Rob Kaz, Dinghy, 16x20”, from Places I’d Rather Be;

“I started this painting while on Royal Caribbean’s Oasis of the Seas. The scene was

inspired by a stop at Labadee, Haiti. I can just imagine some couple grabbing this little boat and going

off to some secluded tropical locale.” —R. Kaz


BOCA RATON

Thru 10.07.12

A Little Birdie Told Me... Boca Raton Museum of Artwww.bocamuseum.org

A gallery of birds has been drawn from the Museum’s Permanent Collections, showcas-ing American, Europe-an, Native American, and Pre-Columbian representations of our fine feathered friends. Noted artists featured include: Max Ernst, Joan Miró, Philip Pearlstein, Man Ray, James Rosenquist and Ben Shahn.

Thru 10.07.12

Big Art: Miniature Golf Boca Raton Museum of Artwww.bocamuseum.org

Designed by artists from across the US, Big Art: Miniature

Golf is a unique ex-hibition that explores the fusion between art, design and play. Visi-tors can see—and play on—a diverse selec-tion of artist-created miniature golf holes (clubs provided),

ranging from an orbit around the Sun and into a black hole, play-ing inside an enor-mous golf hole cup, and a surrealist pinball hole, to the world’s smallest version of the world’s largest minia-ture golf course. Each hole offers a one-of-a-kind experience for all visitors, be they golf lovers, art lovers, or both.

Thru 10.14.12

Glass Act: The Contemporary Art Glass Move-ment Turns 50 Boca Raton Museum of Art

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 Big Art: Miniature Golf at Boca Raton Museum of Art: Erika Nelson (Lucas, Kansas), The World’s Smallest Version of the World’s Largest Miniature Golf Course, 2012, concrete, AstroTurf, landscaping, 3-1/3 x 8-1/4 x 3-1/4’

{ 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 }

B o c a R a t o n c o n t i n u e d . . .

www.bocamuseum.org

Celebrating the 50th anniversary of the Studio Glass Move-ment in America, this display showcases art glass representative of the full breadth of this defining period in contemporary glass-making, and focuses on unique objects that explore ideas by lead-ing glass artists such as Dale Chihuly, Dan Dailey, Michael Glancy, Harvey Little-ton, Concetta Mason, William Morris, Jay Musler, Toots Zynsky and others.

09.11.12-01.20.13

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 compre-hensive quilt holdings. The exhibition also

marks the first oppor-tunity for viewers to see the 9/11 National Tribute Quilt outside of the American Folk Art Museum. In recogni-tion of the quilt’s inclu-sion in the exhibit and to commemorate the day, the Museum will offer complimentary admission on Septem-ber 11th.

BRADENTON

Thru 08.26.12

Preserving Eden: Clyde Butcher’s Florida Photographs South Florida Museumwww.southflorida

museum.org

Using black & white film as his medium, Clyde Butcher creates images that look be-yond the obvious and attract the viewer with the drama of light and shadow, engag-ing not just our eyes, but our emotions —and hopefully, as he says—our hearts.

CORAL GABLES

Thru 10.21.12

Introspection and Awakening: Japanese Art


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

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

Image from Jack Newman: The United Tastes of America at Coral Springs Museum of Art: Jack Newman, 22 Across, 42 x 49”

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

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 ad-dress a variety of themes, including the influence of China and Korea on Japan during this crucial timeframe; the Japa-nese life-style and belief structure; and the impact of the West.

Thru 09.23.12

Saintly Blessings from Mexico: A Gift of

Mexican Retablos from Joseph and Janet Shein Lowe Art Museum, University of Miamiwww.lowemuseum.org

Painted devotional images of saints, called retablos, used primarily by Mexican peoples as objects of veneration and to seek favors, are on exhibit for the first time.

CORAL

SPRINGS

Thru 08.18.12

Ann Deon, Jack Newman, Isabel Perez and Deborah Gregg Coral Springs Museum of Artwww.csmart.org

Paintings, sculptures and mixed-media works by artists: Anne Deon —A Ret-rospective: Selections from Three Decades of Work; Deborah

Gregg—Inscriptive Manifestations: The Inner Voice; Jack Newman—The United Tastes of America; and Isabel Perez Salazar—Mixing Nature; will be on display in four distinctive special pre-sentations. (See Jack Newman: The United Tastes of America in the June/July 2012 issue on pg. 100.)

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


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


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

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

Image from Empire and Empathy: Vintage Photographs of Russia at the Museum of Arts & Sciences, Daytona Beach: Murray Howe, Moscow Cucumber Street Vendor (detail), 1909

and 19th century artists Piranesi, David Roberts and Panini are highlighted in this exhibit through im-ages filled with both academic excellence and beauty.

Thru 09.09.12

Empire and Empathy: Vintage Photographs of RussiaMuseum of Arts & Scienceswww.moas.org

Old Moscow pho-tographs were shot in 1909 by Ama-teur photographer, Murray Howe, on a hand-held Graflex camera—at that time considered a state-of-the-art device. The results are ex-traordinary in both quality and inter-

est, revealing rare glimpses of everyday life, including street vendors, pedestrians and aristocrats, in a world soon to be lost forever in the drama of WWI and the Bol-shevik Revolution.

Thru 09.09.12

The Tsars’ Cabinet: Two Hundred Years of Russian Decorative Arts Under the Romanovs

Museum of Arts & Scienceswww.moas.org

The Tsars’ Cabinet illustrates two hun-dred years of decora-tive arts of Russia from the time of Peter the Great in the early 18th centu-ry, to that of Nicholas II in the early 20th century. Many of the pieces in the exhibition were de-signed for the use of the tsars or other Ro-manovs, while others

are indicative of the styles that were prominent during their reigns.

09.28.12-01.06.13

Victorian InternationalMuseum of Arts & Scienceswww.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 exhibi-tion includes fine fur-nishings, paintings, sculpture, Tiffany and cut glass, ceram-ics, embroidery and other textiles, sculp-ture, and metalwork that individually and collectively define the merits and usage of Victoriana.


Image from Rania Matar: A Girl and Her Room at the Southeast Museum of Photography, Daytona Beach: Rania Matar, Shannon, Boston, MA, 2010, pig-ment inkjet print, 20 x 30”

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

09.14-12.14.12

Florida Panoramics Southeast Museum of Photographywww.smponline.org

This exhibition of more than 200 vintage 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.

09.14-12.14.12

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

Rania Matar has pro-duced an exhibition and a book of unique

and subtle power. Focusing on contem-porary young women from vastly differing cultures in the US and Lebanon, her project, A Girl and Her Room, reveals the complex lives of her subjects in the unique setting of the girls’ own rooms. (See story on pg. 104.)

DeLAND

08.24-11.10.12

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 will be on exhibit, giv-ing viewers an oppor-tunity to discover the wide variety and deep placement of textiles in the art world.

Thru 08.18.12

Witness to Creativity III Florida Museum for

Women Artistswww.floridamuseumfor

womenartists.org

Following the suc-cess of Witness to Creativity II, which took place in July of 2011, the Museum once again opened its doors to the pub-lic while a group of artists prepared their works. Viewers enjoyed a rare op-portunity to engage the artists about their projects, work meth-ods and messages. This dialog between the artists and viewers is part of the resulting art installations mak-ing up this exhibition.

Thru 11.25.12

From the Outside In: Purvis Young Museum of Florida Art

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

Image from Ghosts, Goblins, and Gods: The Supernatural in Japanese Art at Morikami Museum and Japanese Gardens, Delray Beach: Bairinsai Setsuzan (fl. 19th century), Courtesan Plucking Daruma’s Beard, painting mounted as a hanging scroll, ink and colors on paper, late Edo Period, mid-19th century, Clark Center for Japanese Art & Culture

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

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www.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 Artwww.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 de-struction. Jim Jipson’s art offers metaphors for how we think, feel and experience life. Viewers are invited to explore his texts and imagery, which is gen-erally metaphysical or symbolic. Which plane of experience

is more dominant is the revelation of this exercise.

Thru 11.25.12

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

The body of work

created by Barbara Neijna during the past several years reflects her meditation 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 frighten and inspire her.

DELRAY BEACH

Thru 09.16.12

Ghosts, Goblins, and Gods: The Supernatural in Japanese ArtMorikami Museum and Japanese Gardenswww.morikami.org

Ghosts, Goblins and Gods comprises an


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

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

array of paintings, colorful woodblock prints, sculptures, masks and other objects depicting a host of legendary ghosts, gods and other-worldly beings.

Thru 09.15.12

Wood Be Kindred Spirits: The Kokeshi Dolls of Bob BrokopMorikami Museum and Japanese Gardenswww.morikami.org

Wood Be Kindred Spirits features one of the largest and never before seen collections of kokeshi in the US. Kokeshi, simple wooden cylinder-shaped forms with

round heads, debuted in the mid-19th cen-tury. Their whimsical and kindhearted faces bring joy and com-fort to all those who come into contact with them.

DUNEDIN

09.07-10.14.12

BEAM Me Up

Dunedin 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 provocative presentation that playfully and poetical-

ly explores perceptions of emotions, family, consumerism and me-dia, within a uniquely American subjectivity. (See story on pg. 100.) 09.07-12.21.12

InterGALACTIC Dunedin Fine Art Centerwww.dfac.org

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

09.07-10.14.12

My Favorite Martian Dunedin Fine Art Centerwww.dfac.org

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


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

FORT

LAUDERDALE

Thru 09.2012

Associations & Inspiration: The CoBrA Movement and the Arts of Africa and New GuineaMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

This lively and thought-provoking installation juxta-poses paintings, sculpture and works on paper by artists of the CoBrA movement with masks, totems and carvings created on the South Pacific island of New Guinea and on the continent of Africa.

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.

GAINESVILLE

Thru 03.10.13

Anne Noggle: Reality and the Blind Eye of TruthHarn Museum of Artwww.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 Airforce Service Pilots (WASP)

and as a captain in the US Air Force dur-ing WWII. Noggle’s work explores female vitality, aging and beauty with an honest, respectful and some-times humorous view.

Thru 09.09.12

Deep Roots, Bold Visions: Self-Taught Artists of Alachua CountyHarn Museum of Artwww.harn.ufl.edu

Deep Roots, Bold Visions presents paint-ings, sculptures and a variety of mixed-media works by self-taught artists who work outside main-stream art traditions.

Thru 02.03.13

Souvenirs of Modern Asia:


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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

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 colorful and masterfully printed woodcuts were in-spired by Jacoulet’s extensive travels in China, Japan, Korea and the South Pacific, and demonstrate a synthesis of tradi-tional Japanese print-ing techniques with modern European aesthetics.

Thru 11.04.12

Verdant Earth and Teeming

Seas: The Natural World in Ancient American ArtHarn Museum of Artwww.harn.ufl.edu

This exhibition high-lights the Museum’s collection of ceramic figures and vessels, stone sculptures and jade ornaments from Ancient America—

primarily Meso-Amer-ica, Central America and the Andes.

HOLLYWOOD

09.07-10.21.12

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

Luminous is an in-

stallation by Miami-based artist, Alex Trimino, consisting of illuminated to-tem poles that 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 col-loquial, lo-tech crafts (crochet, knitting and weavings.) Old methods and new technologies com-mingle in ways that explore our connec-tion to reality today.

09.07-10.21.12

Justin H. Long: Bow MovementArt and Culture Center of Hollywoodwww.artandculturecenter.org


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Image from Nathan Sawaya: The Art of the Brick at the Art and Culture Center of Hollywood: Nathan Sawaya, Peaces, image courtesy of brickartist.com

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

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.

09.07-10.21.12

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.

Thru 08.19.12

Nathan Sawaya: The Art of the Brick

Art and Culture Center of Hollywoodwww.artandculturecenter.org

The Art and Culture Center of Hollywood presents its third exhibition of the work of New York-based artist, Nathan Sawaya, whose work transforms LEGO®

bricks into whimsi-cal and awe-inspiring

creations. In the 2012 exhibition of The Art of The Brick, Sawaya reveals a selection of many new works, most of which have not been seen at the Center. (See story in the June/July 2012 issue on pg. 42.)

JACKSONVILLE

08.12-10.07.12

Rendering ItalyMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

Through paintings, photography, collage and video, eight UNF faculty members from the Department of Art and Design reflect contemporary responses to the enduring beauty, majestic history and rich cultural fabric of Italy.


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

Image from Project Atrium: Tristin Lowe at the Museum of Contemporary Art Jacksonville: Tristin Lowe, Comet: God Particle, 2011, neon, glass, aluminum; fabricated with (Uncle) Dean Lowe at Neon Works, Hamilton, MA; photo by Claire Iltis, courtesy of Fleisher/Ollman Gallery

Thru 10.28.12

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

MOCA has launched its second season of Project Atrium with the cosmic work of Phila-delphia artist, Tristin Lowe. Filling the expanse of the Haskell Atrium Gallery are his large-scale reproduction of the moon, construct-ed from a 12-foot tall inflatable, covered in crater-pocked felt, and orbiting satellite and neon comets. Lowe is a multi-disciplinary artist whose practice delves into the crude and rude, absurd and abject, pushing low-brow, low-tech methods and materials toward unex-pected ends.

Thru 08.26.12

ReFocus:Art of the ’70sMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

MOCA examines the “Me Decade” that gave rise to photore-alism, Earthworks, and conceptual art, and expanded the boundaries of ab-stract painting, video, performance and installation art in the second of a 3-part series examining

contemporary art in the 1960s,’70s and ’80s.

09.15.12-01.06.13

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 08.12.12

The Joys of Collecting: Selections from the Eisen CollectionMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

The subject matter of the Eisen Collec-tion is delightfully varied—ranging from the whimsical to the fantastic. Many of the artists’ names represented are well known to the mu-seum-going public: Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, James


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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

Rosenquist, Robert Motherwell, Richard Diebenkorn, Jean Dubuffet and Lucien Freud—all united by being highly charac-teristic of their styles and movements, which range from Pop Art to Art Brut to abstract and figural expressionism.

Thru 08.09.12

Beyond Ukiyo-e: Japanese Woodblock Prints and Their Influence on Western ArtThe Cummer Museum of Art & Gardens www.cummer.org

The Cummer Muse-um of Art & Gardens presents a collec-tion of 19th century Japanese woodblock prints that show-

cases this uniquely expressive art form and provides an extensive view of the styles and themes encompassed by this genre as well as an understanding of 19th century Japa-nese culture.

09.13.12-01.27.13

Histories in Africa: 20 Years of Photography by Elizabeth Gilbert

The 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 prints on exhibit pull

the viewer into an intimate world of African ritual and tell the story of a continent’s journey through change. (See story on pg. 72.)

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 Edelman, highlights images of human-ity. The poignancy of Baskin’s artistic legacy is the com-mon consciousness of humankind.



Image from Invisible Elephant: Theo Wujcik and Kirk ke Wang at Polk Museum of Art: Courtesy of Polk Museum of Art

Thru 09.16.12

Miradas: Ancient Roots in Modern Mexican Art: Works from the Bank of America Collection

The Cummer Museum of Art & Gardens www.cummer.org

This exhibition ex-amines and celebrates works by artists on both sides of the bor-der—American and Mexican-American—to reveal a variety of cultural aspects as they emerged in the years after the Mexican Revolution (1910–1920) to the present day. Included are works by some of the best-known Mexican artists— Diego Rivera, Rufino Tamayo, Gabriel

Orozco, Manuel Alvarez Bravo, David Alfaro Siqueiros and Gunther Gerzso.

LAKELAND

08.25-12.01.12

David MaximPolk Museum of Artwww.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. And yet, despite all of their strength, each subject reveals an equal measure of vulnerability.

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.


