On View 08-09.2011

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

The POWER of the IMAGE

F E A T U R I N G

A Second Telling–

September

11th :Here is NEW

YORKA T T H E

S O U T H E A S T M U S E U M O F P H O T O G R A P H Y ,

D A Y T O N A B E A C H

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 1

ON THE COVER :

CHRISTOPHE AGOU,

UNTITLED, 2001,

DIGITAL PRINT, FROM

THE EXHIBITION

A SECOND TELLING–

SEPTEMBER 11th:

HERE IS NEW YORK.

©CHRISTOPHE AGOU

RIGHT:

A MAN WATCHES THE

SHELLING OF

NAHR AL-BARED CAMP,

IN NORTHERN LEBANON,

FROM HIS ROOFTOP.

IMAGE (DETAIL) ©KATE BROOKS

38THE POWER OF THE IMAGE The Southeast Museum of Photography in Daytona Beach presents a series of special exhibitions which pay homage to photojournalism and the men and women who risk their lives documenting the ravages of a world in conflict.

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

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

The POWER of the IMAGE

F E A T U R I N G

A Second Telling–

September

11th :Here is NEW

YORKA T T H E

S O U T H E A S T M U S E U M O F P H O T O G R A P H Y ,

D A Y T O N A B E A C H

54 Gainesvil le

THE MIND’S EYE: 50 YEARS OF PHOTOGRAPHY BY JERRY UELSMANNThe beautiful and sur-real photographs of Jerry N. Uelsmann are presented in this major retrospective exhibition at the Harn Museum of Art.

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 1 3

TOP (LEFT TO RIGHT):

JERRY UELSMANN, UNTITLED

(DETAIL), 1969, GELATIN SILVER

PRINT, ©JERRY N. UELSMANN;

FEDERICO URIBE, TRAFFIC

(DETAIL), 2011, WOOD, OIL AND

BICYCLE TIRES, 192 x 96”,

COURTESY OF NOW CONTEMPORARY

ART; TONY ROBBIN, 1999-4,

1999 (DETAIL), ACRYLIC

ON CANVAS, 56 x 52”, COLLECTION

OF LISA AND JOE JENSEN;

KAREN GLASER, HILLSBOROUGH

RIVER CLARITY (DETAIL)

RIGHT:

JOHN WHIPPLE, PARADE

(DETAIL), 24 x 72”, MIXED MEDIA

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

64 Boca Raton

THE WORLD ACCORDING TO FEDERICO URIBE Common everyday objects take on new meaning in this creative display of whimsical sculptures at the Boca Raton Museum of Art.

74 Orlando

TONY ROBBIN: A RETROSPECTIVEArt and geometry con-verge at the Orlando Museum of Art in this retrospective exhibit of vibrant works depicting higher-dimensional space.

84 Tampa

THE BIG PICTURE PROJECT, VOL. VIII Presented by the City of Tampa and hosted by the Tampa Museum of Art, The Hillsborough River: From the Green Swamp to the Bay, is a stunning showcase of landscape images by City of Tampa Photog-rapher Laureate VIII, Karen Glaser.

Dunedin

ART OF THE SIDESHOW

94 The wonder and spectacle of a bygone era is rekindled through works inspired by the rich history of traveling carnivals and circuses in Sideshow, at the Dunedin Fine Arts Center.

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

5COMMENTARY

6MUSE A powerful exhibition expresses, through art, the emotions and real life challenges people face every day.

8CALENDAR Museum exhibitions

34GALLERYA selection of gallery artists


Pr o f i l e

116 LILIAN GARCIA-ROIGLilian’s large-scale, surface leavened works transform the canvas into a painterly relief and pivot between the recog-nizable and the abstract.

C r a f t

118 CATCHING AIRJapanese kites, with strik-ing images of samurai warriors, demons and sea creatures, are on dis-play at the Morikami Museum and Japanese Gardens in Delray Beach. Fo c u s

120E. BRADY ROBINSONE. Brady Robinson exploits the tradition of the snapshot to examine and document social and cultural environments.

S p o t l i g h t

114RON VAN SWERINGEN

The Mennello Museum of American Art, in Orlando, presents an exhibition of striking

abstract works by the father of “Astroism” and Vero Beach resident, Ron Van Sweringen.

PICTURED:

Ron Van Sweringen,

Fascination,

acrylic on canvas, 38 x 30”,

Private Collection

C O M M E N T A R Y

Th e u p c o m i n g 10T h a n n i v e r s a r y o f 9/11is the inspiration behind several compelling exhibi-tions which revisit the devastating events surrounding the World Trade Center tragedy of 2001 as well as the conflicts and stresses that continue to plague the world today. The Power of the Image, on pg. 38, speaks to the powerful impact of photography and pays tribute to the men and women who document the ravages of war and terrorism by sharing their unique perspectives through intriguing and profound visual narratives.

Our photographic journey continues with The Mind’s Eye: 50 Years of Photography by Jerry Uels-mann, on pg. 54, where both psychological and spiritu-al dimensions are revealed through surreal and master-fully handcrafted photographic montages, and The Big Picture Project, Vol. VIII, on pg. 84, which presents stunning panoramic landscape portraits of Tampa by City of Tampa Photographer Laureate, Karen Glaser.

Rounding out our feature lineup are: The World According to Federico Uribe, on pg. 64, an exhibition of whimsical sculptures created from common every-day objects; Tony Robbin: A Retrospective, on pg. 74, a vibrant visual exploration of higher-dimensional space; and Sideshow, on pg. 94, an exotic showcase of works inspired by the wonder and spectacle of the cir-cus sideshow—strange, unimaginable and amazing!

The Power of the Image

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

Marketing Internsab i g a i l aD k i n s ,

ch r i s T i n a c. gr a s s

Contact

[email protected]

[email protected]

On View is published on-line, six times per year,

by On View Magazine, LLC. No portion of this

publication may be reproduced without prior

permission of the publisher.

www.onviewmagazine.com

O n V i e w M a g a z i n e . c O M • a u g u s T / s e p T e m b e r 2 0 1 1 5

Von iewM A G A Z I N E

THE WILD INSIDE and

The Fixing of Me —these are just two titles among the nearly 100

pieces of art presented at the exhibition, Healing Heart: Witness

the Healing Power of Art, opening at the Appleton Museum of

Art, College of Central Florida, in Ocala on August 21st.

The majority of the artwork in Healing Heart has been cre-

ated by individuals who are receiving treatment for mental

health and substance abuse disorders, trauma, bereavement,

Alzheimer’s and dementia —as well as caregivers and prison

inmates. Coordinated by The Centers and the Marion County

Mental Wellness Coalition, most of the artwork is for sale and

proceeds benefit the 11 participating organizations.