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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

09.08-11.11.12

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

Trent Manning pairs lighthearted elements such as alphabet blocks, rocking hors-es and wagons with grimacing characters, boasting large bald heads, empty eyes and prominent beak-like noses. Assem-bling his sculptures from discarded metal, old tools and wire, he transforms junk into eclectic masterpieces.(See story on pg. 106.)

Thru 09.02.12

Outsider vs FolkPolk Museum of Artwww.polkmuseumofart.org

Art brut (or ‘raw art’)

labeled the growing interest in art pro-duced by artists living beyond the realm of popular culture. In 1972, the term “out-sider art” became the official English trans-lation of art brut. This exhibition uses pieces from the Mu-seum’s Permanent Collection to initiate a conversation about the contemporary state of art brut.

Thru 08.18.12

3-DPolk Museum of Artwww.polkmuseumofart.org

3-D showcases sculp-tures in all shapes and sizes from the Museum’s Collection.

MAITLAND

Thru 09.19.12

A Day in the Life of the Research Studio

Art & History Museums, Maitlandwww.artandhistory.org

André Smith (1880–1959) founded the Research Studio (now called the A&H’s Maitland Art Center) in 1937. He invited artists to live and create within its walls. During its heyday (1938–1957), nearly 70 artists participated in this great experiment, including Milton Avery, Doris Lee, Ralston Crawford, and more. What was their day-to-day life like? Using artworks and newly-found color photog-raphy as documen-tation, this exhibition recreates the atmo-sphere of that classic period.


Opening 09.28.12

The Power of Two Art & History Museums, Maitlandwww.artandhistory.org

This group exhibi-tion highlights some of Central Florida’s most renown visual artist couples. Ex-plore 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

Thru 09.09.12

Cuban Daydreams: Dionel Delgado GonzalezFoosaner Art Museum

www.foosanerartmuseum.org

Havana artist, Dionel Delgado Gonzalez, showcases his large-scale paintings of magazine covers. Reminiscent of Nor-man Rockwell’s style, the subjects depict everyday life in Cuba. Living in Habana Vieja (Old Havana),

his inspiration comes from the characters that inhabit the sur-rounding streets near his studio.

09.15.12-01.06.13

Ernst Oppler: German ImpressionistFoosaner Art Museum

www.foosanerartmuseum.org

Ernst Oppler (1867-1929) painted landscapes, 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.

Thru 09.09.12

Shared Vision: Photographs of Baracoa, CubaFoosaner Art Museumwww.foosanerartmuseum.org

The concept of Shared Vision was developed to explore the simple, remote culture of Baracoa. James Quine and Theresa Segal, both


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

Image from Cuban Daydreams: Dionel Delgado Gonzalez at Foosaner Art Museum: Dionel Delgado, Untitled (And the Sea was Parted into Two...), 2012, oil on canvas, 78.5 x 59”, private collection of Norman Bardavid

St. Augustine pho-tographers, traveled to Baracoa in 2003. Two Cuban pho-tographers, Lissette Solórzano and José Martí, joined them from Havana to pho-tograph this eclectic Cuban city.

MIAMI

08.11-09.23.12

By HandArtCenter/ South Florida www.artcentersf.org

This show brings to-gether a range of art-ists working in multi-ple disciplines. Each artist creates with an intense and time-consuming meth-od of production that is obvious in the fi-nal product, yet the works are held to-gether conceptually

by their ability to inti-mately engage view-ers. What is visible in this painstaking work is not just labor, but the joy of mak-ing. From books and prints, to painting and installation, each art-ist initiates a dialogue with their work that brings viewers in to touch, read, examine and soak up details.

09.29-11.11.12

101 Dresses

ArtCenter/ South Florida www.artcentersf.org

This solo exhibition celebrates Adriana Carvalho’s work at the culmination of her residency at the ArtCenter.

Thru 08.12.12

Charles Ledray: Bass Museum of ArtBass Museum of Art

www.bassmuseum.org

Charles Ledray’s work is a poetry of material, scale and cultural resonance, rich with history and emotion. Well known for his exquisitely crafted objects, work-ing in a range of ma-terials from fabric to human bone, Ledray’s work touches on loss, pathos and absence. This exhibition is fo-cused on creating a unique dialogue be-tween four individual, powerful works. (See story in the April/May 2012 issue on pg. 104.)

Thru 08.12.12

Erasey Page Bass Museum of Art www.bassmuseum.org

Erasey Page is a newly commissioned


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

Image from Charles Ledray: Bass Museum of Art at Bass Museum of Art, Miami Beach: Charles Ledray, Mens Suits (installation view), 2009, mixed media, photo: John Kennard

web-based project that Jillian Mayer produced in collabo-ration with computer programmer, designer and creative technol-ogist, Eric Schoen-born. The interactive website encourages visitors to live an in-ternet-free and hap-py life by simply de-leting the World Wide Web, page by page, questioning our in-creasingly virtual lives (via social me-dia, etc.) to playfully imagine a world with-out the Internet.

09.09-11.04.12

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 on pg. 62.)

Thru 10.14.12

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

www.jewishmuseum.com

Finkelstein’s ability to “play the hunch” re-sulted in his capturing special moments that tell a story. This col-lection of photos from the 1950s to the ’80s, focuses on iconic sym-bols from our cultural past, giving a sense of this larger-than-life man and his world of time, place and celeb-rity. The exhibit is full of candid images of well-known person-alities such as Frank Sinatra, Humphrey

Bogart, Lauren Bacall, Jacqueline Kennedy Onassis, The Beatles, John Travolta, Kim Novak, Marilyn Mon-roe, Sylvester Stal-lone and Presidents Kennedy, Truman and Eisenhower.

Thru 09.30.12

Once Upon a Time in Lithu-ania and the Florida ConnnectionJewish Museum of Florida www.jewishmuseum.com

This exhibition of paintings and prints by English artist, Naomi Alexander, records the last rem-nants of Jewish heri-tage to be found in the country of Lithuania. Alexander traveled the country to cre-ate artwork depicting


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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

her impressions of the people and their communities. The Museum makes a Florida connection using photographs and artifacts from Floridi-an Jews whose origins are from Lithuania.

Thru 08.26.12

Kimsooja: A Needle WomanMiami Art Museum www.miamiartmuseum.org

A Needle Woman presents a multi-chan-nel video installation by Korean artist, Kimsooja. This epic work consists of eight synchronized videos projected at large scale, each depicting a bustling area of a major metropolitan center—Cairo, Delhi, Lagos, London, Mex-ico City, New York,

Shanghai and Tokyo. In each projection, the artist exemplifies the perennial struggle to preserve a place for the individual within contemporary society, while poeti-cally embodying the experience of being engulfed within a foreign culture.

09.07-11.04.12

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

In New York–based artist Rashid Johnson’s first major museum solo exhibition, he explores the com-plexities and contra-dictions of black iden-tity in a practice that is rooted in his individual experience. Incorpo-rating commonplace objects from his child-hood in a process he describes as “hijack-ing the domestic,” the artist transforms everyday materi-als into conceptually loaded and visually compelling works.

Thru 09.02.12

Transcultural Pilgrim: Three Decades of Work by José BediaMiami Art Museum www.miamiartmuseum.org

This major career ret-rospective of the work of José Bedia includes works on paper and canvas and two large-scale installations. Bedia’s personal bor-der crossings (social, racial and religious) reflect his exploration of historical and con-temporary encounters between cultures and countries.

Thru 09.02.12

Ed Ruscha:On the RoadMuseum of Contemporary Art, North Miamiwww.mocanomi.org


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Image from Kimsooja: A Needle Woman at Miami Art Museum: Kimsooja, A Needle Woman (Cairo, Delhi, Lagos, London, Mexico City, New York, Shanghai, Tokyo), 1999-2001, eight-channel video installation, silent, duration: 6:33 minute loop, courtesy of the artist

Ed Ruscha is known for his use of language to document and com-ment on the shifting character of American culture. Drawing inspiration from the classic American novel, On the Road, by Jack Kerouac—in his own limited art book ver-sion of the novel—he has created a new body of paintings, drawings and photographs.

Thru 09.02.12

Ragnar Kjartansson: SongMuseum of Contemporary Art, North Miamiwww.mocanomi.org

Part of MOCA’s Knight Exhibition Series, Song presents video works by Icelan-dic artist, Ragnar Kjartansson. The vid-

eos reflect the artist’s interest in music, the-ater and the personae of its performers, often coupled with extreme environments.

08.20-09.02.12

Hurricane Andrew ExhibitionThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

A remembrance of

Hurricane Andrew is presented, 20 years after the devastat-ing storm hit South Florida.

Thru 09.02.12

Lynne Golob Gelfman: ScapesThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Gelfman makes abstract paintings that are rooted in the

visible world. She identifies and isolates textures, forms or patterns, either natu-ral or manmade, then repeats them to create flowing compositions. As a result of their repetitive markings, her works become as much about the process of their own making as about any outside source.

09.12-10.21.12

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.


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Image from Lynne Golob Gelfman: Scapes at The Patricia & Phillip Frost Art Museum, Miami: Lynne Golob Gelfman, Dune 17, 2011, acrylic on panel, 48 x 48”, courtesy of the artist, photo: Richard Fendleman

Thru 09.30.12

Shared Threads: Maria Lino’s Portrait of a Shipibo HealerThe Patricia & Phillip Frost Art Museum

http://thefrost.fiu.edu

Shared Threads is a collaborative ex-perience where two artists from vastly different cultures and artistic traditions came together in the Amazon region, in Pucallpa, Peru. The results are an extraordinary multi-media integration of tradition, design and technique in a soulful exchange of knowledge.

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.

Thru 09.09.12

Graphic Intervention: 25 Years of International AIDS Awareness Posters 1985–2010

The Wolfsonian–Florida International University

www.wolfsonian.org This exhibition fea-tures a selection of 152 posters, which presents an insightful overview of diverse visual strate-gies, employed by many different coun-tries, in response to the HIV/AIDS epidemic as a public health emergency.

NAPLES

08.27-10.05.12

The Fifth Annual Non-Juried All Artist Member Show of Shows ExhibitionNaples Art Association at The von Liebig Art Centerwww.naplesart.org

This annual showcase features artwork in all media by Naples Art Association members.


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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

09.22.12-01.20.13

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

This experiential and interactive exhibition explores the unique attitudes and methods that Benton, a world-renowned kinetic and constructivist sculptor, applies to his work. The exhibition recre-ates Benton’s studio, with the images, textures and inspira-tions that constitute his working environment. The exhibition will also include several outdoor sculptures.

09.22.12-01.20.13

and 05.04-07.07.13

Leaders in American Modernism

Naples 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.

09.22-12.09.12

Martin Schoeller: Close Up


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 on pg. 102.)

09.22-12.30.12

Modern Mexican Masters

Naples Museum of Art


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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

www.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.

09.22-12.30.12

Out of This World: Extraor-dinary Costumes from Film and Television Naples Museum of Artwww.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. Costume highlights in-clude the hat worn by Margaret Hamilton as the Wicked Witch of the West in The Wiz-ard of Oz (1939), the

leather jacket worn by Arnold Schwarzeneg-ger in The Terminator (1984) and much more.

OCALA

Thru 08.12.12

A Salute to the Art of George HanoverAppleton Museum of Artwww.appletonmuseum.org

On exhibit is a retro-spective of artwork

by Ocala-based art-ist, George Hanover. Showcased are a va-riety of paintings and sculptures in a variety of media.

09.16-11.04.12

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 inter-preted by three of the state’s most prominent artists. Messersmith’s opulent, hyper-colorful paintings of Florida’s tropical flora and fauna comes together with Ross Tolbert’s


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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 Tolbertt, Cypress, courtesy of the artist

abstract expression-ist interpretations of our freshwater springs and Tomczak’s nos-talgic large-format photographic prints of antiques and native plants. (See story on pg. 80.)

09.08-10.21.12

Pure Photography: 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 Cunning-

ham, Gordon Parks, and Edward Weston. Among the iconic images in the show are Edward Steichen’s 1928 portrait of Greta Garbo and Alfred Stieglitz’s famous The Steerage from 1907.

ORLANDO

Thru 09.09.12

FloridaScapes: I-4—The Exits Less TraveledOrange County Regional History Center

www.thehistorycenter.org

Documenting the cities and neighbor-hoods along In-terstate 4 through photography, Sherri Bunye, Crealdé Studio Artist, hopes her images inspire others to take an exit less traveled and discover the unex-pected beauty and charm she captures.

Thru 09.02.12

Daniel Kariko: Substitute Cartography

Orlando Museum of Artwww.omart.org

Substitute Cartogra-phy attempts to forge a dialogue between the man-affected land-scape and the ideal-ized presentation of a landscape created for purposes of habitation, or simply, entertain-ment. Photographed in various locations and seemingly uncon-nected, these images range from humorous to ironic—some pres-ent strictly fake-as-real landscapes, and others discuss the consump-tion of the world that surrounds us.

Thru 10.28.12

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


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

Image from FloridaScapes: I-4—The Exits Less Traveled at Orange County Regional History Center, Orlando: Sherri Bunye, Door, Window, Meter

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 the covers for Rick Riordan’s bestselling youth literature series, Percy Jackson and the Olympians. Rocco’s exhibition at OMA features approximately 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.)

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 Art

www.omart.org

With the rich tones of traditional black and white photography, Jimm Roberts cap-tures his subjects in a variety of poses from formal to candid in the surroundings of their Florida homes

and studios. The exhibition includes 80 photographs and a selection of original notes and letters by the artists and writers.

Thru 08.12.12

IMPRINTS: 20 Years of Flying Horse EditionsThe Mennello Museum of American Artwww.mennellomuseum.com This interactive ex-hibition is a celebra-

tion of fine art book printing. It highlights the limited-edition art objects and fine art books printed by Flying Horse Edi-tions, located at the University of Central Florida’s Center for Emerging Media in downtown Orlando.

08.31-11.25.12

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


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

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

Image from the 2012 Annual Florida Watercolor Society Exhibition at The Mennello Museum of American Art, Orlando: Barbara Vey, All Tucked In

in the US. The exhibit will showcase 100 of the best works by art-ists from Florida and around the country.

ORMOND

BEACH

09.01-10.14.12

MaterialscapeOrmond Memorial Art Museum & Gardenswww.ormondartmuseum.org

Materialscape presents an industrial view of nature, featuring sculptural works by Seth Fairweather and Richard Herzog.

Thru 08.19.12

The Dog Days of SummerOrmond Memorial Art Museum & Gardenswww.ormondartmuseum.org

Ormond Memorial Art Museum & Gardens presents a multi-artist, mixed-media tribute to “man’s best friend.”

PENSACOLA

Thru 09.01.12

Surfing Florida: A Photographic History

Pensacola Museum of Artwww.pensacola

museumofart.org

More than 25 profes-sional surf photogra-phers have contributed their images for this exhibition, which presents the history of Florida, surfing and surf culture.

08.17-09.22.12

The Experience CollectionPensacola Museum of Artwww.pensacola

museumofart.org

In 2007, Florida Craftsmen initiated the Experience Collection, a fine craft collection of work accessible to a diversity of senses. The goal is to inform, educate and engage all audiences. The col-lection consists of 17 works of art which are designed to be viewed, touched and in some cases, strummed.

PONTE VEDRA

BEACH

09.07-10.20.12

S. Barre Barrett & Khamil OjoyoThe Cultural Center


C A L E N D A R { P g. 2 5 o f 3 4 }

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

Image from The Dog Days of Summer at Ormond Memorial Art Museum & Gardens, Ormond Beach: Susan Long, All Ears, pastel

www.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.

Thru 09.01.12

SoMMA (Society of Mixed media Artists)The Cultural Centerwww.ccpvb.org

This exhibition features innova-tive works by artists working in all forms of mixed media, including collage, as-semblage and experi-mental artwork.