To create the artwork, a group of professional local artists

THealing Art

B Y S T E V E S P E C H T

MUSE “

volunteered their time to guide the Healing Heart artists. Laurie

Zink, development director for The Centers, said, “Many of the

Healing Heart artists have never picked up a paintbrush in their

lives. The professional artists were able to teach them techniques

to help accomplish their visions. This program gives

individuals the opportunity to test their limits and feel

confident in artistic abilities they hadn’t before discov-

ered. For our clients, this experience has allowed them

to see that they are capable of so much more than they

ever imagined. We’ve seen amazing growth through

this process.”

Meghan Shay, development coordinator for The

Centers, added, “Healing Heart is centered on the

healing that takes place through art, while also raising

awareness about the challenges people are faced with

everyday. This is an opportunity for the community

to have a better understanding of the various issues

addressed in the exhibit and to learn about the organi-

zations providing vital care for those in need. Visitors

to the exhibition are sure to be moved and uplifted.”

Healing Heart runs through September 18th and includes

a series of weekend family art programs and educational art

films. For more details, visit www.AppletonMuseum.org or call

352-291-4455. On View


B Y S T E V E S P E C H T

MUSE

PICTURED

(TOP TO BOTTOM):

the wild inside;

untitled

images courtesy

of the artists

Healing Heart is centered on the healing that takes place through art... —Meghan Shay, developMent coordinator for the centerS“ ”

08-09.2011

BOCA RATON

Thru 09.11

Art for the People: 20th Century Social RealismBoca Raton Museum of Artwww.bocamuseum.org

A selection of more than 100 paintings, drawings and prints, representative of American art between

the 1920s and 1960s, includes examples of American urban and rural scene paint-ing, and political and social realism.

Thru 08.28

Latin American Art from the Museum’s CollectionBoca Raton Museum of Artwww.bocamuseum.org

This sampling of Latin American Art, from the Permanent Collection, introduces the work of several major Latin American artists whose works reflect the interaction

of politics, society and art, a dialogue between avant-garde movements and “indi-genist” thinking, and the search for cul-tural identity. Twenty works, by many of the

most important 20th century Latin Ameri-can artists, range from the traditional figura-tive sculpture of Fran-

cisco Zúñiga, to the modernism of Rufino Tamayo and Matta, to the contemporary abstraction of Enrique Castro-Cid and Carlos Cruz-Diez, and the poetic realism of Julio Larraz.

09.21-01.08.12

Outsider Visions: Self-taught Southern Artists of the 20th CenturyBoca Raton Museum of Artwww.bocamuseum.org

A veritable feast of more than 75 captivat-ing works by self-taught artists, this

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


1. Richard Florsheim, Poles in Landscape, 1936, egg tempera on paper board, 14-1/2 x 21-1/4”, Museum Permanent Collection, gift of the Richard A. Florsheim Art Fund 2. Arturo Rodriguez, Sub Rosa, 1994, oil on linen, 94 x 68”, Permanent Collection, gift of the artist

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

exhibition presents, for the first time in South Florida, rare and fascinating works from the collection of Ted and Ann Oliver, who have spent more than 30 years study-ing, collecting and writing about southern contemporary folk art.

09.21- 12.04

The World According to Federico UribeBoca Raton Museum of Art

www.bocamuseum.org

Colombian concep-tual artist, Federico Uribe, is known for his fascinating trans-formation of every-day objects into art. Included in the exhi-bition are works from Uribe’s 2008 Animal Farm and the debut of his new work—sev-eral life-sized palm trees made from the spines and fanned pages of books, and gardens constructed of gardening tools. (See story on pg. 64.)

CORAL GABLES

Thru 09.25

Frank Paulin:American DocumentarianLowe Art Museum, University of Miami

www6.miami.edu/lowe

On view are 30 photographs by American photogra-pher, Frank Paulin. Rediscovered in his eighth decade, Paulin is now recognized for uniquely document-ing fleeting human

moments of both humor and poetry, particularly against the backdrop of gritty urban scenes.

Thru 10.23

Sacred Stories, Timeless Tales: Mythic Perspectives in World Art from the Permanent Collection

Lowe Art Museum, University of Miamiwww6.miami.edu/lowe

Featuring some 100 paintings, draw-ings, ceramics, glass and sculptures, this exhibition explores thematic connec-tions between mythic traditions in world art, drawn from the Lowe’s Permanent Collection, which spans 5,000 years and represents the artistic traditions of both western and non-western cultures.


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

1. Mose Tolliver, Siamese Twins, 1980s, house paint on plywood, 24 x 21”, courtesy of Ann and Ted Oliver 2. Federico Uribe, Bull, 2008, wood and shoe soles, 96 x 72 x 36”, courtesy of Now Contemporary Art 3. Frank Paulin, Man Smoking Cigarette Outside St. Francis Bread Line, New York, 1957, gelatin silver print, 9 x 13-1/2”, gift of Bruce Silverstein 4. Japan, Edo Period, 1615-1868, Shoki and Oni, 18th century, ivory and stain, 2-1/4 x 1-5/8 x 7/8”, gift of Dr. and Mrs. Joseph Kurstin

1. Alexandra Nechita, courtesy of Coral Springs Museum of Art 2. Edgar Soberon, The Kiss (detail), 1989 3. John James Audubon, Ruby-throated Hummingbird

CORAL

SPRINGS

Thru 08.20

Selections from CSMART’s Permanent CollectionCoral Springs Museum of Artwww.csmart.org

Works drawn from the Museum’s Permanent Collection are highlighted.

Thru 08.20

Tools in Motion: Works from the Hechinger Collection

Coral Springs Museum of Artwww.csmart.org

Tools in Motion is an exhibition of witty, light-hearted works by emerging and promi-nent contemporary artists. The 47 motion-related and visually in-triguing works selected for this exhibition were chosen with children, families and school groups in mind, to foster educational pro-gramming opportuni-ties. In addition, works by artists such as Ar-man, Claes Oldenburg and Jim Dine are sure

to attract contemporary art lovers of all ages.

DAYTONA

BEACH

Thru 02.27.12

Audubon!Selections from John James Audubon’s Birds of AmericaMuseum of Arts & Scienceswww.moas.org

John James Audubon painted nearly three-quarters of the North American species of birds, of which the Museum holds more than 30 superb ex-amples. Audubon set a standard by which all other naturalist-artists can be judged. His understanding of American birds reflected his years of traveling and living in

the wilderness, cheer-fully accepting con-stant discomfort and danger. The beauty of his Birds of America is equaled by its scien-tific value as a part of our nation’s natural heritage. (See story

in the June/July 2011 issue on pg. 62.)