SARASOTA

Thru 10.28.12

DECO JAPAN: Shaping Art and Culture, 1920-1945The John and

Mable Ringling Museum of Art

www.ringling.org

The nearly 200 works on display, highlight the Levenson col-lection—the world’s premier collection of Japanese art in the Deco style. Included are spectacular exam-ples of metalwork, ce-

ramics, lacquer, glass, wood furniture, jew-elry, textiles, graphic design on paper, painting and wood-block prints, ranging from fine art objects made to impress the public at national art exhibitions, to goods mass-produced for the modern home. (See story in the June/July 2012 issue on pg. 92.)

Thru 10.21.12

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.


C A L E N D A R { P g. 2 6 o f 3 4 }

Po n t e Ve d r a B e a c h 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

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.

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 “constellations” inspired by Harriet Tubman and other Underground Railroad conductors, whose use of the stars to navigate from slavery to free-dom in the 19th cen-tury, is a vibrant part

of North American history.

ST. PETERSBURG

Thru 10.14.12

Global+Local: Studio and Contemporary 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.

Thru 08.19.12

Picturing a New Society: Photographs from the Soviet Union 1920s–1980s

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

This exhibition ex-plores contradictions between idealistic images and life in the Union of Soviet Socialist Republics (USSR).

Thru 09.09.12

Dalí’s Grotesque Carnival The Dalí Museum www.thedali.org

Dalí’s Grotesque Carnival features four suites of Dalí’s ambi-tious engagement in printmaking, which explores complex and baroque themes of fes-tival and celebration. Most of the works in this selection of etch-ings and lithographs have never before


C A L E N D A R { P g. 2 7 o f 3 4 }

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

Image from Global + Local: Studio and Contemporary Glass on Florida’s West Coast at the Museum of Fine Arts, St. Petersburg: William Morris, Artifact: Tooth (1995), blown glass, collection of William R. and Hazel Hough, ©William Morris

been on display at the museum.

Thru 09.09.12

Stripped Bare and Bathed: The Preserva-tion of Dalí’s

Masterworks The Dalí Museum www.thedali.org

A behind-the-scenes glimpse at the dramatic preservation of four of the Museum’s eight Masterworks—Ga-lacidalacidesoxiribu-nucleicacid, 1963; The Ecumenical Council, 1960; The Discovery of America by Christo-pher Columbus, 1959; and The Hallucinogen-ic Toreador, 1970—this exhibition presents a video documen-tary of the painstaking process from start to finish, projected in the

Hough Family wing. (See story on pg. 92.)

TALLAHASSEE

08.27-11.11.12

Masters Artists of the Bahamas

Museum of Fine Arts, Florida State Universitywww.fine-arts.org

An exhibition touring from the Waterloo Centre for the Arts in Iowa, Master Art-ists of the Bahamas presents works from eleven Bahamian art-

ists acting as ambas-sadors for a broader generative move-ment. The works rep-resent the diversity of form and content of Bahamian art.

TAMPA

08.23-11.11.12

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.

Thru 08.19.12

The Secret Paris of the 1930s: Vintage Photographs by Brassaï Florida Museum of Photographic Artswww.fmopa.org

Alone, or in the com-pany of friends, Hun-garian photographer,


C A L E N D A R { P g. 2 8 o f 3 4 }

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

Image from Stripped Bare and Bathed: The Preservation of Dalí’s Masterworks at The Dalí Museum, St. Petersburg: Photography by Chuck Bendel, courtesy of The Dalí Museum, St. Petersburg

sculptor and film-maker, Brassaï, dis-covered and recorded the forbidden Paris of the 1930s—the sordid yet fascinating moments where high society mingled with the underworld. The Secret Paris of the ‘30s is one of the most remarkable photo-graphic memories ever published.These unique pictures are accompanied by an immensely inter-esting text in which Brassaï reminisces and describes the ex-traordinary conditions under which he took his photographs. (See story in the June/July 2012 issue on pg. 66.)

Thru 09.16.12

A Hundred Years—A Hun-dred Chairs:

Masterworks from the Vitra Design MuseumTampa Museum of Artwww.tampamuseum.org

This show offers a view of the different periods of furniture design of the past century and is certain to appeal to all lovers of great design.

08.04-09.16.12

Art of the Poison Pens: A Century of American Political Cartoons

Tampa Museum of Artwww.tampamuseum.org

This thought-pro-voking exhibition presents 59 editorial cartoons lampooning more than 100 years of political discus-sion from both sides of the fence, drawn exclusively from The Mahan Collection of American Humor and Cartoon Art, Special & Digital Collec-tions, and Univer-sity of South Florida Tampa Library.

Thru 09.09.12

Masterworks of 20th Century Sculpture from the Martin Z. Margulies CollectionTampa

Museum of Artwww.tampamuseum.org

Masterworks chroni-cles important devel-opments in sculpture in the second half of the 20th century. In addition to sculptures by such 20th century luminaries as Joan Miro, Willem de Kooning and Louise Nevelson, the exhi-bition also includes works by Isamu No-guchi, Manuel Neri, George Segal and Deborah Butterfield. An abiding fascina-tion with the figure unites all the works in the show.


C A L E N D A R { P g. 2 9 o f 3 4 }

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

Image from Masterworks of 20th Century Sculpture from the Martin Z. Margulies Collection at Tampa Museum of Art: George Segal, Three People on 4 Benches, 1980, bronze and steel, Martin Z. Margulies Collection, ©The George and Helen Segal Foundation/Licensed by VAGA, New York, NY

Thru 09.23.12

Object Image/Erik Levine/Sculpture & VideoTampa Museum of Artwww.tampamuseum.org

New York-based sculptor, Erik Levine, is known for his use of humble ply-wood in massive installations. In 2011, the Museum acquired one of his large-scale sculptures, ironically titled Hand-Held (1997), for its Per-manent Collection. This exhibition marks the debut of this new acquisition and also includes two recent video works.

Thru 09.23.12

Sculptors on Paper: Selections from the BNY Mellon Collection

Tampa Museum of Artwww.tampamuseum.org

This collection of drawings, collages and mixed-media works represents a survey of two-dimensional work by some of the most celebrated sculptors, installation artists and

video artists of the 20th and 21st centuries.

08.20-12.14.12

The Andy Warhol Legacy ProjectUniversity of

South Florida Contemporary Art Museum

www.ira.usf.edu

The Andy Warhol Legacy Project is an exhibition of Pola-roids and silver gelatin prints USF Contem-porary Art Museum received as a gift from The Andy Warhol Foundation for the Visual Arts in 2008.

08.20-12.14.12

The Importance of Being PhotographedUniversity of South Florida Contemporary Art Museumwww.ira.usf.edu

Taking its cue from a gift from The Andy Warhol Foundation for the Arts, this exhibi-tion features a select grouping of contem-porary photographers who create situations where the subject


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


Image from The Andy Warhol Legacy Project at the University of South Florida Contemporary Art Museum, Tampa: Andy Warhol, Unidentified Woman #23 (Blonde Hair and Dog), 1986, Collection University of South Florida

and the photographer engage in a dialogue about the nature of being photographed—addressing issues of class, sexuality, sensu-ality, shame, despair, and privacy.

VERO BEACH

Thru 10.14.12

Form, Color, Light: Cast Glass by Rick Beck Vero Beach Museum of Artwww.verobeachmuseum.org

Rick Beck takes ev-eryday shapes and transforms them into sculptures in glass, re-vealing their unexpect-ed beauty. Form, Col-or, Light includes a range of work, from large floor pieces to small pedestal sculp-tures in translucent colors. (See story in

the June/July 2012 issue on pg. 106.)

09.15.12-01.06.13

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

Adam Straus, a native Floridian who stud-ied painting at Flor-ida State Universi-ty, has been creating “beautiful 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 quality that allows viewers plen-ty of room for interpre-tation.

09.09.12-01.02.13

Pop Art Revisited: A 21st Century Perspective Vero Beach Museum of Artwww.verobeachmuseum.org

Pop Art Revisited: A 21st Century Perspec-tive is the inaugural ex-hibition in the Muse-

um’s new Titelman Gallery. The works of art selected for the exhibit are important examples of the Pop Art movement. The ex-hibition also sheds light on the original social context surrounding the creation of these art objects.

WEST PALM

BEACH

Thru 09.02.12

American Masters at the Norton: Clyfford Still and Joan Mitchell Norton Museum of Artwww.norton.org

Three exceptional canvases by Joan Mitchell and Clyfford Still, each a master of late 20th century


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


Image from Form, Color, Light: Cast Glass by Rick Beck at Vero Beach Museum of Art: Rick Beck, Winged Figure, 2008, cast glass, 72-1/2 x 42 x 12”, collection of the artist, photo: David H. Ramsey

American painting, are on view.

Thru 01.27.13

Clear Water and Blue Hills: Stories in Chinese Art

Norton Museum of Artwww.norton.org

This exhibition features works of art depicting tales from Chinese history and literature.

Thru 09.30.12

Clubs, Joints and Honky-Tonks Norton Museum of Artwww.norton.org

Extended bodies of work by photogra-phers who have im-mersed themselves in the places, spaces and energy of concerts, shows and spontane-

ous live performances are featured in this exhibit. Images and essays from photogra-phers Jeff Dunas, Da-vid Sheinbaum, Henry Hornstein, Moby and others, illuminate the worlds of country mu-sic, hip-hop, rock ‘n’ roll and the blues.

Thru 10.07.12

Crying Seasaw Tear Between New Video Norton Museum of Art

www.norton.org

Four works by three artists are featured in this installation, in-cluding Tear, by Jaye Rhee, a dramatic study of physical struggle; and Crying, a classic animated sculpture by Tony Oursler.

Thru 09.02.12

Elegant Enigmas: The Art of Edward Gorey Norton Museum of Art

www.norton.org

Edward Gorey’s stories and illustrations carry an Edwardian sophisti-cation, while still able to impart the whimsy of an invented world that was all his own. The exhibition features more than 170 works by the master artist and author, drawn from The Edward Gorey Charitable Trust. (See story in the June/July 2012 issue on pg. 6.)

08.03-10.14.12

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.


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

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

Image from Elegant Enigmas: The Art of Edward Gorey at the Norton Museum of Art, West Palm Beach: Edward Gorey, After it had passed, Lord Wherewithal was found crushed beneath a statue blown down from the parapet. From The Secrets: Volume One, The Other Statue, 1968, pen and ink, 4-1/2 x 5-1/2”, The Edward Gorey Charitable Trust, ©2010 The Edward Gorey Charitable Trust

WINTER PARK

Thru 09.02.12

A Room of One’s Own Cornell Fine Arts Museum at Rollins College cfam.rollins.edu

This exhibition fea-tures paintings by Grandma Moses and Jennie Augusta Brownscombe; prints by Georgia O’Keeffe, Faith Ringgold and Nancy Graves; and three-dimensional work by Anna H. Huntington and Jennifer Bartlett.

Thru 09.02.12

Best Impressions: Modern & Contemporary Prints from the Collection Cornell Fine Arts Museum at

Rollins College cfam.rollins.edu

Best Impressions provides an overview of many post-war aesthetic styles, including Photoreal-ism, Op Art, and the Expressionism of the 1980s. The prints on view demonstrate the strength of the Museum’s modern and contemporary print holdings. In-cluded are works by Chuck Close, Judy Pfaff, Richard Anusz-kiewicz and Jacob Lawrence.

Thru 09.02.12

British and Modern Cornell Fine Arts Museum at Rollins College cfam.rollins.edu

Paintings and drawings by Vanessa Bell, Dun-can Grant, and others working in the UK in the early 20th century, are on display.

09.15-12.30.12

The Mysterious Content of Softness Cornell Fine Arts Museum at

Rollins College cfam.rollins.edu

Bringing together 11 national and interna-tional artists in vari-ous 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 foray-ing into new uses of traditional textiles, these artists explore the physical, psycho-logical and cultural associations of fiber to the body. (See story on pg. 52.)

Thru 12.30.12

The Prints of Gustave


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

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

Baumann Cornell Fine Arts Museum at Rollins College cfam.rollins.edu

This exhibition centers around Bau-mann’s mastery of the woodcut print-making process and includes images of New Mexico and a series of seldom seen prints depict-ing the rugged coast and mammoth trees of Northern Califor-nia. (See story in the June/July 2012 issue on pg. 78.)

Thru 09.23.12

A Parisian Affair: The Art of André RenouxThe Albin Polasek Museum & Sculpture Gardens www.polasek.org

André Renoux (1939 -2002) captured the charm of Paris by documenting the intimate landmarks of daily Parisian life and its environs, preserving the details of its soul. (See story in the June/July 2012 issue on pg. 54.)

Thru 10.07.12

At Home with Roseville Pottery

The Charles Hosmer Morse Museum of American Artwww.morsemuseum.org

Roseville Pottery Company (1890–1954) of Ohio was one of the country’s most prolific and long-lived art potteries. In this exhibit, the Morse presents new acquisi-tions of Roseville ce-ramic objects, which represent the rich

colors and beloved patterns that made the pottery so popular in its era and contribute to its collectability today.

Thru 02.03.2013

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. 3 4 o f 3 4 }

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

Image from A Parisian Affair: The Art of André Renoux at The Albin Polasek Museum & Sculpture Gardens, Winter Park: André Renoux, Café de Flore à Paris, 1998, oil, 17-1/2 x 17-1/4”


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

galleryN E W S M Y R N A B E A C H

Gallery: Arts on Douglas Fine Art and Collectibleshttp://artsondouglas.net

Artist:TIM LUDWIG “I AM FORTUNATE TO

get up everyday and have the opportu-nity to express myself through an artistic process...I hope to stimulate your mind and senses through [my] ceramic vessels ...and evoke thoughts that will enhance your life.”—T. Ludwig

From left: Tim Ludwig, Boat with Tulip, courtesy of the artist and Arts on Douglas Fine Art and Collectibles; David T. Kessler, Twilight Splendor, airbrush on aluminum, 44 x 64”, courtesy of the artist and Etra Fine Art

M I A M I

Gallery: Etra Fine Artwww.etrafineart.com

Artist: David T. Kessler USING A PERFECTED TECHNIQUE IN THE PHOTO-REALIST tradition he developed over the past 25 years, David Kessler has created a series of spectacular waterscape paintings that incorporate realistic imagery painted over a surface of abraded and polished aluminum.

P A L M B E A C H G A R D E N S

Gallery: Studio E Gallerywww.studioegallery.com

Artist:BRIAN RUSSELL “I WANT PEOPLE TO USE

my sculpture as an excuse to mentally shift to another level of con-sciousness, above the daily hubbub, even for a moment, and to recon-

nect with themselves via that primal, emotional, cortex-controlled spasm of an encounter with an unexpected oasis in a visual desert.”—B. Russell


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

galleryC O R A L G A B L E S

Gallery: ArtSpace/Virginia Miller Gallerieswww.virginiamiller.com

Artist: Ramiro Pareja Herrera

HERRERA HAS EXHIBITED in dozens of solo exhibitions

in Peru, Germany and Spain, and has participated in group shows in Europe, South America, Canada and the US. A poet as well as a painter, his words embellish the borders of his canvases.

P A L M B E A C H Gallery: Holden Luntz Gallerywww.holdenluntz.com

Artist: Lynn GoldsmithGOLDSMITH’S PHOTOGRAPHSare hybrids of fantasy and reality, offering greater investigation than found in a typical portrait. They are commentaries about living in a consumer-based world that defines us by our possessions.

Clockwise from top left: Lynn Goldsmith, Dancing Marionettes, c. 2003, archival pigment photograph, signed and # 2/6 on mount verso, 61 x 46”, courtesy of the artist and Holden Luntz Gallery; Brian Russell, Hemisphere Willowfly, mixed media, 14 x 13 x 11”, courtesy of the artist and Studio E Gallery; Ramiro Pareja Herrera, Vision Barroca III, 2007, acrylic on canvas, 36-1/4 x 36-1/4”, courtesy of the artist and ArtSpace/Virginia Miller Galleries

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


S A R A S O T A

Gallery: State of the Arts Gallerywww.sarasotafineart.com

Artist:A. DASHA REICH DASHA’S LUMINOUS paintings are about the expressiveness of color. She creates the illusion of glass by floating pig-ments, stains and metal-

lic foils between layers of epoxy resin. You can see river currents, spiral-ing galaxies, river stones and flora silhouettes in her vibrant montages.

From left: A. Dasha Reich, Clear Multi-Dots, assemblage/wall sculpture, courtesy of the artist and State of the Arts Gallery; Jean Jacques Ribi, Evolution in Spring, 1/5, Photopaint, 37 x 59-1/2”, courtesy of the artist and The Americas Collection

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

Artist: Jean Jacques Ribi“I HAVE NAMED MY TECHNIQUE ‘PHOTOPAINT’ BECAUSE I feel like a classical painter using a traditional color palette. My personal palette consists of a wide range of photographs from which different ele-ments are taken to make them act as ‘photocolors’ to create ‘photopaint-ings.’ Photocolors have a more complex set of rules. They create infinite possibilities in the use of materials, dimensions, patterns and chromatic scales. It is a synesthesia I developed in response to my color-blindness.RealArt (Art of Reality) consists of taking different snapshots of reality and transforming their meaning by changing their initial context. This brings to life an alternate environment governed by different laws where nothing is truly created nor destroyed but totally transformed.” —J. J. Ribi


J A C K S O N V I L L E B E A C H

Gallery: J. Johnson Gallerywww.jjohnsongallery.com

Artist: Lisa Hoke H O K E T R A N S F O R M S “the debris of everyday life” into art, constructing complex, colorful compo-sitions from familiar objects. “I use objects that are inexpensive, acces-sible, and profoundly available,” says the artist.

M I A M I

Gallery: Zadok Gallerywww.zadokgallery.com

Artist: Alexandra Pacula“MY WORK INVESTIGATES a world of visual intoxication; it captures moments of enchant-ment, which are associated with urban nightlife...In my oil paint-ings, I aim to capture various atmospheres that occur in such environments.”—A. Pacula

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

M I A M I

Gallery: Seth Jason Beitler Fine Artswww.sethjason.com

Artist:

WILLIAM HILLMANHILLMAN HAS EXPERI-

mented throughout his career, moving from painting to mon-tage to computer-

digitized photographic images. His innovative photographs explore light and space, and range from being almost completely abstract to wholly recognizable.

Clockwise from top: Lisa Hoke, Red Blaze, 2011, cardboard, glue and rivets, 51 x 58 x 12”, courtesy of the artist and J. Johnson Gallery; William Hillman, Epiphany Series, 2006, cibachrome photograph, 20 x 30”, courtesy of the artist and Seth Jason Beitler Fine Arts; Alexandra Pacula, Blissful Recollection, 2010, oil on canvas, 72 x 56”, courtesy of the artist and Zadok Gallery

T H E M Y S T E R I O U S C O N T E N T O F S O F T N E S SO n v i e w 09.15-12.30.12 a t C O R N E L L F I N E A R T S M U S E U M a t R o l l i n s C o l l e g e , Wi n t e r P a r k

c f a m . ro l l i n s . e d u


T H E M Y S T E R I O U S C O N T E N T O F S O F T N E S SO n v i e w 09.15-12.30.12 a t C O R N E L L F I N E A R T S M U S E U M a t R o l l i n s C o l l e g e , Wi n t e r P a r k

c f a m . ro l l i n s . e d u

In Lisa Kellner’s work, each bulbous silk

organza shape is hand-formed by stretching

fabric around an object and treating

this surface through a lengthy process in

which pigment, ink, acrylic and bleach are

applied until the intended painterly

effect is achieved. Once the original object

is removed, what is left is a translucent,

apparently fragile, yet deceptively

strong skin, maintaining the shape of an

organ-like form or cell structure. Inspired by

microscopic images of disease and

yet prompting feelings of fragile beauty,

Kellner’s silk sculptures strive to

capture life’s duality of beauty and decay.

Below and inset:

Lisa Kellner, Almost Perfect,

2011, silk, pigment,

paint, thread, embroidered text

(“Almost Perfect”),

surgical pins, 42 x 31 x 6”,

courtesy of the artist

Right: Miriam Schapiro,

Grandma Bolero, 1980, fabric

and mixed media collage,

16 x 20”, courtesy of Flomenhaft

Gallery, New York

A leader in two art movements:

the “Feminist Art Movement” and

“Pattern and Decoration,”

Miriam Schapiro transforms

such commonplace

elements as lace, fabric scraps,

buttons, rickrack, sequins,

and tea towels into sophisticated

compositions she calls

“Femmages,” that speak to women’s

experiences.

THE MYSTERIOUS CONTENT OF SOFTNESS,hosted by the Cornell Fine Arts Museum at Rollins Col-lege in Winter Park, explores the transformative power of fiber and its connection to the human body.

Consisting of sculptures, installations, and crafts, “the artists were selected for their emotional response to, and understanding of fiber’s potential for capturing the fluidity of life,” says Stefano Catalani, curator of the exhibition, which comes from the Bellevue Arts Museum in Washing-ton. Exploiting the durability and fragility of the medium, a number of artists address issues of gender identity, “by repositioning and humorously challenging the expectations from a medium so stereotypically feminine,” adds Catalani.

Whether employing time-honored techniques such as knitting, crochet, embroidery and loom weaving, or foray-ing into new uses of traditional textiles, these artists explore the physical, psychological and cultural associations of fiber to the body. The intrinsic qualities of fiber: its soft-ness, sagginess and fragility, its ability to drape, protect and clothe, as well as to fabricate and express identity, make it possible for the textile medium to incomparably capture the nature of flesh and convey an affinity for life.

Featured artists in The Mysterious Content of Softness include: Diem Chau, Lauren DiCioccio, Angela Ellsworth, James Gobel, Angela Hennessy, Rock Hushka, Lisa Kell-ner, Miller & Shellabarger, L.J. Roberts, Jeremy Sanders, and Nathan Vincent.

The sampling of works on the following pages illustrates the diverse range of talent among the artists represented.

The Mysterious Content of Softness


Above and opposite:

L. J. Roberts, We Couldn’t Get In.

We Couldn’t Get Out., (details),

2006–2007, hand-woven wire, crank-knit

yarn, steel poles, assorted hardware,

courtesy of the artist, photo: Team Photogenic

L. J. Roberts’ current work

merges craft with objects of violence and

control to examine large structures of

power and how they might be interrupted

by ways of making that are often

labeled as gendered, amateur, and low.

This exhibition seeks specifically to highlight the almost unique quality of fiber and textiles

to merge art with everyday life.



Nathan Vincent,

Locker Room, 2010,

crocheted yarn, foam, wire

and polyester stuffing,

courtesy of the artist;

yarn donated by Lion Brand Yarn.

Photographs by Steven Miller

This exhibition seeks specifically to highlight the almost unique quality of fiber and textiles

to merge art with everyday life.

Above:

Locker Room (detail)

Nathan Vincent’s work explores gender permissions

and the challenges that arise from straying from the

prescribed norms. It questions the qualities of

gender by considering what constitutes masculine and

feminine. It critiques stereotypical gender mediums

by creating “masculine objects” using “feminine

processes,” such as crochet, sewing, and appliqué.


Angela Ellsworth is an interdisciplinary

artist whose startling performance

pieces and objects often draw on

her own background as a descendant

of Mormon pioneers. Ellsworth’s

Seer Bonnets series focuses on the

relationships of sister-wives and

on polygamy’s legal prohibition as a result

of its perceived immorality, finding

a parallel between this cultural history

and the artist’s own identity as a lesbian

woman. The bonnets’ iridescent exteriors,

formed entirely by the pearl-tips of

tens of thousands of corsage pins, belie

their dangerous needle-point interiors.

Left and opposite:

Angela Ellsworth,

Seer Bonnet XIX (Flora Ann)

(detail and installation view,)

2011, 1 bonnet,

24,182 pearl corsage pins,

fabric, steel, wood,

60 x 13 x 16”, base: 25 x 40 x 4”,

images courtesy

of Lisa Sette Gallery




Above:

Diem Chau, Empty Hand,

2010, porcelain plate,

organza & thread,

6 x 4-1/2 x 3/4”,

photo courtesy of the artist

Diem Chau, Bound,

2010, porcelain plate,

organza, cotton fabric & thread,

6-1/2 x 9 x 3/4”,

photo courtesy of the artist

A Vietnam native, Diem Chau

and her family came to the

US as refugees in 1986. Working

from photos, the artist

embroiders silhouettes and

portraits onto silk organza,

delicately stretched over the

rims of porcelain plates,

saucers and cups, which have

been found in thrift stores

or gifted by friends. The images,

floating in the hazy, milky

gauziness of the organza, suggest

a form of storytelling in

which the hairstyle and attire of

some of the figures reveal

identity issues at work.

The intrinsic fragility of the taut

translucent silk celebrates

ultimately, the preciousness of

fleeting existence.

On View

BASS MUSEUM of

ART, M I A M I B E A C H w w w . b a s s m u s e u m . o r g

09.09.12–11.04.12 a t

UNNATURAL

The concept of nature has ac-quired a new relevance in the hyper-technological age, lead-ing many artists to reflect on artificial environments where one is unable to trust what is real and what is not. A significant number of artists today, challenge the gap between traditional perceptions of “nature” and “culture.” In many

cases, they introduce new un-derstandings of the sublime that replace its Romantic and the related sense of awe with a diverse range of critical, po-litical and poetic approaches.

The new exhibition, UN-NATURAL, presented by the Bass Museum of Art in Mi-ami Beach and curated by Tami Katz-Freiman, presents

TUNNATURAL

Previous pages:

Tomer Sapir, slide from

Research for the

Full Crypto-Taxidermical Index,

2010-2012, computer PPT,

continuous loop, courtesy of the artist

and Chelouche Gallery for

Contemporary Art, Tel Aviv; additional

photography by Elad Sarig

and Hilit Kadouri

Opposite:

Boaz Aharonovitch, Dark Matter,

2010-2012, four archival

pigment prints, 48 x 48” each,

courtesy of the artist and

Dan Gallery for Contemporary Art,

Tel Aviv

Right:

Sigalit Landau, still from DeadSee,

2005, digital HD video, silent,

11:39 minutes, courtesy of the artist

Tscientific, romantic, concep-tual, poetic, sensual and eco-logical conceptions of nature through a variety of strategies that reflect advances in tech-nology in the 21st century. The

works in the exhibition ques-tion conventional means and methods of representing the natural world and metaphor-ically embody both the para-doxical longing to fuse with


nature and the threat embed-ded in such fusion. The works included in UNNATURAL thus reflect a cultivated, synthetic, manipulated nature, which in-cludes allusions to science as manifestations of a reality os-cillating between the real and imaginary.

The artists selected for UN-NATURAL come from di-verse cultural backgrounds and work in a wide range of me-

dia, including video, photog-raphy, sculpture and installa-tion. These artists seem to be stretching the limits of time and place, while collecting and assembling imagery from dif-

ferent sources to create a new, artificial form of nature. The majority of the artists in this show are Israeli-born, which charges the exhibition with a political accent that relates to

UNNATURAL

Opposite:

Richard Mosse, Herd at Dusk,

2011, digital c-print,

72 x 90”, courtesy of the artist and

Jack Shainman Gallery, NY

Below:

Jennifer Steinkamp, still from

Daisy Chain (twist), 2004,

video installation, continuous loop

Lindemann Collection,

Miami Beach



Nature, territories and land-scape in critical ways. In the contemporary Israeli context, it is impossible to disassociate the landscape from its political resonances and from the mul-

tiple narratives that surround it. Landscape imagery and rep-resentations of nature in con-temporary Israeli art are rare-ly naive, and certainly not ro-mantic. They are scorched by

the fire of conflict and marked by the fervor of internal con-troversy.

UNNATURAL represents the far-fetched fusion of re-ality, fantasy and simulation.

At the same time, it reflects the freedom of the imagina-tion and the wonders of simu-lation technology, which make the inconceivable conceivable. It reveals how the unmediat-

UNNATURAL

Right:

Uri Shapira, still from Six Days Dark

Bobo Timelapse, 2011,

stop-motion video, sound, 5 minutes,


Below:

Wendy Wischer, installation view

of Puddled II, 2012,

projected video on acrylic, 53 x 25”,


and Julian Navarro Projects, NY


ed sense of awe and wonder provoked by nature has been replaced by the work of art, which enables us to marvel at the act of representation and to re-imagine nature, while cele-

brating the wonders of the hu-man imagination.

The location of this proj-ect in Miami Beach—a sub-tropical, botanically lush bar-rier island that was built on a


filled coral reef—where even the beach sand was artificial-ly imported—further strength-ens the tangible relationship between the “natural” and the “unnatural.”

Artists represented include: Boaz Aharonovitch, Aziz + Cucher, Céleste Boursier-Mougenot and Ariane Michel, Einat Arif-Galanti, Blane De St Croix, Rose-Lynn Fisher,

Ori Gersht, Meirav Heiman and Yossi Ben Shoshan, Hil-ja Keading, Freddy Shachar Kislev, Sigalit Landau, Dana Levy, Tobias Madison, Rich-ard Mosse, Gilad Ratman, Sa-mantha Salzinger, Tomer Sa-pir, Yehudit Sasportas, Michal Shamir, Uri Shapira, Jennifer Steinkamp, Gal Weinstein, Wendy Wischer, and Guy Za-gursky. On View

UNNATURAL

Opposite:

Ori Gersht, still from Falling Bird,

2008, digital HD film, sound, 5:53 minutes,

courtesy of the artist and

Noga Gallery of Contemporary Art, Tel Aviv

Below:

Meirav Heiman & Yossi Ben Shoshan,

Sperm Whale, 2009, four-channel HD video

installation, sound, 216-1/2 x 521-5/8

x 194-7/8”, courtesy of the artists;

Thanks: The Petach Tikva Museum of Art, Israel;

Nadav Smulian & the Israeli Fund

for Video Art and Experimental Cinema


UNNATURAL reflects the freedom of the imagination and the wonders

of simulation technology, which make the inconceivable conceivable.

2 0 Y E A R S o f P H O T O G R A P H Y b y E L I Z A B E T H G I L B E R T

HISTORIES in AFRICA:

O n v i e w 09.13.12-12.30.12 a t t h e C U M M E R M U S E U M o f A R T & G A R D E N S ,

J a c k s o n v i l l e • w w w. c u m m e r. o rg

2 0 Y E A R S o f P H O T O G R A P H Y b y E L I Z A B E T H G I L B E R T

HISTORIES in AFRICA:

O n v i e w 09.13.12-12.30.12 a t t h e C U M M E R M U S E U M o f A R T & G A R D E N S ,

J a c k s o n v i l l e • w w w. c u m m e r. o rg


Yao Dancers of Malawi

All images

©Elizabeth Gilbert

Brotherhood of the Maz


A M E R I C A N P H O T O J O U R N A L I S T ,

Elizabeth Gilbert, has lived and worked in Africa since 1991, traveling from Kenya to the Congo, throughout the Great Rift Val-ley, and reporting on civil wars in Rwanda, Somalia and Sudan. She is the author of two

photographic books on vanishing African culture: Broken Spears and Tribes of the Great Rift Valley. Her glorious black-and-white photography, accompanied by her thoughtful, engaging text, offers sweeping views of a magnificent and sometimes harsh landscape and its peoples. Thought-provoking and remarkable, her work is a time capsule, perhaps even the last record, of age-old traditions and a way of life that will almost certainly soon vanish from our planet.