08.18-10.02

A SECOND TELLING— September 11th: Here is New YorkSoutheast Museum of Photographywww.smponline.org


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


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

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

1. Untitled, 2001, digital print, artist unknown 2. Image (detail) ©Kate Brooks 3. Image ©Khalid Hadi 4. Louie Palu, US Marine Gysgt. Carlos “OJ” Orjuela, age 31, Garmsir, Helmand, Afghanistan, 2008

This powerful series of photographs, drawn from the Museum’s Permanent Collec-tion, was originally displayed in the spring of 2002 in response to the World Trade Cen-ter tragedy of 2001 and to the unprece-dented flood of imag-es that resulted from that event. (See The Power of the Image on pg. 40.)

09.09-12.16

In the Light of Darkness: A Photographer’s Journey after

9-11 by Kate BrooksSoutheast Museum of Photographywww.smponline.org In the Light of Dark-ness includes a col-lection of images that chronicle Brooks’ 10-year passage from the mountains of Tora Bora to the uprisings in the Arab world in early 2011. (See The

Power of the Image on pg. 44.)

09.09-12.16

Portraits from Afghanistan by Khalid Hadi

Southeast Museum of Photographywww.smponline.org Portraits of wounded fighters, orphans and children, injured by land mines and bombs, form a mov-ing visual record of the toll taken on the population of Afghan-istan during the Soviet occupation. (See The Power of the Image on pg. 46.)

08.18-10.02

Garmsir Marines by Louie Palu

Southeast Museum of Photographywww.smponline.org In this series of images, Palu created simple, direct por-traits of US Marines operating in Garmsir, Helmand Province, Afghanistan, where some of the most intense fighting of 2008 took place. (See

The Power of the Image on pg. 48.)

08.18-10.02

A Journey Through


1. Image (detail) ©Lucian Perkins 2. Image ©Christopher Sims 3. Image courtesy of Morikami Museum and Japanese Gardens

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

Afghanistan by Lucian PerkinsSoutheast Museum of Photographywww.smponline.org Taken in late 2001, these pictures show the immediate after-math of the initial battles in Afghani-stan with graphic and moving imagery.

(See The Power of the Image on pg. 50.)

08.18-10.02

Theater Of War: The Pretend Villages of Iraq and Afghanistan by Christopher Sims

Southeast Museum of Photographywww.smponline.org Portrayed in this series of photographs are images taken within fictitious Iraqi and Afghan villages on the training grounds of US Army bases. (See The Power of the Image on pg. 52.)

DeLAND

Thru 09.03

Witness to Creativity IIFlorida Museum for Women Artistswww.floridamuseumfor

womenartists.org

Following the success of Witness to Creativ-ity, which took place in July of 2010, the Museum once again opened its doors to the public 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.

DELRAY BEACH

Thru 10.02

Catching Air: Kites of JapanMorikami Museum and Japanese Gardens

www.morikami.org

On display is an as-sortment of Japanese kites and kite papers featuring striking multicolored images of famous samurai warriors, demons, sea creatures and many

more! (See story on pg. 118.)

Thru 10.02

Soaring Voices: Contemporary Japanese Women Ceramic ArtistsMorikami Museum

C A L E N D A R { P g. 5 o f 2 6 }

1. Etsuko Tashima, Cornucopia 03-III, 2003, stoneware and glass, photo ©Taku Saiki 2. Amy ‘Banner Queen’ Johnquest, It’s Here We Have It, 2005, approx. 39” x 3’, casien & acrylic on brown cotton mesh 3. Cynthia Holmes, Friends, oil on panel 4. Image courtesy of Dunedin Fine Art Center

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. 6 o f 2 6 }

and Japanese Gardenswww.morikami.org

Women in Japan have been involved in the production of ceram-ics for thousands of years, but only a few have ever been recog-nized. Soaring Voices includes ceramic works created by 25 exceptional contem-porary women art-ists. The shape of the forms and the individ-ual artist’s choice of subject matter, use of materials and techni-cal process, reveal a wide range of artistic innovations that will

delight the senses. (See story in the June/July 2011 issue on pg. 46.)

DUNEDIN

09.09-10.17 Sideshow Dunedin Fine Art Center

www.dfac.org

Fresh interpretations of the ‘sideshow’ are presented by artists Lori Ballard, Bryan Cunningham, Amy Johnquest, Daniel Mrgan, Chris Rush, John & Lynn Whipple and Kreg Yingst. (See story on pg. 94.)

09.09-12.23

Believe It or Not? Dunedin Fine Art Centerwww.dfac.org

This international exhibition features contemporary artists whose works—in image, methods or materials—are sim-ply, unbelievable! Artists, representing a range of media, include: CarrieAnn Baade, Cynthia Holmes, Jennifer Lederhouse, Jen-nifer Maestre, Carol Prusa, Brian Ransom and collaborative artists, Comenius

Roethlisberger and Admir Jahic.

Thru 08.21

New Quilts from an Old Favorite 2010: Sunflowerand PortalsDunedin Fine Art Centerwww.dfac.org

Two exhibitions of original quilts from the US and Canada provide a wonder-ful look at the skills, techniques and re-

markable creativity of today’s quiltmakers.


1. William Glackens, Sledding, Central Park (detail), 1912, oil on canvas 2. Annie Leibovitz, Rebecca Denison, Founder of WORLD (Women Organized to Respond to Life-threatening Diseases), San Francisco, 1993, archival pigment print, courtesy Leibovitz Studio, NY, NY; ©Annie Leibovitz 3. Gavin Perry, Cluster F***

C A L E N D A R { P g. 7 o f 2 6 }

FORT

LAUDERDALE

Thru 10.02

An Intimate Look at William Glackens and The EightMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

Included in this exhibition are works by Glackens and his contemporaries as well as a special installation of landscapes created by Glackens from 1908 through the 1930s.

Thru 09.25

The Art of Caring: A Look at Life through Photography Museum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

Through the use of photographs and film, The Art of Car-ing examines how key events are cel-ebrated and how pivotal decisions are made by different cultures throughout the world. The exhibi-tion is organized into

7 thematic sections: Children and Family, Love, Wellness, Heal-ing, Disaster, Aging and Remembering. The 200 photographs in the exhibition have been lent by artists, museums, private collectors and from the holdings of the Time/LIFE Picture Collection. (See story in the June/July 2011 issue on pg. 54.)

Thru 09.04

Sight Specific: Explorations in Space, Vision and Sound Museum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

This highly unique special exhibition features 9 installa-tions created by 11

of South Florida’s leading contemporary artists. Visitors are encouraged to give positive or nega- tive feedback about the installations via social media, art-ists’ websites, etc., to expand the conver-sation about the arts in the local com-munity and within the larger society.