HISTORIES IN AFRICA: 20 Years of Photography by Elizabeth Gilbert

Above:

Samburu Initiate Wearing Trophy Birds

Histories in Africa: 20 Years of Photography by Eliz-abeth Gilbert, at the Cummer Museum of Art & Gardens in Jacksonville, presents a mid-life retrospective as diverse as Africa itself, depicting a traditional world seemingly suspended in time, as well as its modern urban parallel. The gelatin silver prints on exhibit pull the viewer into an intimate world of African ritual and tell the story of a continent’s jour-ney through change.

When Gilbert first came into contact with the Maasai, over ten years ago, their images were everywhere in Africa. Pictures of warriors were printed on postcards, T-shirts, safari advertisements and hotel logos—but in reality, their tra-ditional life was disappearing. So Gilbert set out on a four-year journey to photograph what was left of traditional Maasailand.

Her book, Broken Spears: A Maasai Journey, is the stun-

A


ning result of this remarkable journey. Over 120 images capture the rituals, secret cer-emonies and landscapes of the Maasai, documenting the life of this extraordinary tribe.

Gilbert’s intimate relation-ship with the Maasai allowed her to photograph centuries-old Maasai ceremonies, including male and female circumcisions, weddings and perhaps the most dangerous of all Maasai rituals—a lion hunt. A moving photographic journey into the vanishing culture of the Maasai warriors of Kenya and Tanza-nia, Broken Spears is a haunt-ing testament to a rapidly dis-

appearing way of life.Gilbert’s second book, Tribes

of the Great Rift Valley, is a cele-bration of the traditional peo-ples who occupy the lands of the Great Rift Valley, from the Gulf of Aden off the coast of Eritrea, across the Ethiopian highlands, and down to the great lakes and plains of Kenya, Tanzania and Malawi. Here are the proud, majestic warriors of the Maasai and Samburu, the Mursi with their jutting lip-plates, the guinea-fowl-paint-ed faces of the Karo, the bull jumpers of the Hamar, and the honey seekers of the forests, the Batwa, among many other

Above:

Leaping Warriors

Right:

Holding the Bull

Opposite:

Sekenani Warrior


The Circumcisionist

tribes. Sadly, nearly all of these communities face extinction in the near future due to Western influence.

“The loss of African tradi-tion in the last century and the change I witnessed during my own travels slowly redefined my role as a photographer,”

said Gilbert. “I no longer saw myself as an invisible recorder, but as a collaborator with the people whom I photographed. I was a stranger, yet they had allowed me to document their most private rituals and ceremo-nies. This permission in itself was their own acknowledge-ment that a way of life was dis-appearing. Influenced by this, I began to create a more idealized portrayal of what I believed was a vanishing world.”

Peter Beard, author of The End of the Game, said of Gil-

bert’s work: “Across Kenya and Tanzania, from Serengeti to Kilamanjaro and beyond, Eliza-beth Gilbert has heroically and artistically photographed the last moments of tribal Africa with the Maasai, those herdsmen, lion hunters, warriors and aris-tocrats of the bush. The pages

of this book are already history in a compromised, ravaged, de-natured content. Luckily, Gil-bert has photographed what is left—everything that is authen-tic and valuable in Africa.”

Gilbert’s pictures have appeared in Time, Newsweek, Men’s Journal, Life and The New York Times, as well as numerous major European pub-lications. Her photographs of the Maasai have been awarded prizes for portrait and reportage by the Society of Publication Designers. On View


Above:

Elizabeth Gilbert, courtesy of the artist


“ The loss of African tradition in the last century and the change I witnessed during my own travels slowly redefined my role as a photographer.” —E. GilbErt

On view 09.16-11.04.12 at the APPLETON MUSEUM of ART, Ocala w w w. a p p l e t o n m u s e u m . o r g

THE ART OF

Mark MESSERSMITH

Margaret Ross TOLBERT

& FLORAda FLOWING WATERS :

On view 09.16-11.04.12 at the APPLETON MUSEUM of ART, Ocala w w w. a p p l e t o n m u s e u m . o r g

THE ART OF

& Margaret Ross TOLBERT

Anna

TOMCZAK


FLORAda FLOWING WATERS :


FLORAda & FLOWING WATERS: The Art of Mark Messersmith, Margaret Ross Tolbert

& Anna Tomczak


FLORAda & FLOWING WATERS, presented by the Appleton Museum of Art in Ocala, represents a lush and beautiful portrait of natural Florida, as interpreted by three of the state’s most prominent artists—Mark Messersmith, Margaret Ross Tolbert and Anna Tomczak. The theme of Florida’s unique natural envi-ronment has not just occasionally occupied these artists’ highly productive careers—it is central to their work.

“Messersmith’s opulent, hyper-colorful paintings of our state’s tropical flora and fauna comes together with Ross Tol-bert’s abstract expressionist interpretations of our famous springs and Tomczak’s nostalgic large-format photographic prints of

Mark Messersmith, Wild As Angels, oil on canvas with carved wooden top parts and mixed media

predella box on bottom, courtesy Ogden Museum of Southern Art

F



& Anna Tomczak

THE ARTISTS...


antiques and our native plants,” says Ruth Grim, the Appleton’s Curator of Exhibitions, “...and in the case of Anna Tomczak,” she adds, “this will be an opportunity to see a truly extinct art form, as Tomczak will no longer be able to create her large-format Pola-roid prints, since Polaroid has gone out of business.”

Grim hopes visitors to this special presentation will not only take away an appreciation of the work of these talented indi-viduals, but will also heed their call to cherish and safeguard the unique natural beauty we are so lucky to have here in Florida.

Themed events accompany the exhibition, including a pho-tography workshop by Anna Tomczak. For event details, visit www.appletonmuseum.org.

Opposite: Anna Tomczak, Lusitano, courtesy of the artist

Above: Images courtesy of the artists

THE ARTISTS...

Mark MessersmithTallahassee, FL

Margaret Ross Tolbert Gainesville, FL

Anna TomczakLake Helen, FL


WHEN MARK MESSERSMITH FIRST moved to Tallahassee, FL, he was imme-diately struck by the wildness of the sur-rounding landscape—a wildness gone from much of America. In his paintings, he explores the tension between this wild, living place and ever-increasing human expansion.

“Since moving to the Southeastern US in 1985, I have been fascinated with the uniqueness of the region’s environment and the beauty of its lands and animals,” the artist said. “While both the land and animals are vulnerable, they share a strong determination for survival and can still offer potential dangers for the unwary visitor.”

Drawing on inspirations ranging from the Pre-Raphaelites, Martin Johnson Heade, Southern folk art and medieval manuscripts, his paintings are dense, radiant and sculptural depictions of the flora and fauna of northern Florida, struggling to survive.

“The fading landscape I paint, is at least for awhile, out there someplace, somewhere just beyond the urban sprawl, shopping malls and trailer parks,” he explained. “It is still a land of myths and facts, inhabited by powerful birds, vigilant panthers, weary gators, black-water swamps, old cypress trees, back road citrus stands and careening logging trucks.” Messersmith sees his work as “a beautiful warning of a time and a place, midways between hope and despair.”

Messersmith received his MFA in 1980 from Indiana University. He joined the Florida State University art depart-ment’s painting faculty in 1985, where he teaches drawing and painting. Over the years he has won numerous state, national and international art honors, including a Ford Fellowship, four Indi-vidual Artist Fellowship Awards from the Florida Department of State, and a 2006 Joan Mitchell Foundation Painting Award.

Mark MESSERSMITH

Mark Messersmith, From a Dark Twilight, oil on canvas with carved wooden top parts and mixed media

predellas boxes on bottom, courtesy of Ogden Museum of Southern Art


& Anna Tomczak



OVER THE LAST 20 YEARS, Gaines-ville artist, Margaret Ross Tolbert, has executed a series of paintings, drawings and lithographs from studios in the US, France and Turkey. Her commissions include projects for a series of paintings with residencies in Turkey, Azerbaijan and Oman.

In recent years, Tolbert has devel-oped two distinctive bodies of work: the Springs of North Florida, which explores the depth and beauty of Flor-ida’s springs; and Doors, inspired by travels to many of the most beautiful and exotic buildings in the world. The two subjects are united through the artist’s powerful use of color in her brilliant, large-scale oil paintings. The cool blues and greens of the springs appear as lush as the golden hues of the doors.

The Springs of North Florida, whose paradisiacal presence provides a sense of ideal destination and the exotic in the here-and-now, counterpoints the sense of

passage, time and journey implicit in the Doors paintings. The colors and light are unique and remarkable. Tolbert works on-site to capture these elements before transferring them to her large canvases.

“The paradisiacal Springs of North Florida are my paintings’ subject and metaphor,” says Tolbert. “The springs paintings begin on-site at the water’s edge, and often in the water. I swim in the springs, I sketch underwater; I am inspired to write when I am beside them.”

Tolbert’s paintings have been exhib-ited in numerous solo and group shows throughout the southern US and abroad. She is the recipient of a Visual Arts Fel-lowship from the State of Florida. Her work also encompasses performance and writing. Tolbert has published two books: GEZI, which includes sketches and nar-ratives from her travels in Eastern Tur-key; and AQUIFERious, which includes detailed chronicles of the rarely-seen life forms inhabiting the depths of the springs.

Margaret ROSS TOLBERT

Margaret Ross Tolbert, Entering Spring,



“The springs paintings begin on-site at the water’s edge, and often in the water.

I swim in the springs, I sketch underwater; I am inspired to write when

I am beside them.” —M. R. TolbeRT


& Anna Tomczak


ANNA TOMCZAK’S IMAGES EXPLORE a rich visual playground of found objects, associative images and botani-cals—all woven in an intricate web of visual metaphor.

For over 15 years, Tomczak has uti-lized the 20x24 camera to make haunt-ingly beautiful constructions. Drawing on a large personal collection of unique and eccentric artifacts, she creates an assemblage that only exists long enough to be recorded on large-format Polaroid film. These timeless compositions are heightened by her use of the Polacolor Image Transfer technique. This process interrupts the normal peel-apart develop-ment by separating the negative from the positive film earlier than intended and placing it in contact with wet watercolor paper. This technique mutes the color and softens the image, producing a more dreamlike and antique sensibility.

“For many years, I have collected iconic treasures—some are derived

from old manuscripts and others are from searching through antique markets or collections,” says Tomczak. “Each one of these figures holds a different meaning, symbolic reference or spiritual influence for both myself as the artist, and the viewer/interpreter.”

Anna’s large-format, dye-infusion transfer photographs are widely exhib-ited and are in museum, university, pri-vate and corporate collections, including the Norton Museum of Art, West Palm Beach; Polk Museum of Art, Lakeland; Orlando Museum of Art; Brooklyn Museum of Art, NY; Harn Museum of Art, Gainesville; Sony Latin-America; McGraw-Hill, NYC; R.J. Reynolds; the Mayo Clinic; and IBM.

Anna teaches workshops in Florida and various university, museum and studio classrooms throughout the US, Italy and Spain. The recently published book, Sanctuary, features a collection of Tomczak’s stunning images.

Anna TOMCZAK

Anna Tomczak, Devil’s Backbone II,




& Anna Tomczak


STR IPPED BARE + BATHED:The Preservation of Dalí’s Masterworks

On view through September 9th atThe Dalí Museum, St. Petersburg

w w w . t h e d a l i . o r g


STR IPPED BARE + BATHED:The Preservation of Dalí’s Masterworks

On view through September 9th atThe Dalí Museum, St. Petersburg

w w w . t h e d a l i . o r g

Conservation image photos

by Chuck Bendel,

courtesy of The Dalí Museum,

St. Petersburg

Above: A painstaking process,

conservators carefully

remove decades of dust

and grime from The Discovery

of America.

Left: Salvador Dalí, The Discovery

of America, 1959, oil on canvas

All images copyright: In the USA:

©Salvador Dalí Museum, Inc.,

St. Petersburg, FL, 2012;

Worldwide rights: ©Salvador Dalí,

Fundación Gala-Salvador Dalí

(Artists Rights Society), 2012

SALVADOR DALÍ IS considered one of the most famous and controversial artists of the 20th Centu-ry—his artwork is unfor-gettable and immensely popular. The Dalí Museum in St. Petersburg, holds the largest collection of Dalí

art outside Spain, with more than 2,100 works, includ-ing 96 oil paintings that richly present his entire career.

More than 15 years ago, all of the oil paintings in the Museum’s Permanent Collection were assessed, and a program was established for conservation treat-ment according to the assessment rating. In the fall of 2011, The Dalí launched a con-servation campaign called “Keepers of the Masterworks.” At that time, Museum curators determined that four of the Museum’s Master-

SStripped Bare + Bathed:

The Preservation of Dalí’s Masterworks


work paintings were in great-est need of restoration and repair, and the Museum made a plea to its loyal patrons to assist in the effort to preserve and maintain these priceless Masterworks. Since then, many works have been treat-ed, but other paintings still require major or minor con-servation work.

In June of 2012, a team of

nine conservators cleaned and restored four of the Museum’s eight Masterworks: The Dis-covery of America (1959), The Ecumenical Council (1960); Galacidalacidesoxiribunucle-icacid (1963) and The Hallu-cinogenic Toreador (1970). A live video feed recorded and broadcasted the work during a two-week live phase.

Currently on view in the

Hough Family wing, the exhibition, Stipped Bare + Bathed: The Preservation of Dalí’s Masterworks, presents a video documentary of the conservation process from start to finish, providing visi-tors with a behind-the-scenes glimpse of the dramatic and painstaking work of conserva-tors, including detailed com-mentary and close-up views

of the action. The $100,000 project was

funded in part by a grant from the National Endowment for the Arts and was further sup-ported by a group of private donors—the Keepers of the Masterworks—who gave gen-erously to assist with this vital restoration project.

Preservation is a continu-ous, labor-intensive process, involving the care of works of art in all media—oils, works on paper, and objects. Works on display in museums are subjected to a variety of damaging pollutants—from

our breath and sweat, to dirt and grime—all of these fac-tors and more, contribute to art’s slow deterioration. How to protect precious artwork, while making it accessible to vast numbers of people, remains a constant dilemma for museums. Stripped Bare + Bathed is the realization of an essential part of The Dalí’s mission: to present and pre-serve these priceless works for future generations.

Conservationist, Rustin Levenson, President and Founder of Rustin Levenson Art Conservation Associates,

Above:

Salvador Dalí,

The Hallucinogenic Toreador,

1970, oil on canvas

Right:

Conservators work on

The Hallucinogenic Toreador as

a live video feed records

and broadcasts their progress

during a two-week live

phase of the conservation project.


Stripped Bare + Bathed: The Preservation of Dalí’s Masterworks

along with her team of con-servators, spent 8-10 hours a day during the eleven day project, lifting decades of dust, dirt and grime from the canvases and making what-ever repairs necessary to re-store the works.

Levenson has worked at Harvard University’s Fogg Museum, the National Gallery of Canada and the Metropolitan Museum of Art. She now has her own company with studios in New York and Miami, and a client list filled with museums and private collectors.

Levenson and her team

spent weeks assessing dam-age, testing each of the works using ultraviolet light and loupes (magnifying devices similar to what jewelers use). With a variety of cleaning sol-vents, they gently dabbed at each canvas with cotton swabs to determine which cleaning solutions worked best, remov-ing only dirt—never paint. Each painting was then divid-ed into sections with hanging strings and each team member worked, inch by inch, slowly swabbing each section.