Thru 9.09.12

Associations and Inspiration:The CoBrA Movement and


1. Melanesia, New Guinea, Papua New Guinea, Abelam people, Abelam mask, 20th century, rattan with tied fiber, polychrome, earth pigments, Collection of the Museum of Art | Fort Lauderdale, Nova Southeastern University, gift of Mr. Robert Thornton 2. Jerry Uelsmann, Dream Theater, 2004, pigment inkjet print [Epson], gift of Jerry N. Uelsmann and Maggie Taylor 3. Ed Templeton, from The Seconds Pass (cata-logue), 2010, courtesy of Roberts & Tilton Gallery

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

the Arts of Africa and Oceania Museum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

This lively and thought-provoking installation juxtaposes paintings, sculpture

and works on pa-per, 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.

GAINESVILLE

Thru 05.27.12

Sebastião Salgado: World WitnessHarn Museum of Artwww.harn.ufl.edu

Considered one of the most highly recog-nized photojournalists in the world, Salgado focuses on people who are politically, economically and culturally excluded from the promise of global development. In this exhibition, Salgado documents famine in Africa and manual labor around the world. His pho-tographs have often been at the center of debates regarding the role of aesthetics, eth-ics and the documen-tary form.

Thru 09.11

The Mind’s Eye, 50 Years of Photography by Jerry UelsmannHarn Museum of Artwww.harn.ufl.edu

Beautiful and surreal, funny and provoca-tive, the photographs of Jerry N. Uelsmann have become icons of American photo history. For 60 years, Uelsmann has been challenging conven-tional ideas about what photography can and should do. The Mind’s Eye is the first

major retrospective exhibition to consider the full range of Uels-mann’s work, includ-ing his earliest docu-mentary photographs and his experiments with artist books and three-dimensional photo-sculpture. (See story on pg. 54.)

HOLLYWOOD

Thru 08.14

Ed Templeton: The Seconds PassArt and Culture Center of Hollywoodartandculturecenter.org

Internationally rec-ognized artist and skateboarding legend,


C A L E N D A R { P g. 8 o f 2 6 }

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

1. Michael O’Brien, C-print, 1992-2010 2. Ryan Humphrey, Ryan Humphrey: Fast Forward, installation view, photo by Brian Barnhart 3. Melanie Pullen, Dorothy (Barrel Series) [detail], 2003, C-print, plexi face mount, Ace Gallery, Beverly Hills, 2005

Ed Templeton, creates works that juxtapose his street photogra-phy in quasi-narrative groupings.

Thru 08.14

Michael O’Brien: Impact ZoneArt and Culture Center of Hollywoodartandculturecenter.org

Michael O’Brien loves the water—spe-cifically, the ocean. A surfer for 35 years, O’Brien has a unique connection to the ocean. His work is an expression of 20 years

with a camera in the ‘impact zone’.

Thru 08.14

Ryan Humphrey: Fast ForwardArt and Culture Center of Hollywoodartandculturecenter.org

Ryan Humphrey is a New York-based con-temporary artist who incorporates BMX bikes in dynamic 2- and 3-dimensional works. Fast Forward features a large-scale, floor-to-ceiling installation in which BMX bikes are at-tached to the gallery wall. The installation includes a massive

wrap-around rug cre-ated by Humphrey with designer, Todd Oldham, a collec-tion of bike-inspired paintings and mixed-media pieces, and 3 versions of Marcel Duchamp’s Bicycle Wheel (1913) set against BMX bike ramps. (See story in the June/July 2011 issue on pg. 100.)

JACKSONVILLE

Thru 11.06

Project Atrium: Melanie PullenMuseum of Contemporary Art, Jacksonville www.mocajacksonville.org

For her series, High Fashion Crime Scenes, Pullen focused on the violent past of her adopted city—Los Angeles. Particularly

interested in the tu-multuous years of the 1940s and 1950s, she began investigating the crimes that occurred during these decades. Her photographs are based on vintage crime-scene images she mined from the files of the Los Ange-les Police Department, the County Coroner’s

Office and other pri-mary sources.

09.16-01.08.12

Shared Vision:The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography


C A L E N D A R { P g. 9 o f 2 6 }

1. Misrach, Richard, Battleground Point, No 20, Chromogenic print, courtesy of the Sondra Gilman and Celso Gonzalez-Falla Collection, © Richard Misrach, coutesy of Fraenkel Gallery, San Fransisco; Mark Selwyn Fine Art, Los Angeles; Pace/MacGill Gallery, New York 2. Howard Finster, Emages of Visions of Other Worlds Beyond (3077), n.d., tractor enamel on plexiglas, courtesy of the Arient Family Collection 3. Christina West, What a Doll: the Human Object as Toy (detail), 2010, glazed ceramic and stuffed fabric 4. Photograph by Ingrid Damiani

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

Museum of Contemporary Art, Jacksonville www.mocajacksonville.org

The Sondra Gilman Collection presents a selection of modern and contemporary photographs by such celebrated figures as Eugène Atget, Alfred Stieglitz and Edward Weston.

Thru 08.28

Stranger in Par-adise: The Works of Reverend Howard FinsterMuseum of Contemporary Art, Jacksonville www.mocajacksonville.org

From pop culture icons, like Elvis

Presley, to histori-cal figures, such as George Washington, to religious images, like The Devils Vice and John the Baptist, to his own visions, Finster’s “sacred art” paintings incorporate colorful, detailed, flat picture

planes, often covered with Bible verses.

Thru 08.28

What a Doll: The Human Object as ToyMuseum of Contemporary Art, Jacksonville

www.mocajacksonville.org

Artist, Christina West, builds an enigmatic narrative in What a Doll: The Human Ob-ject as Toy, an installa-tion of three-quarters life-size clay figures permanently frozen in mid-gesture. Stripped from the context of previous actions, the figures’ personalities, motives and intentions are malleable and unfixed in the viewers’ minds. Who they are is in a state of flux, de-pendent on the stories viewers create. (See story in the June/July 2011 issue on pg. 98.)

08.12-12.20

One in Three: Let’s Solve Our Dropout CrisisThe Cummer Museum of Art & Gardens www.cummer.org

Serving as an anchor for several campaign initiatives spread-ing awareness of the dropout crisis, this exhibition features photographs by Jack-sonville artist, Ingrid Damiani, chronicling the compelling chal-lenges and successes of local students.


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

1. Peacock blue fish vase with ormolu mount, Qing dynasty, Jiaqing reign (1796–1820), gilt bronze mounts in Louis XV style, 19th century, porcelain, overglaze enamel or enamel-on-biscuit decoration, 17 x 10-1/4 x 6-3/4”, gift of The Leo and Doris Hodroff Collection 2. Interior of Cummer Home (detail), ca. 1958, gelatin print, The Cummer Museum of Art & Gardens Archives 3. Tea Caddy from the Queen Marie of Ha-nover Coffee and Tea Service, ca. 1730, porcelain with painted decoration Johann Gregorius Höroldt, 4-1/3” 4. Lilian Garcia-Roig, Rapid Waters, 2010, oil on canvas

Thru 08.14

On the Silk Road and the High Seas: Chinese Ceramics, Culture, and Commerce The Cummer Museum of Art & Gardens www.cummer.org

The superb examples of Chinese ceramics featured in this exhi-bition were treasured at home and abroad, and considered rari-ties until the mid-18th century. Specific

styles and innovations that arose as a re-sult of cross-cultural exchanges are high-lighted.

Thru 12.31

Re-opening of

the Tudor RoomThe Cummer Museum of Art & Gardens www.cummer.org

As part of its 50th An-niversary season, The Cummer has unveiled a restored Tudor Room gallery, incor-porating paneling, flooring, furnishings, a fireplace and a selec-tion of art from the

Cummers’ home, to recreate the domestic sphere in which their collection was origi-nally displayed.

Thru 12.31

The Wark

Collection of Early Meissen PorcelainThe Cummer Museum of Art & Gardens www.cummer.org

More than 3 years of planning and research have culminated in a new reinstallation of The Wark Collec-tion of Early Meissen Porcelain, recognized as the most important

collection of Meissen in the US.

LAKELAND

09.17-12.10

“EN PLEIN”

SIGHT: Paint-ings by Lilian Garcia-RoigPolk Museum of Artwww.polkmuseumofart.org

Garcia-Roig tran-scends the typical def-inition of a landscape painter. Her style oscillates between re-alism and abstraction, combining brushwork with thick globs of color, forced directly onto the canvas. (See story on pg. 116.)


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C A L E N D A R { P g. 1 2 o f 2 6 }

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

1. Harrison Covington, Face to Face (detail), 1990, acrylic and collage on canvas, PMoA Permanent Collection, purchased through the Kent Harrison Memorial Acquisition Fund 2. Italian, Urbino, Plate depicting Piove la Manna (“It rains manna”), ca. 1550-1575, Majolica (tin-glazed earthen-ware), Polk Museum of Art Permanent Collection, gift of Dr. Jane Carver Holmes 3. Jessica Lange, Mexico, ed. 2/20, 2008, silver gelatin print, Polk Museum of Art Permanent Collection, gift of Robert and Malena Puterbaugh 4. Ummarid “Tony” Eitharong, Attempt to Speak Clearly, 1987, graphite on paper, Polk Museum of Art Permanent Collection.

Thru 10.08

FigurationPolk Museum of Artwww.polkmuseumofart.org

This exhibition focus-es on artworks from the Polk’s Permanent Collection that feature the human figure.

Thru 09.10

Form/Function: Decorative Arts from the Perma-nent CollectionPolk Museum of Artwww.polkmuseumofart.org

The correlation be-tween artistic design and functionality has

always been a defin-ing characteristic of Decorative Art. Deco-rative Art objects from various cultures and time periods are pre-sented, from Georgian silver to Asian porce-lain to Pre-Columbian ceramics. Each art-work is displayed

according to how its form relates to its intended function.

09.17-12.10

Jessica Lange: In Mexico Polk Museum of Artwww.polkmuseumofart.org

Through Lange’s pho-

tography, we witness a fusion of intimacy and curiosity. In Mexico consists of compelling slivers of her experi-ence with the country’s culture.

08.13-11.13

The (Lost) Art of Drawing

Polk Museum of Artwww.polkmuseumofart.org

Included in this ex-hibition are artworks from the Museum’s Permanent Collec-tion that exemplify how drawing remains a fundamental basis for fine arts and an important component of creative process.

MAITLAND

Thru 11.01

Maitland History Illustrated: Works by Dawn Schreiner Maitland Art Centerwww.artandhistory.org

This survey of works is an important ex-ample of how history can come to life! Sch-reiner’s images marry fact with whimsy in


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

1. Dawn Schreiner, image courtesy of Art & History Museums Maitland 2. Henry Patrick Raleigh, photo courtesy of the Henry Raleigh Archive, Collection of Kate and Chris Raleigh 3. David Macaulay, from Cathedral, ©1999 David Macaulay, courtesy of Norman Rockwell Museum 4. Peru Ana Ana Peru, Eames Re-imagined, © Peru Ana Ana Peru

this ode to Maitland’s beginnings.

Thru 09.11

The Confident Line: Henry Patrick Raleigh Art & History Museums, Maitlandwww.artandhistory.org

Henry Patrick Raleigh (1880-1944) spent de-

cades navigating high society and portraying opulent life as one of America’s highest paid illustrators during the “Golden Age of Ameri-can Illustration.” His “confident line” created a portrait of American aspirations. (See story in the June/July 2011 issue on pg. 72.)

MELBOURNE

Thru 10.09

Building Books: The Art of David Macaulay Foosaner Art Museumwww.brevardartmuseum.org

David Macaulay is an author and artist who has helped us to un-derstand the workings and origins of every-thing from gadgets to gargantuan buildings. He has an extraordi-

nary gift for convey-ing complex concepts in ways that are fun and engaging. The artist’s classic books, which bring together the worlds of art, history and science, include such outstand-ing volumes as The Way Things Work,

Cathedral, Castle, City, Mill, Pyramid, Ship, Building Big and Mosque.

MIAMI

Thru 08.21

GGG Presents The Pop Up

ArtCenter/ South Florida www.artcentersf.org

Graffiti Gone Glob-al & ArtCenter/South Florida present an ex-hibit showcasing the private Eames Inspira-tion Collection along with street artists Flip, Sesper, Smael and Remed. The show blurs the line between the street and the gal-lery, presenting a mul-tifaceted exhibition highlighting the fresh-est and most undeni-able influences of ur-ban aesthetics and contemporary design.