“It’s more complicated than it looks,” Levenson says. “It’s

Above: Inch by inch, Galacidalacidesoxiribu-

nucleicacid is slowly restored.

Below: Salvador Dalí,

Galacidalacidesoxiribunucleicacid,

1963, oil on canvas


part art history, part science. No one should ever try to clean art at home. The worst damage I have seen was by untrained restorers.”

On the first day of the proj-ect, Levenson and her team started with two of the paint-

ings, Discovery of America and Ecumenical Council.

Council took the most time, according to Levenson. It had been restretched several times before it came into the Dalí’s collection, meaning the can-vas was removed from its wood frame and reattached. During the course of the last restretching, the canvas was not put on straight, leaving uneven lines of canvas visible on the vertical sides of the painting. In addition, the fab-ric was riddled with uneven holes from old nails. The painting also had a small hole in the canvas, incurred during its journey to or from Austra-lia for a special exhibition, requiring retouching with paint. If paint is applied to any work, it must be used accord-ing to the universal conserva-tion dictum: “Do nothing that can’t be undone.” In the case of this painting, which has a protective varnish, the paint was applied over the varnish and can be easily removed in the future.

Discovery of America had a mold problem, the result of a leaky roof in the Museum’s former location. The mold was discovered during a hurricane

Below:

The Ecumenical Council,

divided into sections with hanging strings,

is gently swabbed.

evacuation. The painting had to be cleaned and treated. When treating the mold, conservators wore protective masks. “We used organic sponges and etha-nol solution, which made us all feel better,” said Levenson, referring to the mold.

Conservation efforts are usually off-limits to the public, which makes this a rare oppor-tunity to witness the skill and science involved in preserv-ing great artworks. “There is a

mystery to conservation,” said Hank Hine, Director of the Museum, “the chemicals, the arcane technology. But most of it is very hands-on and we wanted to demystify and dra-matize the technique.”

The long-term payoff is knowing that Dalí’s most important paintings are in the best condition possible and offering visitors an opportu-nity to see his works in a new light. On View

Left:

Salvador Dalí, The Ecumenical Council,

1960, oil on canvas

Below:

Rustin Levenson, President

and Founder of Rustin Levenson

Art Conservation Associates,

at work on The Ecumenical Council.

Stripped Bare + Bathed: The Preservation

of Dalí’s Masterworks

LIKE MOST PARENTS TODAY, artists Stephan Hillerbrand and Mary Magsamen are experi-encing the day-to-day pressures that exist in the domestic sphere of family life. Unlike most par-ents, they’ve channeled their circumstances into their work. The results will be on view at Dunedin Fine Art Center in the new show, BEAM Me Up.

“Under the title, BEAM Me Up, we recognize, through the artists’ eyes, the other-worldly realms of parenthood, relation-ships, the modern world, or Life, as we do not know it—until we are knee-deep in it’s laundry, or lost in its ethers,” says DFAC Curator, Catherine Bergmann.

This humorous and provocative presentation includes a photographic series by the collaborative team, Hillerbrand+ Magsamen, that interstices be-tween art and the contemporary American family by playfully and poetically exploring percep-tions of emotions, family, con-sumerism and media, within a uniquely American subjectivity.

Hillerbrand+Magsamen use their immediate environment


SPOTLIGHT{ H I L L E R B R A N D + M A G S A M E N }

E x h i b i t i o n

BEAM Me Up On view September 7th–October 14th at

Dunedin Fine Art Centerwww.dfac.org

and conditions to depict and dis-tort space and time and reflect our everyday visual vocabulary and human experiences. The subur-ban environment they inhabit functions as a base from which to leap into bigger ideas and vi-sually rich, engaging imagery.

Portraits of each member of the Hillerbrand/Magsamen family—the parents and their two grade school-age kids—are featured in an ar-ray of domestic sit-uations, playing on gender and family stereotypes. Each portrait is a symbol-ic representation of the stresses, expec-tations and predilec-tions that exist in so-ciety and the domestic realm. Domestic imprisonment and the confines of motherhood, the suf-focation of the household and all it’s stuff, suburban artificial-ity, banality and monotony are a few common themes.

Hillerbrand and Magsamen received MFAs from Cranbrook Academy of Art. Their work has

been included in film festivals, galleries and museums interna-tionally, including Ann Arbor Film Festival, Boston Under-ground Film Festival, Center for Photography at Woodstock, Houston Center for Photography and Dallas Contemporary. They have been awarded residencies at Lawndale Art Center, Hous-

ton, TX; the Low-er Manhattan Cul-tural Council, NY; and Experimental Television Center, Owego, NY; as well as grants from Aus-tin Film Society’s Texas Filmmakers’ Production Fund, Ohio Arts Council, Houston Arts Al-liance, and a Car-

ol Crow Fellowship from the Houston Center for Photography.

The artists live and work in Houston, TX, where Mary Magsamen is the curator for the mirco-cinema, The Aurora Pic-ture Show, and Stephan Hiller-brand teaches in the University of Houston Digital Media Pro-gram. On View

opposite page:

1. Diana, 2011,

Archival Pigment Print, 24 x 30”

Above

(top to bottom):

1. Miranda, 2011,


2. Sisyphus, 2011,


left:

DIY Love Seat, 2011, HD Video

images ©hillerbrand+magsamen;

Hillerbrand+Magsamen are

represented by Darke Gallery in

Houston, TX, and Camara Oscura

Galleria de Art in Madrid, Spain

F O C U S

Hillerbrand and Magsamen

CHANNEL their LIFE INTO

their WORK.

FOR MORE THAN A DECADE, Martin Schoeller has been making close-up portraits of the most recognizable faces of our time, as well as of ordi-nary people living private lives. Martin Schoeller: Close Up, hosted by Naples Museum of Art, presents a selection of arresting large-format color images—many of which are Schoeller’s most famous celeb-rity portraits.

A native of Germany, Schoel-ler’s career evolved from unas-suming beginnings. After high school, a friend urged him to apply to photography school. Of 800 applicants, he was one of just 40 students accepted. After graduation, Schoeller moved to New York City to pursue a pho-tography career. From 1993 to 1996, he worked as an assistant to renowned portrait photogra-pher, Annie Leibovitz, and in 1999, he was named one of three contracted photographers at The New Yorker magazine. While he continues to shoot for The New Yorker and other major publi-cations, he has also pursued his own photographic interests.


FOCUS{ M A R T I N S C H O E L L E R }

E x h i b i t i o n

Martin Schoeller: Close Up On view September 22nd–December 9th at


Large, close-up portraits are Schoeller’s signature style. Over the years, he has photographed many celebrities and politicians in this intimate format. “It’s a re-flection maybe of my personal-ity that I feel comfortable being close to somebody,” he said. For Schoeller, it’s not about making people look good or look bad. “I just think I’m try-ing to take real por-traits, what portraits should be like, show-ing a person for who they are and what they look like with-out retouching, with-out tricky lighting, without distortion, without crazy wide angle lenses, without any cheap tricks—just straight up honest portraits.”

Using a medium format cam-era that takes roll film, Schoeller shoots his subjects from a dis-tance of about four to five feet away with a fairly long lens, to avoid distortion. He uses Kino Flos, a type of lighting system used mainly in the film industry, ideal for very shallow and nar-

row depth of field, which helps to bring out his subjects’ eyes and lips. “Most of the expression in a person’s face is all about the eyes and the lips,” he explained. “I try to get my focus right so the eyes and the lips are the focus. Ev-erything falls away so quickly because of the shallow depth of field. Everything else becomes

secondary.”Schoeller’s work

has appeared in Rolling Stone, GQ, Esquire, Vogue, In-terview, W and The New York Times Magazine, in addi-tion to The New Yorker, where he remains on con-tract. He is repre-sented for fine art

by Hasted Kraeutler Gallery in NY, Ace Gallery in Los Angeles and Camera Work in Germany. His portraits are exhibited and collected internationally, appear-ing in solo exhibitions as well as the permanent collections of the National Portrait Gallery in Lon-don and the Smithsonian Institu-tion in Washington, DC. On View

opposite page:

1. Henry Kissinger, 2007,

Type C color print, 42-7/16 x 34-9/16”

Above

(top to bottom):

1. George Clooney, 2007,


2. Jack Nicholson, 2002,


all images ©Martin Schoeller

left: martin schoeller,


MARTIN SCHOELLER: CLOSE UP IS

ORGANIZED & CIRCULATED

BY CURATORIAL ASSISTANCE TRAVELING

EXHIBITIONS, PASADENA, CA

F O C U S

CLOSE-UP PORTRAITS are Martin Schoeller’s

SIGNATURE STYLE.

R A N I A M ATA R H A S P R O - duced an exhibition of unique and subtle power. Focusing on contemporary young women from vastly differing cultures in the US and Lebanon, A Girl and Her Room, reveals a dizzying array of personalities, dreams, hopes, wishes and frustrations in settings that are clearly ex-pressions of the girls’ individu-al identities—their own rooms.

“As a mother of teenage daughters, I watch their pas-sage from girlhood into adult-hood, fascinated with the trans-formation taking place, the adult personality shaping up, and a self-consciousness now replac-ing the carefree world they had known and lived in so far,” said Matar. “I started photograph-ing them and their girlfriends, and quickly realized that they were very aware of each other’s presence, and that their being in a group affected very much whom they were portraying to the world. From there emerged the idea of photographing each girl by herself.” When Matar asked the girls to choose where they wanted to be photographed,


INSIGHT{ R A N I A M A T A R }

E x h i b i t i o n

A Girl and Her RoomOn view September 14th–December 14th at the

Southeast Museum of Photographywww.smponline.org

a number of them chose their bedrooms. “I realized that was the nexus of a project,” she said. “The room was a metaphor, an extension of the girl, but also the girl seemed to be part of the room, to fit in, just like every-thing else in the room.”

Matar eventually moved away from photographing girls she knew well and expanded the proj-ect to include girls from the two worlds she herself experi-enced as a teen and a young 20-year-old—the US and the Middle East. She spent time de-veloping comfort-able relationships with her subjects and soon, the photography ses-sions became beautiful and in-timate collaborations.

“The beauty and strength, the aspirations and dreams of these young women are deeply mov-ing. I have tried to be the invis-ible mirror of those qualities here. Their frankness and gener-osity in sharing them was a priv-

ilege that they have extended to the viewers of this exhibition. My deepest hope for this proj-ect is that we help them achieve the fullness of their promise.”

Born and raised in Lebanon, Matar moved to the US in 1984. She trained and worked as an ar-chitect before studying photog-raphy at New England School of

Photography and Maine Photograph-ic Workshops.

She is the recip-ient of numerous awards and fellow-ships. Her images are in the collec-tions of museums throughout the US and abroad. She has also authored two books: Ordi-

nary Lives (2009) and A Girl and Her Room (2012).

Matar currently works full-time as a photographer and teaches photography at the Mas-sachusetts College of Art and Design. She also devotes time to teach photography to teen-age girls in Lebanon’s refugee camps. On View

opposite page

(top to bottom):

1. Shannon, Boston, MA,

2010, Pigment Inkjet Print,

20 x 30”

2. Christilla, Rabieh, Lebanon,


20 x 30”

Above

(top to bottom):

1. Anna, Winchester, MA,


20 x 30”

2. Danielle, Boston, MA,


20 x 30”

all images ©Rania Matar

left:

Rania Matar, courtesy

of the artist

I N S I G H T

Rania Matar’s IMAGES are

revealing portraits OF FEMALE

ADOLESCENCE.

TRENT MANNING IS LIVING proof that one man’s trash is an-other man’s treasure. His mixed-media works incorporate dis-carded pieces of metal, screws, wooden handles, old tools and wire, combined with woodwork-ing, painting and sculpting.

“I try to create a rebirth of interest in these miscellaneous items that they didn’t have in their previous roles,” says Man-ning. “The search for new mate-rial is a major step in the creative process. Since I never know what I might find next, I never know what my next piece will be. Constantly changing materials provides a natural evolution in my work, letting me explore new techniques and grow as an art-ist with every piece I create.”

The 38-year-old artist from Winter Haven describes his work as a reflection of his personality: “a somewhat disillusioned cyn-ic, with an odd sense of humor, who still clings tightly to his in-ner child.” Inspired by children’s toys and cartoons, many of his pieces are whimsical in nature,


PROFILE{ T R E N T M A N N I N G }

E x h i b i t i o n

Miscellaneous: New Works by Trent Manning On view September 8th–November 11th

at Polk Museum of Art, Lakelandwww.polkmuseumofart.org

By Sandra Dimsdale Horan

but they are also an expression of the world today, and often contain dark or macabre under-tones. “It’s this mix of light and dark that have become a signa-ture theme in my work,” he says.

As a child, Manning’s mom would constantly find him hid-ing under the covers, drawing pictures when he was supposed to be asleep. While he was hooked on art ear-ly on, it took years before he realized his work was good enough to sell. With some persuading, he eventually agreed to start showing his work. Things “re-ally clicked” when he submitted a piece for a “found object show” at a local gallery. “I knew I had found my niche,” says Man-ning. “Now it’s about more than I can keep up with, which is a real-ly fortunate problem to have.” He spends about 10 hours a day, six days a week, in the studio. His commitment has paid off with several prestigious awards, in-

cluding Best of Show at Gaspa-rilla Festival of the Arts, and first place in sculpture at Beaux Arts in Coral Gables.

For his exhibition at Polk Mu-seum of Art, Manning will feature almost exclusively new work, since he has no inventory. Visi-tors to the show can expect to find

“childlike” themes. “There’s a nice bal-ance of good and evil, though. It’s not all sugary clouds,” he insists.

Manning recent-ly joined Arts En-semble in Winter Haven, where artists are invited to use free studio space in exchange for donat-ing time to an out-reach program that

works with everyone from teen artists to Alzheimer’s patients. He is currently mentoring “a tal-ented graffiti artist,” who wants to make a living as an artist. “I’m trying to help him understand he’s not going to do that spray-painting a building—unless he sells the building.” On View

opposite

(left to right):

1. Dunce Cap

2. She’s Got Her Father’s Eyes

above

(top to bottom):

1. Keepsake

2. High Chair

left: trent manning

images courtesy

of the artist

P R O F I L E

FOR Trent MANNING, one man’s TRASH

IS another man’s TREASURE.

AMERICA’S CULTURAL CAPITAL,“The Big Apple”, is iconic, diverse and ever-changing. The city is home to the best and the brightest the world has to offer. From the newest culinary cre-ations, to trendsetting fashion, to glittering Broadway shows, The Big Apple lives up to its reputation. New Yorkers and visi-tors alike, enjoy a cultural experience second to none—and no visit to New York City would be complete without taking in the exciting exhibitions and collections available at the city’s myriad of fine art venues.

Join us as we take a brief tour of the premier fine art muse-ums located throughout this wonderful metropolis, including: American Folk Art Museum, Cooper-Hewitt National Museum of Design, International Center of Photography, Museum of Arts and Design, New Museum of Contemporary Art, Solomon R. Guggenheim Museum, The Frick Collection, The Metropolitan Muse-um of Art, The Museum of Modern Art and Whitney Museum of Ameri-can Art—“Taxi!” On View

New York CityThe museums. . .

VonD E S T I N A T I O N

iew


New

York

City

New

York


THE AMERICAN FOLK ART Museum is the premier insti-tution devoted to the aesthetic appreciation of traditional folk art and creative expressions of contemporary self-taught art-ists. The Museum preserves, conserves and interprets a comprehensive collection of the highest quality, with objects dating from the 18th century to the present.