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

1. Sandra Gamarra, Santos, 2008, oil on canvas, 63-3/4 x 76-3/4”, image courtesy of Galería Leme, São Paulo, Brazil 2. Jim Lambie, Zobop Colour, 1999, colored vinyl tape, variable dimensions, courtesy of the Debra and Dennis Scholl Collection, Miami, Florida, image courtesy of The Modern Institute, Glasgow, Scotland, installation view, Days like these: Tate Triennial, Tate Britain, London, 2003 3. Mark Dion, The South Florida Wildlife Rescue Unit: Mobile Laboratory, 2006, mixed media installation, 18’ 11” x 7’ 7” x 8’ 11”, Collection Miami Art Museum, gift of Lin Lougheed, reproduced with permission of the artist, photo: Tim McAfee 4. I Wish Your Wish (detail), 2003, silkscreen on fabric ribbons, dimensions variable, from Rivane Neuenschwander: A Day Like Any Other, courtesy New Museum, NY, photo: Benoit Pailley

Thru 10.16

Sandra Gamarra:At The Same Time(al mismo tiempo)Bass Museum of Art www.bassmuseum.org

Peruvian artist, San-dra Gamarra, takes images from well-known contexts and makes them her own. Included in her ex-hibition at the Bass Museum are paint-ings based on photo-graphs she has tak-en of visitors look-ing at works of art in

the Museum’s galler-ies. (See story in the June/July 2011 issue on pg. 96.)

08.05-10.30

Vanishing Points:

Paint and Paint-ings from the Debra and Dennis Scholl CollectionBass Museum of Art www.bassmuseum.org

Vanishing Points ex-plores how we perceive painting today as it re-lates to the history and continued viability of the medium.

Thru 08.28

Anchor Gallery: Mark DionMiami Art Museum www.miamiartmuseum.org

Interweaving the diverse disciplines

of art, science, ecol-ogy, history and archeology, Dion’s large-scale installa-tion, South Florida Wildlife Rescue Unit, explores human at-tempts to rationalize

and control Florida’s Everglades.

08.19-11.06

Focus Gallery: Joel MeyerowitzMiami Art Museum www.miamiartmuseum.org

MAM presents a recent acquisition of 24 photographs by the only photogra-pher granted right of entry into Ground

Zero after the Septem-ber 11, 2001 attack on the World Trade Center in New York City. Armed with a worker’s badge and a large-format wooden camera, Meyerowitz spent nine months photographing Ground Zero and the over 800 people a day that were working in it.

Thru 10.16

Rivane Neuen-schwander: A Day Like Any OtherMiami Art Museum www.miamiartmuseum.org

Rivane Neuen-schwander’s practice


merges painting, photography, film, sculpture, installa-tion and participatory actions. The exhibi-tion surveys Neuen-schwander’s work of the past decade and includes 3 of her incredibly immersive, viscerally beautiful installations. (See story in the June/July 2011 issue on pg. 94.)

Thru 09.04

Ryan Trecartin: Any EverMuseum of Contemporary Art, North Miamiwww.mocanomi.org

Seven new video installations produced in 2009, during Ryan Trecartin’s yearlong re-search-based residency in Miami, are present-ed. Trecartin has estab-lished a singular video

practice that, in form and function, advances understandings of 21st century technol-ogy, narrative and identity—and also pro-pels these matters as expressive mediums.

Thru 09.18

David and Hi-Jin Hodge: Who’s Counting and Temporal State of BeingThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

This multi-media exhibit consists of 2 works that look at modern life and ex-plore the idea that 21st century life is lived, to a surprising degree, in a context of boxes of our own making.

Thru 09.18

East/West: Visually Speaking

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

East/West: Visually Speaking highlights 12 contemporary Chi-nese artists who have adapted Western ideas and art forms to create

new styles of art. In some works, the refer-ence to Western culture seems adoring, while in others, it appears to parody the West, its cultural symbols and values. (See story in the June/July 2011 is-sue on pg. 38.)

Thru 08.14

Rise of an Empire: Scenes of the Sino- Japanese War of 1894-95The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

This exhibit features 20 woodblock print triptychs depicting the first major conflict of Imperial Japan after the Meiji Restoration of 1868 and the rapid westernization of Ja-pan. These woodblock


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1. Ryan Trecartin, Any Ever, installation view, photo by Steven Brooke 2. David & Hi-Jin Hodge, Who’s Counting (Dining 11 items), 2011, photo mounted aluminum, 48 x 32”, courtesy of the artist 3. Luo Brothers, Welcome the Famous Brands to China, 2002-2008, painted copper (dragon), 65-3/4 x 22-7/8 x 30-1/4”, courtesy of the artist

prints were made by important artists and used in Japan as both propaganda and for the depiction of places the Japanese were only able to read about in newspapers.

Thru 08.21

South Florida Cultural Consortium Exhibition

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

The recent works of the recipients of the 2010 South Florida Cultural Consortium Visual and Media Artists Fellowship are presented.

Thru 08.14

Tribute to Japanese Splendor: The Art of the TemariThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Temari is the centuries old tradition of hand-

crafting embroidered balls. Artist, Sharon Thieman, creates these beautiful objects with a modern sensibility.

Thru 08.14

Art for All:

British Posters for Transport Organized by the Yale Center for British ArtThe Wolfsonian–Florida International University www.wolfsonian.org In 1908, the London Underground began an aggressive campaign that became one of the most successful, ad-venturous and best sus-tained branding opera-tions ever attempted. The works produced include some of the greatest achievements in poster art. Art for

All features posters for both the Underground and British railways.

09.08-09.30

Reflections on Loss and Commemoration

The Wolfsonian–Florida International University


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1. Ogata Gekko, Ryojun no sankan ni roei shoshi nikko o haisu zu (Picture of Officers and Men Worshiping the Rising Sun While Encamped in the Mountains of Port Arthur) [detail], triptych woodblock print, ink &colors on paper, Meiji Period, 1894, 14 x 28”, gift of private donor, photo ©Alex Garcia, The Frost Art Museum 2. Michael Genovese, 13 reasons, 2010, aluminum, silver leaf, toner, enamel on paper, 18 x 24”, courtesy of OHWOW Gallery 3. Temari balls by Sharon Thieman, photo ©Carlos Aristizabal 4. To Summer Sales by Underground, 1926, designed by Horace Christopher Taylor, lithograph, Yale Center for British Art, gift of Henry S. Hacker, Yale College, class of 1965, ©TfL from the London Transport Museum Collection 4. Marcel Wolfers, Le Baiser de la Victoire [Kiss of Victory], 1925, wood, 47 x 20 x 19”, The Wolfsonian–FIU, The Mitchell Wolfson, Jr. Collection

www.wolfsonian.org An installation of objects from The Wolfsonian Collection commemorates the 10th anniversary of the events of Septem-ber 11, 2001. The ex-hibit poses questions about how humans record and commemo-rate disaster, tragedy and loss through the visual arts.

OCALA

08.21-09.18

Healing Heart: Witness the Healing Power of ArtAppleton Museum of Artwww.appletonmuseum.org

This powerful exhibi-tion expresses, through art, the emotions and real life challenges people face every day.

Presented are more than 100 pieces of art created by individu-als who are receiving treatment for mental health and substance abuse disorders, trau-ma, autism, bereave-ment, Alzheimer’s and dementia. (See Muse on pg. 6.)