The Museum’s collection was launched in 1962 and in the 45+ years since, has continued

to grow and evolve to include works by US and international self-taught artists, demonstrat-ing an exciting new collecting initiative. The visual connec-tions between American artists and their European counter-parts are compelling and speak eloquently of common creative ground shared by all artists unindoctrinated in either fine art canons or mainstream art trends. On View

O N V I E W D E S T I N A T I O N : N E W Y O R K C I T Y

American Folk Art Museum

AMERICAN FOLK ART MUSEUMwww.folkartmuseum.org

2 Lincoln Square(Columbus Ave. at 66th St.)New York, NY212.595.9533

Info

T

CLOCKWISE FROM TOP:

1. SPENCERIAN BIRDS,

1850-1900, STUDENTS OF

MISS LILLIAN HAMM

(DATES UNKNOWN), UNITED

STATES, WATERCOLOR AND

INK ON PAPER, 19-1/2 x 18-1/4”,

GIFT OF CYRIL IRWIN NELSON

IN MEMORY OF HIS

GRANDPARENTS, GUERDON

STEARNS AND ELINOR IRWIN

HOLDEN, AND IN HONOR

OF HIS PARENTS, CYRIL ARTHUR

AND ELISE MACY NELSON,

1983-29-4

2. FEDERAL SIDEBOARD TABLE,

ARTIST UNIDENTIFIED,

NEW ENGLAND, 1810-1830,

PAINT ON WOOD WITH BRASS

KNOB, 34-7/8 x 26 x 20”,

EVA AND MORRIS FELD FOLK ART

ACQUISITION FUND, 1981.12.6

3. SEATED CAT, ARTIST

UNIDENTIFIED, EASTERN UNITED

STATES, 1850-1900,

PAINT ON PLASTER OF PARIS,

15-5/8 x 8-1/4 x 10-1/8”,

GIFT OF EFFIE THIXTON ARTHUR,

1963.3.1

ALL PHOTOS BY JOHN PARNELL,

NEW YORK; COURTESY AMERICAN

FOLK ART MUSEUM

New

York City N

ew York

T H E C O O P E R - H E W I T T , National Design Museum is the only museum in the nation devoted exclusively to historic and contemporary design.

The Museum was founded in 1897 by Amy, Eleanor, and Sarah Hewitt—granddaugh-ters of industrialist Peter Coo-per—as part of The Cooper Union for the Advancement of Science and Art. A branch of the Smithsonian since 1967, Cooper-Hewitt is housed in the landmark Andrew Carnegie

Mansion on Fifth Avenue. The campus also features two his-toric townhouses and a unique terrace and garden.

Cooper-Hewitt’s collection encompasses product design and decorative arts; drawings, prints and graphic design; tex-tiles; and wallcoverings.

While currently undergoing a renovation, Cooper-Hewitt’s schedule of exhibitions, pro-grams and events are being staged at various off-site loca-tions in NYC. For details, visit www.cooperhewitt.org. On View

T


Cooper-Hewitt, National Design

Museum

COOPER-HEWITT, NATIONAL DESIGN MUSEUMwww.cooperhewitt.org

2 East 91st StreetNew York, NY212.849.8400

Info

CLOCKWISE FROM TOP:

1. Massive Paisley, detail, De-

signed by Maharam Design

Studio, Produced by Maharam,

New York, NY, 2007, Woven

polyester and cotton, Gift of

Maharam, Photo: Matt Flynn

2. Handbag watch: Case de-

signed by Simon DeVaulchier

(1893–1971) and George W. Blow

(1897–1960), DeVaulchier

and Blow, Manufactured by

Westclox, Us, 1933, Bakelite,

metal, glass, paper, Gift

of Max Pine and Lois Mander,

Photo: Andrew Garn

3. Book: page from New Illus-

tration of the Sexual System of

Carolus Von Linnaeus, Written

and illustrated by Robert

John Thornton (ca. 1768–1837),

London, England, ca. 1807,

Hand-colored engraving,

Cooper-Hewitt, Smithsonian

Institution Libraries,

Photo: Matt Flynn

images courtesy of the museum


New

York

City

New

York

LOCATED IN THE HEART of New York City, the ICP is a world-class museum and school, dedicated to exploring the possibilities of the pho-tographic medium through dynamic exhibitions and edu-cational programs.

ICP presents a wide range of historical and contemporary photographs in its acclaimed exhibitions and houses a col-lection of more than 100,000 original prints that span the history of the photographic

medium, from daguerreotypes to gelatin silver and digital chromogenic prints.

The collection is strongest in its holdings of American and European documentary photography of the 1930s to the 1990s and is comprised of large bodies of work by W. Eugene Smith, Henri Cartier-Bresson, Farm Secu-rity Administration photog-raphers, Alfred Eisenstadt, Lisette Model, Gordon Parks, James VanDerZee and Garry Winogrand. On View

L


International Center of

Photography

INTERNATIONAL CENTER OF PHOTOGRAPHYwww.icp.org

1133 Ave. of the AmericasNew York, NY212.857.0000

Info

CLOCKWISE FROM TOP:

1. LAURIE SIMMONS, WOMAN/

RED COUCH/NEWSPAPER,

1978, ©LAURIE SIMMONS,

GIFT OF ANNE AND JOEL

EHRENKRANZ, 2010, 2010.23.7

2. WEEGEE, SIMPLY ADD

BOILING WATER, DECEMBER 19,

1943, ©WEEGEE / INTERNATIONAL

CENTER OF PHOTOGRAPHY /

GETTY IMAGES, 150.1982

3. DAVID SEIDNER, BERNADETTE

JURKOWSKI, CA. 1995,

©INTERNATIONAL CENTER

OF PHOTOGRAPHY,

DAVID SEIDNER ARCHIVE,

2007.65.1

ALL IMAGES COURTESY OF

THE INTERNATIONAL CENTER

OF PHOTOGRAPHY


New

York City N

ew York

T H E M U S E U M O F A R T S and Design–formerly the American Craft Museum–has served as the country’s pre-mier institution dedicated to the collection and exhibition of contemporary objects created in media such as clay, glass, wood, metal and fiber.

MAD collects, displays and interprets objects that docu-ment contemporary and his-toric innovation in craft, art and design. In its exhibitions and educational programs, the

Museum celebrates the creative process through which materi-als are crafted into works that enhance contemporary life.

In 2008, the Museum moved into its new home at 2 Colum-bus Circle. Working in col-laboration with architect Brad Cloepfil, of Allied Works Architecture, MAD has devel-oped a building design that will enable the institution to meet the growing public demand for its exhibitions and display its rapidly expanding Permanent Collection. On View

T


Museum of Arts and Design

MUSEUM OF ARTS AND DESIGNwww.madmuseum.org

2 Columbus CircleNew York, NY212.299.7777

Info

CLOCKWISE FROM TOP:

1. JOHN ERIC BYERS, HAT BOX

(CHEST OF DRAWERS),1998,

WOOD, PAINT, MAHOGANY, SUGAR

PINE, FOUND BRASS SCREWS;

CARVED, ROUTED, PAINTED,

65 x 18 3/4 x 18 3/4, GIFT OF THE

ARTIST AND TERCERA GALLERY,

1998, PHOTO: EVA HEYD

2. MUSEUM OF ARTS AND DESIGN

EXTERIOR, PHOTO: HÉLÈNE BINET

3. HIROSHI SUZUKI, DUAL

RIVULET VII, 2005, FINE SILVER

999, BRITANNIA STANDARD

SILVER 958; HAMMER-RAISED,

DOUBLE SKINNED, 8 1/4 x 14 3/4 x

14 3/4”, MUSEUM PURCHASE

WITH FUNDS PROVIDED BY

NANETTE L. LAITMAN, THE WIND-

GATE CHARITABLE FOUNDATION,

& THE COLLECTIONS COMMITTEE,

2005, PHOTO: MAGGIE NIMKIN

IMAGES COURTESY OF

MUSEUM OF ARTS AND DESIGN


New

York

City

New

York


T H E N E W M U S E U M O F Contemporary Art is a lead-ing destination for new art and new ideas. It is Manhattan’s only dedicated contemporary art museum and it is respected internationally for the adven-turousness and global scope of its curatorial program.

Conceived as a sculptur-al stack of rectilinear boxes dynamically shifted off-axis around a central steel core, the New Museum’s innovative structure has a variety of open,

fluid and light-filled spaces, with skylights created by the setbacks between floors. The exterior is clad in a seamless, anodized aluminum mesh, dressing the whole building in a delicate, softly shimmer-ing skin. The elegantly rough structure suits both the New Museum’s character as well as its neighborhood. The edi-fice appears as a shimmer-ing beacon, visually mutable and dynamic, animated by the changing light of the day—a perfect metaphor for the ever-changing nature of contempo-rary art. On View

O N V I E W D E S T I N A T I O N :N E W Y O R K C I T Y

New Museum of Contemporary Art

NEW MUSEUM OF CONTEMPORARY ARTwww.newmuseum.org

235 BoweryNew York, NY 212.219.1222

T CLOCKWISE FROM TOP:

1. THE PARADE:

NATHALIE DJURBERG

WITH MUSIC

BY HANS BERG, 2012,

EXHIBITION VIEW:

NEW MUSEUM,

PHOTO: BENOIT PAILLEY

2. ROSEMARIE TROCKEL,

BOTANICAL SLIDE SHOW,

2011–2012, SLIDE PROJECTION,

COURTESY SPRÜTH MAGERS,

BERLIN/LONDON,

©ROSEMARIE TROCKEL /

VG BILD-KUNST BONN, 2011

3. MUSEUM EXTERIOR,

PHOTOGRAPH

BY DEAN KAUFMAN

IMAGES COURTESY OF

NEW MUSEUM OF

CONTEMPORARY ART

Info

New

York City N

ew York


COMPLETED IN 1959 , the Guggenheim’s Frank Lloyd Wright–designed museum is among the 20th century’s most important architectural landmarks. The museum’s great rotunda has been the site of many celebrated special exhibitions, while its smaller galleries are devoted to the Guggenheim’s renowned col-lection of over 7,000 works, ranging from Impressionism through contemporary art.

Visitors can experience spe-

cial exhibitions, lectures, per-formances and film screenings, and daily tours of the galleries, led by experienced docents.

The story of the Guggen-heim collection is essentially the story of several very dif-ferent private collections that have been brought together. Augmented through numer-ous acquisitions under the leadership of the Founda-tion’s directors, curators and international partners, these collections form a unique, shared global collection that reflects the rich trajectory of art from the mid-19th century through the present. On View


Solomon R. Guggenheim

Museum

SOLOMON R. GUGGENHEIM MUSEUMwww.guggenheim.org

1071 Fifth Avenue New York, NY 212.423.3500

C CLOCKWISE FROM TOP:

1. CAMILLE PISSARRO, THE

HERMITAGE AT PONTOISE, 1867,

OIL ON CANVAS, 59 5/8 x 79”,

SOLOMON R. GUGGENHEIM

MUSEUM, THANNHAUSER

COLLECTION, GIFT, JUSTIN K.

THANNHAUSER, 1978

2. EDOUARD MANET, BEFORE

THE MIRROR, 1876, OIL

ON CANVAS, 36 1/4 x 28 1/8”,

SOLOMON R. GUGGENHEIM

MUSEUM, THANNHAUSER

COLLECTION, GIFT, JUSTIN K.

THANNHAUSER, 1978

3. MUSEUM INTERIOR, PHOTO:

DAVID M. HEALD, ©SRGF, NY

IMAGES COURTESY OF THE

SOLOMON R. GUGGENHEIM MUSEUM

Info

New

York

City

New

York


A V I S I T T O T H E F R I C K Collection evokes the splen-dor and tranquillity of a time gone by, and at the same time, testifies to how great art col-lections can still inspire view-ers today.

Housed in the New York mansion built by Henry Clay Frick (1849-1919), one of America’s most successful coke and steel industrialists, are some of the best-known paintings by the greatest Euro-pean artists, major works of

sculpture (among them one of the finest groups of small bronzes in the world), superb 18th century French furni-ture and porcelains, Limoges enamels, Oriental rugs, and other works of remarkable quality, displayed in a serene and intimate setting.

Each of the seventeen galler-ies offers a unique presentation of art arranged, for the most part, without regard to period or national origin, in the same spir-it as Mr. Frick enjoyed the art he loved before he bequeathed it to the public. On View

ACLOCKWISE FROM TOP:

1. THE FRAGONARD ROOM

OF THE FRICK COLLECTION,

WITH ITS FAMOUS SERIES

OF PANELS PAINTED FOR

MADAME DU BARRY;

PHOTO: MICHAEL BODYCOMB

2. THE LIVING HALL OF

THE FRICK COLLECTION,

FEATURING FURNITURE BY

BOULLE AND PAINTINGS

BY EL GRECO, HOLBEIN,

TITIAN, AND BELLINI;


3. johannes VERMEER,

MISTRESS AND MAID,

CA. 1665-1670, OIL ON CANVAS,

THE FRICK COLLECTION;


IMAGES COURTESY OF

THE FRICK COLLECTION


The Frick Collection

THE FRICK COLLECTIONwww.frick.org

1 East 70th StreetNew York, NY212.288.0700

Info

New

York City N

ew York


“ T H E M E T ” is one of the world’s largest and finest art museums. Nearly five million people visit each year to expe-rience its notable special exhi-bitions and Permanent Collec-tions, which include more than two million works of art span-ning five thousand years of world culture, from prehistory to the present and from every part of the globe.

Founded in 1870, “The Met” is located on the eastern edge of Central Park, along what

is known as “Museum Mile.” A roof garden offers views of Central Park and the Manhattan skyline, and features an annual summertime single artist sculp-ture exhibition. A much small-er second location in upper Manhattan, at “The Cloisters”, houses a remarkable collection of medieval art. On View

T


The Metropolitan Museum of Art

THE METROPOLITAN MUSEUM OF ARTwww.metmuseum.org

1000 5th AvenueNew York, NY212.535.7710

CLOCKWISE FROM TOP:

1. Claude Monet (1840–1926),

Garden at Sainte-Adresse,

1867, oil on canvas,

38 5/8 x 51 1/8”, purchase,

special contributions

and funds given or

bequeathed by friends of

the Museum, 1967

2. Fernando Botero

(born 1932), Dancing in

Colombia, 1980, oil on

canvas, 74 x 91”,

anonymous gift, 1983

3. John Singer Sargent

(1856–1925), Madame X

(Madame Pierre Gautreau),

1883–84, oil on canvas,

82 1/8 x 43 1/4”, Arthur

Hoppock Hearn Fund, 1916

IMAGES COURTESY OF

THE METROPOLITAN MUSEUM

OF ART

Info

New

York

City

New

York


T H E R I C H A N D V A R I E D collection of The Museum of Modern Art constitutes one of the most comprehensive and panoramic views into mod-ern art. From an initial gift of eight prints and one drawing, MoMA’s collection has grown to include over 150,000 paint-ings, sculptures, drawings, prints, photographs, architec-tural models and drawings, and design objects.

The Museum maintains an active schedule of modern and

contemporary art exhibitions addressing a wide range of sub-ject matter, mediums and time periods, highlighting significant recent developments in the visu-al arts and new interpretations of major artists and art historical movements. Works of art from its collection are presented in rotating installations so that the public may regularly expect to find new works on display.