Thru 09.25

Recent Acquisitions

Appleton Museum of Artwww.appletonmuseum.org

View examples of the newest works of art that have been added to the Appleton’s world-class collection of art, arti-facts and antiquities.

09.24-11.06

Tradition/Inno-vation: American Masterpieces of Southern Crafts & Traditional ArtAppleton Museum of Artwww.appletonmuseum.org

The Appleton pres-ents a selection of fine, handmade artwork and crafts by Southern artisans.

ORLANDO

Thru 08.21

Expressions in Glass: American Brilliant Cut Glass 1876-1914Orlando

Museum of Artwww.omart.org

The works presented in this exhibition are from private collec-tors in the Southeast, associated with the American Cut Glass Society, and represent some of the finest ex-amples of cut and en-graved glass from the 1860s to the 1920s.


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1. The Wild Inside, image courtesy of Appleton Museum of Art 2. Ummarid “Tony” Eitharong, Superman Puzzle (detail) 3. Steve Miller, Skin 4. Inkwell with stand, 1893, J. Hoare & Co., glass, 9-1/2 x 8 x 8”, Collection of Chester and Brenda Cassel

Thru 10.30

Tony Robbin:

A RetrospectiveOrlando Museum of Artwww.omart.org

Tony Robbin has been exploring the depiction of four-dimensional objects and spatial configura-tions with paintings and sculptures for the past 40 years. The re-sulting work appears as complex layers of geometric forms animated by patterns of color. Tony Rob-bin: A Retrospective includes 25 paintings, works on paper, a sculpture and video animations of four-

dimensional forms. (See story on pg. 74.)

Thru 09.25

FLA.ART: Art by Florida Artists from the Perma-nent & Private

Collections The Mennello Museum of American Artwww.mennellomuseum.com FLA.ART features a diverse selection of works from the Mu-seum’s Collection, The City of Orlando and several public and private collections. The

exhibit will be altered over the upcoming months, allowing the museum to show the evolution and chang-ing face of Florida art, as represented by such artists as Robert Rauschenberg, James Rosenquist, John Chamberlain, Bar-bara Sorensen, Cheryl Bogdanowitsch, Purvis Young and Anna Tom-czak, to name a few.

Thru 09.25

Ron Van Sweringen The Mennello Museum of American Artwww.mennellomuseum.com Over the past 35 years, Van Sweringen has translated his lifelong fascination with art of all kinds into oil paintings ranging from early primitive and

impressionist to classic landscape, still life, and beach scenes with and without people. Most recently, this talented artist has been driven by the art of airborne

painting known as “Astroism”, whereby paint is “thrown” at an upright canvas. (See story on pg. 114.)

ORMOND

BEACH

08.17-09.18

Dual Nature: The Work of Cecilia Lueza


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

1. Tony Robbin, 1980-13, 1980, acrylic on canvas, 56 x 70”, Collection of the artist 2. Cheryl Bogdanowitsch, Doberman, mixed media 3. Ron Van Sweringen, Manhattan, acrylic on canvas, 60 x 48”, Private Collection

Ormond

Memorial Art Museum & Gardenswww.ormondartmuseum.org

Cecilia Lueza’s works carry an im-plicit message that mixes mysticism and earthliness through a wide range of ar-tistic media, which includes painting, drawing, sculpture and digital art.

PENSACOLA

Thru 09.04

Chagall for ChildrenPensacola Museum of Art

www.pensacola

museumofart.org

Reproductions of over a dozen Chagall mas-terpieces, all accom-panied by hands-on interactive elements, allow children to cre-ate mosaics, weave tapestries, alter Cha-gall’s masterpieces using digital touch screens, conduct sym-phonies and, through the use of video, insert

themselves into one of his paintings.

PONTE VEDRA

BEACH

09.09-10.18

Aesthetic Connections:

Works by Diane Fraser, Jean

Banas and Pablo RiveraThe Cultural Centerwww.ccpvb.org

This exhibition showcases the visual clarity and tranquil-ity of Diane Fraser’s paintings; vibrant, abstract works by Jean Banas; and sculptural creations by Pablo Rivera.

Thru 09.03

Emergent:Works by Mark Moran, D. Lance Vickery and Troy Eittreim

The Cultural Centerwww.ccpvb.org

Imaginative digital media art from Mark Moran and Troy Eittreim, in consensus with the sculptural works of D. Lance

Vickery, are show-cased in this exhibit.

SARASOTA

Thru 08.14

Beyond Bling: Voices of Hip-Hop in ArtThe John and Mable Ringling Museum of Artwww.ringling.org


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

1. Cecilia Lueza, Fantasy Journey (detail), 2009, oil on canvas 2. Image courtesy of Kohl Children’s Museum of Greater Chicago 3. Jean Banas, Carousel, 37 x 48” 4. Mark Moran, Pleasure of Exploration, digital image, 2008

Hip-hop has become a dominant part of popular culture and its influence can be seen in contemporary art. Beyond Bling takes a look at the work of a diverse mix of artists who all operate within and are also informed by hip-hop culture.

Thru 10.30

Crosscurrents of Design: Asian Export CeramicsThe John and Mable Ringling Museum of Artwww.ringling.org

Asian export ceram-

ics were created in areas that are now known as Thailand, Vietnam, China and Japan. Combin-ing indigenous traditions and bor-rowed designs, these decorative and

practical objects document the cross-cultural exchange of material goods and artistic motifs that began centuries ago and still continue today.

09.17-01.29.12

The Amazing American Circus Poster:

The Strobridge Lithographing CompanyThe John and Mable Ringling Museum of Artwww.ringling.org

The Amazing Ameri-can Circus Poster showcases 80 bril-liantly colored, boldly bombastic posters advertising the feature attrac-tions and peerless performers of the big top and provides a detailed portrait of the American circus in its Golden Age.

Thru 10.30

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

Jade’s hardness makes it almost impossible to carve—instead, it must

be worn away, abraded and drilled—present-ing challenges far beyond those faced by sculptors of more com-pliant materials. Fea-tured in this exhibit are objects created chiefly during the late Qing dynasty, reflecting an-cient traditions with an occasional glimpse of a more modern spirit.


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

1. Sofia Maldonado, Concrete Jungle Divas (detail), 2010, courtesy of Magnan Metz Gallery, NY 2. Japanese, early Meiji (1868-1912) period, painting 1868-1870, Montgolfier Balloon with Enameled Decorations, porcelain 3. The Barnum & Bailey Greatest Show on Earth, Stobridge Lithographing Company, courtesy of The John and Mable Ringling Museum of Art 4. Image courtesy of The John and Mable Ringling Museum of Art

ST.