Visitors also enjoy access to a bookstore offering an assort-ment of publications and repro-ductions, and a design store fea-turing objects related to mod-ern and contemporary art and design. On View


The Museum of Modern Art

THE MUSEUM OF MODERN ARTwww.moma.org

11 West 53rd Street New York, NY 212.708.9400

T CLOCKWISE FROM TOP:

1. SALVADOR DALÍ

(1904-1989), THE PERSISTENCE

OF MEMORY, 1931, OIL ON

CANVAS, 9 1/2 x 13”,

GIVEN ANONYMOUSLY,

©2010 SALVADOR DALÍ,

GALA-SALVADOR DALÍ

FOUNDATION/ARTISTS

RIGHTS SOCIETY (ARS), NY

2. KAZIMIR MALEVICH

(1878-1935), WOMAN WITH

PAILS: DYNAMIC ARRANGEMENT,

1912-13, OIL ON CANVAS,

31 5/8 x 31 5/8”, 1935

ACQUISITION CONFIRMED IN

1999 BY AGREEMENT WITH

THE ESTATE OF KAZIMIR

MALEVICH & MADE POSSIBLE

WITH FUNDS FROM

THE MRS. JOHN HAY WHITNEY

BEQUEST (BY EXCHANGE)

IMAGES COURTESY OF

THE MUSEUM OF MODERN ART

Info

New

York City N

ew York

T H E W H I T N E Y M U S E U M of American Art presents a full range of 20th century and contemporary American art, with a special focus on works by living artists. The Whit-ney’s Permanent Collection—arguably the finest holding of 20th century American art in the world—is comprised of approximately 19,000 paint-ings, sculptures, prints, draw-ings and photographs, repre-senting more than 2,600 art-ists including: Thomas Hart

Benton, Edward Hopper, Roy Lichtenstein, Georgia O’Keeffe and Andy Warhol.

The Museum presents ac-claimed exhibitions ranging from historical surveys and in-depth retrospectives, to group shows introducing emerg-ing artists to a larger public. The Biennial, an invitational show of work produced in the preceding two years, is the only continuous series of exhibitions in the US to sur-vey recent developments in American art. On View


Whitney Museum of American Art

WHITNEY MUSEUM OF AMERICAN ARThttp://whitney.org

945 Madison Avenue New York, NY 212.570.3600

Info

T


CLOCKWISE FROM TOP:

1. EDWARD HOPPER (1882-1967),

EARLY SUNDAY MORNING, 1930,

OIL ON CANVAS, OVERALL: 35-3/16

x 60-1/4”, FRAMED: 68-1/2 x 43”,

WHITNEY MUSEUM OF AMERICAN

ART, NY; PURCHASE, WITH FUNDS

FROM GERTRUDE VANDERBILT

WHITNEY, 31.426, ©WHITNEY

MUSEUM OF AMERICAN ART, NY

2. RICHARD DIEBENKORN, GIRL

LOOKING AT LANDSCAPE, 1957, OIL

ON CANVAS, 59 x 60-3/8”, WHITNEY

MUSEUM OF AMERICAN ART, NY;

GIFT OF MR. AND MRS. ALAN H.

TEMPLE, 61.49, ©THE RICHARD

DIEBENKORN FOUNDATION

3. WHITNEY MUSEUM OF AMERICAN

ART; ARCHITECT: MARCEL BREUER

AND HAMILTON SMITH (1963–1966).

PHOTOGRAPH BY JERRY L. THOMPSON

IMAGES COURTESY OF WHITNEY

MUSEUM OF AMERICAN ART

WITH OVER 600 ART GALLERIES,“The Big Apple” is the planet’s premier marketplace for contemporary art and host to the most extraordinary and cutting-edge exhibitions, featuring a mind-blowing display of global talent.

Over the past 10 years, more than 250 galleries have moved into the Chelsea area of Manhattan alone. Galleries have tak-en over many of the city’s former warehouse and industrial spaces—revitalizing neighborhoods and creating wonderful new walkable arts districts. And although a vast majority of galleries feature contemporary art, you will find the finest in every genre of visual art and expression here. A leisurely stroll through the city’s gallery districts is a wonderful way to spend an afternoon, trans-porting yourself to a world of inspiration and artful bliss.

On the following pages, On View presents a sampling of New York City’s outstanding galleries. On View


VonD E S T I N A T I O N

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New York CityThe galleries. . .

New

York

City

New

York

Chelsea Galleries

ABLE FINE ART NY GALLERY

www.ablefineartny.com

511 West 25th St.

212.675.3057

ACA GALLERIES

www.acagalleries.com

529 West 20th St.

212.206.8080

AGORA GALLERY

www.agora-gallery.com

530 West 25th St.

212.226.4151

ALEXANDER AND BONIN

www.alexanderandbonin.com

132 Tenth Ave.

212.367.7474

AMERINGER |

McENERY | YOHE

www.amy-nyc.com

525 West 22nd St.

212.445.0051

AMSTERDAM

WHITNEY GALLERY

www.amsterdamwhitneygallery.com

511 West 25th St.

212.255.9050

ANDREA ROSEN

GALLERY

www.andrearosengallery.com

525 West 24th St.

212.627.6000

BARRY FRIEDMAN LTD.

www.barryfriedmanltd.com

515 West 26th St.

212.239.8600

BORTOLAMI GALLERY

www.bortolamigallery.com

520 West 20th St.

212.727.2050

CAROLINA NITSCH

www.carolinanitsch.com

534 West 22nd St.

212.645.2030

CHEIM & READ

www.cheimread.com

547 West 25th St.

212.242.7727

DANZIGER PROJECTS

www.danzigerprojects.com

527 West 23rd St.

212.629.6778

DAVID ZWIRNER

www.davidzwirner.com

525 West 19th St.

212.727.2070

DILLON GALLERY

www.dillongallery.com

555 West 25th St.

212.727.8585

ELIZABETH HARRIS

GALLERY

www.eharrisgallery.com

529 West 20th St.

212.463.9666

FREIGHT + VOLUME

www.freightandvolume.com

530 West 24th St.

212.691.7700

GAGOSIAN GALLERY

www.gagosian.com

555 West 24th St.

212.741.1111

GALLERY HENOCH

www.galleryhenoch.com

555 West 25th St.

917.305.0003

GEORGE BILLIS GALLERY

www.georgebillis.com

521 West 26th St.

212.645.2621

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


New

York City N

ew York

GLADSTONE GALLERY

www.gladstonegallery.com

515 West 24th St.

212.206.9300

JAMES COHAN

GALLERY

www.jamescohan.com

533 West 26th St.

212.714.9500

JENKINS JOHNSON

GALLERY

www.jenkinsjohnsongallery.com

521 West 26th St.

212.629.0707

JONATHAN LeVINE

GALLERY

www.jonathanlevinegallery.com

529 West 20th St.

212.243.3822

JOSHUA LINER GALLERY

www.joshualinergallery.com

548 West 28th St.

212.244.7415

KATHRYN MARKEL

FINE ARTS

www.markelfinearts.com

529 West 20th St.

212.366.5368

LENNON,

WEINBERG, INC.

www.lennonweinberg.com

514 West 25th St.

212.941.0012

LEHMANN MAUPIN

www.lehmannmaupin.com

540 West 26th St.

212.255.2923

LESLIE TONKONOW

ARTWORKS + PROJECTS

www.tonkonow.com

535 West 22nd St.

212.255.8450

MAGNAN METZ GALLERY

http://magnanmetz.com

521 West 26th St.

212.244.2344

MARGARET THATCHER

PROJECTS

www.thatcherprojects.com

539 West 23rd St.

212.675.0222

MARLBOROUGH

GALLERY

www.marlboroughgallery.com

545 West 25th St.

212.463.8634

MARY RYAN GALLERY

www.maryryangallery.com

527 West 26th St.

212.397.0669

MATTHEW MARKS

GALLERY

www.matthewmarks.com

523 West 24 St.

212.243.0200

McKENZIE

FINE ART

www.mckenziefineart.com

511 West 25th St.

212.989.5467

METRO PICTURES

www.metropicturesgallery.com

519 West 24th St.

212.206.7100

MITCHELL-INNES

& NASH

www.miandn.com

534 West 26th St.

212.744.7401

NANCY HOFFMAN

GALLERY

www.nancyhoffmangallery.com

520 West 27th St.

212.966.6676



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

New

York

City

New

York

NANCY MARGOLIS

GALLERY

http://nancymargolisgallery.com

523 West 25th St.

212.242.3013

NICOLE KLAGSBRUN

GALLERY

www.nicoleklagsbrun.com

532 West 24th St.

212.243.3335

NOHO GALLERY

www.nohogallery.com

530 West 25th St.

212.367.7063

PAULA COOPER

GALLERY

www.paulacoopergallery.com

534 West 21st St.

212.255.1105

PAVEL ZOUBOK

GALLERY

www.pavelzoubok.com

533 West 23rd St.

212.675.7490

P.P.O.W.

www.ppowgallery.com

535 West 22nd St.

212.647.1044

SARA MELTZER

GALLERY

www.sarameltzergallery.com

525-531 West 26th St.

212.727.9330

STEPHEN HALLER

GALLERY, INC.

www.stephenhallergallery.com

542 West 26th St.

212.741.7777

SUNDARAM TAGORE

GALLERY

www.sundaramtagore.com

547 West 27th St.

212.677.4520

WINSTON WÄCHTER

FINE ART

www.winstonwachter.com

530 West 25th St.

212.255.2718

303 GALLERY

www.303gallery.com

547 West 21st St.

212.255.1121

1500 GALLERY

www.1500gallery.com

511 West 25th St.

212.255.2010

Downtown and Lower East Side Galleries

ARCADIA FINE ARTS

http://arcadiafinearts.com

51 Greene St.

212.965.1387

CHINASQUARE

GALLERY

www.chinasquareny.com

102 Allen St.

212.255.8886

ELEVEN RIVINGTON

www.elevenrivington.com

11 Rivington St.

212.982.1930

GALLERY SATORI

www.gallerysatori.com

164 Stanton St.

646.896.1075

HELLER GALLERY

www.hellergallery.com

420 West 14th St.

212.414.4014

JEN BEKMAN GALLERY

www.jenbekman.com



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

New

York City N

ew York

6 Spring St.

212.219.0166

JUNE KELLY GALLERY

www.junekellygallery.com

166 Mercer St.

212.226.1660

LISA COOLEY

www.lisa-cooley.com

107 Norfolk St.

212.680.0564

LOUIS K. MEISEL GALLERY

www.meiselgallery.com

141 Prince St.

212.677.1340

MARTIN LAWRENCE

GALLERIES

http://martinlawrence.com

457 West Broadway

212.995.8865

OK HARRIS

www.okharris.com

383 West Broadway

212.431.3600

SIMON PRESTON GALLERY

www.simonprestongallery.com

301 Broome St.

212.431.1105

SPERONE WEST

www.speronewestwater.com

257 Bowery

212.999.7337

WOODWARD GALLERY

www.woodwardgallery.net

133 Eldridge St.

212.966.3411

Midtown Galleries

A. JAIN MARUNOUCHI

GALLERY

www.artin2000.com

24 West 57th St.

212.969.9660

ALEXANDRE GALLERY

http://alexandregallery.com

41 East 57th St.

212.755.2828

BONNI BENRUBI GALLERY

www.bonnibenrubi.com

41 East 57th St.

212.888.6007

D. WIGMORE FINE ART

www.dwigmore.com

730 5th Ave.

212.581.1657

EDWYNN HOUK

GALLERY

www.houkgallery.com

745 5th Ave.

212.750.7070

GERING & LÓPEZ GALLERY

www.geringlopez.com

730 5th Ave.

646.336.7183

GREENBERG VAN DOREN

GALLERY

www.gvdgallery.com

730 5th Ave.

212.445.0444

HAMMER GALLERIES

www.hammergalleries.com

475 Park Ave.

212.644.4400

HIRSCHL & ADLER

GALLERIES

www.hirschlandadler.com

730 Fifth Ave.

212.535.8810

HOWARD GREENBERG

GALLERY

www.howardgreenberg.com

41 East 57th St.

212.334.0010



D o w n t o w n a n d L o we r E a s t S i d e G a l l e r i e s c o n t i n u e d . . .

New

York

City

New

York

JADITE GALLERIES

www.jadite.com

413 West 50th St.

212.315.2740

JASON McCOY, INC.

www.jasonmccoyinc.com

41 East 57th St.

212.319.1996

LAURENCE MILLER

GALLERY

www.laurencemillergallery.com

20 West 57th St.

212.397.3930

MARIAN GOODMAN

GALLERY

www.mariangoodman.com

24 West 57th St.

212.977.7160

MARLBOROUGH

GALLERY

www.marlboroughgallery.com

40 West 57th St.

212.541.4900

MARY BOONE

GALLERY

www.maryboonegallery.com

745 Fifth Ave.

212.752.2929

MAXWELL DAVIDSON

GALLERY

www.davidsongallery.com

724 Fifth Ave.

212.759.7555

SCOTT JACOBSON

GALLERY

www.scottjacobsongallery.com

114 East 57th St.

212.872.1616

SPANIERMAN GALLERY

www.spanierman.com

45 East 58th St.

212.832.0208

SPANIERMAN

MODERN

www.spaniermanmodern.com

53 East 58th St.

212.832.1400

TIBOR DE NAGY GALLERY

www.tibordenagy.com

724 5th Ave.

212.262.5050

THROCKMORTON

FINE ART

www.throckmorton-nyc.com

145 East 57th St.

212.223.1059

WALLY FINDLAY

GALLERIES

www.wallyfindlay.com

124 East 57th St.

212.421.5390

ZABRISKIE

GALLERY

www.zabriskiegallery.com

400 East 57th St.

212.752.1223

Uptown Galleries

ACQUAVELLA

GALLERIES, INC.

www.acquavellagalleries.com

18 East 79th St.

212.734.6300

ADAM BAUMGOLD

GALLERY

www.adambaumgoldgallery.com

60 East 66th St.

212 861.7338

AMERICAN

ILLUSTRATORS

GALLERY

www.americanillustrators.com

18 East 77th St.

212.744.5190



M i d t o w n G a l l e r i e s c o n t i n u e d . . .

New

York City N

ew York

ANITA SHAPOLSKY

GALLERY

www.anitashapolskygallery.com

152 East 65th St.

212.452.1094

DAVID FINDLAY JR

GALLERY

www.davidfindlayjr.com

724 Fifth Ave.

212.486.7660

DIDIER AARON

www.didieraaron.com

32 East 67th St.

212.988.5248

GAGOSIAN

GALLERY

www.gagosian.com

980 Madison Ave.

212.744.2313

GERALD PETERS

GALLERY

www.gpgallery.com

24 East 78th St.

212.628.9760

GODEL & CO. FINE ART

www.godelfineart.com

39A East 72nd St.

212.288.7272

HAUSER & WIRTH

www.hauserwirth.com

32 East 69th St.

212.794.4970

HELLY NAHMAD

GALLERY

www.hellynahmadgallery.com

975 Madison Ave.

212.879.2075

JANE KAHAN

GALLERY

www.janekahan.com

922 Madison Ave.

212.744.1490

KEITH DE LELLIS

GALLERY

www.keithdelellisgallery.com

1045 Madison Ave.

212.327.1482

KOUROS

GALLERY

www.kourosgallery.com

23 East 73rd St.

212.288.5888

L&M ARTS

www.lmgallery.com

45 East 78 St.

212.861.0020

LEO CASTELLI

GALLERY

www.castelligallery.com

18 East 77th St.

212.249.4470

McKEE GALLERY

http://mckeegallery.com

745 Fifth Ave.

212.688.5951

MICHAEL WERNER

www.michaelwerner.com

4 East 77th St.

212.988.1623

RICHARD GRAY

GALLERY

www.richardgraygallery.com

1018 Madison Ave.

212.472.8787

TILTON GALLERY

www.jacktiltongallery.com

8 East 76th St.

212.737.2221

VAN DE WEGHE

FINE ART

www.vdwny.com

1018 Madison Ave.

212.744.1900

On View



Up t o w n ga l l e r i e s c o n t i n u e d . . .

On View 08-09.2012

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