PETERSBURG Thru 11.13

Four Portfolios of the Twentieth-Century: Archipenko,

Gropper, Evans, and Doisneau Museum of Fine Arts, St. Petersburgwww.fine-arts.org

This exhibition of 53 works brings together two lithographic and two photographic portfolios by four important artists. The portfolios by Alex-ander Archipenko and Robert Doisneau

are European, while those of the photog-rapher Walker Evans and artist William Gropper are decid-edly American. Dois-neau’s photographs reveal his love for Paris and Gropper’s color lithographs ex-amine the Watergate crisis, which drove Richard Nixon from power.

Thru 09.04

New Folk: Con-temporary Self-Taught Art from the Collection Museum of Fine Arts, St. Petersburgwww.fine-arts.org

New Folk contains old favorites as well as new acquisitions by many of Amer-ica’s best-known folk artists, includ-

ing Howard Finster, Nellie Mae Rowe, Juanita Rogers, Mose Tolliver, Jimmie Lee Sudduth, Lonnie Hol-ley, Buddy Snipes, Ned Cartledge and Carlton Garrett. The works explore reli-gion, spirituality and the visionary; na-ture; popular culture; politics and current events; and much more.

Thru 09.04

The Human Touch: Contem-porary Art from the RBC Wealth Management Collection

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

The Human Touch features 46 large-scale paintings, prints, works on pa-per and photographs that give insight into the human psyche, while helping us to

understand the hu-man condition.

TAMPA

09.08-11.06

Life and Death by Duane Michals


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1. William Gropper, To the Gallery, from the Watergate Series, 1973, color lithograph on paper, gift of Walter B. and Terri B. Finley in memory of Murray and Marilyn Blaivas 2. James “Buddy” Snipes, THE HOUSE OF SHAME, 1995, acrylic, wood, bone, plastic and metal, gift of George and Nancy Ellis 3. Hung Liu, Baby King II, 1996, oil on canvas and painted wood, RBC Wealth Management Collection

Florida Museum of Photographic Arts

www.fmopa.org

Self-taught photog-rapher, Duane Michals, merges writing and photog-raphy into highly distinct and innova-tive photo-sequenc-es which explore thought and emotion.

Thru 09.25

Syntax: Text and Symbols for a New Generation

Tampa Museum of Artwww.tampamuseum.org

This exhibition high-lights several key works in the text-based genre, within the Hadley Martin Fisher Collection, by artists such as John Baldessari, Mel Bochner and Joseph Kosuth as well as a wide array of young-er artists who revisit the importance of word, symbolism, communication and information trans-ference. Together, these artists show that text-based art is a vital and vibrant presence. Thru 10.16

The Hillsborough River: From the Green Swamp to the Bay

Tampa Museum of Artwww.tampamuseum.org

Presented by the City of Tampa and hosted

by the Tampa Museum of Art, this portfolio of exquisite cultural and natural landscapes was created for The Big Picture Project during Karen Glaser’s tenure as the City of Tampa’s 8th Photog-rapher Laureate. Each year, one photographer is commissioned to do a project of his or her choosing, resulting in a unique portfolio about the city. Karen chose the Hillsborough River as her subject and the story of this

specific river speaks volumes about Tampa, one of Florida’s most vibrant cities. (See story on pg. 84.)

Thru 11.20

Worlds Apart:

Myth & History, Gods & Mortals, Heroes & HybridsTampa Museum of Artwww.tampamuseum.org

Drawn primarily from the museum’s

renowned antiquities collection, Worlds Apart explores the many intersecting spheres of the world of classical antiquity, in particular, those


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

1. Duane Michals, A Story About a Story, 1995, ©Duane Michals, courtesy of Pace/MaGill Gallery, New York. 2. Sean Landers, In the Garden of Gest-hemane, 2008, oil on linen, 80 x 108” 3. Karen Glaser, Near the Source 4. Image courtesy of Tampa Museum of Art

of myth and history, gods and mortals, heroes and hybrids.

Thru 09.10

Stagecraft: Brian Bress, Deville Cohen,

Kate Gilmore, Mary Reid KelleyUniversity of South Florida Contemporary Art Museumwww.ira.usf.edu

The artists in Stage-craft work across the fields of sculpture, theater, performance, cinematography and animation to re-imag-ine and re-script our re-lationships to everyday objects and characters.

TARPON

SPRINGS

Thru 09.18

Bassmi: The Isness of BeingLeepa-Rattner Museum of Art

www.spcollege.edu/museum

Twenty large-scale, meditation-inspired abstract paintings by Egyptian-born Tampa Bay artist, Bassmi Ibrahim, are on view. Bassmi creates unstruc-tured abstract paint-ings by entering into a state of meditation. In Bassmi’s art, you see

what the artist saw in his visionary state.

VERO BEACH

Thru 12.11

Celebrating 25 Years:

Sculpture from the Permanent Collection Vero Beach Museum of Artwww.verobeachmuseum.org

Visitors are invited to explore an engag-ing and focused look at more than a dozen large-scale three-dimensional works

from the Museum’s growing outdoor sculpture collection.

08.27-01.08.12

Inspired by Nature: Celebrat-ing the Beauty and Complexity of Trees Vero Beach Museum of Artwww.verobeachmuseum.org

Visitors can enjoy the beauty and complex-ity of arboreal forms in various media by Jennifer Steinkamp, James Balog, Charles Burchfield and other American artists.


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

1. Deville Cohen, Grayscale (A video in three acts), 2009/10, HD video, paper, 18 minutes 2. Bassmi Ibrahim, Isness Number 12, 2005 3. Joseph Wesner, Pherein Shaprea, 1990, welded steel, sandstone, paint and wax, 71 x 31 x 22”, Museum Purchase with funds provided by the Samuel A. Burns, II Memorial Fund 4. Jennifer Steinkamp, Fly to Mars 5, 2005, video installation, edition of 1, AP 1/1, Museum Purchase with funds provided by the John K. Moore Memorial Fund

Thru 08.14

Selections from the Permanent Collection Vero Beach Museum of Artwww.verobeachmuseum.org

On view is a selection of works, in all media, from celebrated American artists Jim Dine, James Rosen-quist, William

Wegman, Conrad Marca-Relli, Reynolds Beal, Lyman Kipp, An-drew Wyeth and Judy Pfaff, among others.

Thru 09.25

What’s the Story?

Vero Beach

Museum of Artwww.verobeachmuseum.org

A selection of 12 works from the Museum’s Permanent Collection invite viewers to create their own narrative.

WEST PALM

BEACH

Thru 10.16

From A to Z: 26 Great Photographs from the Norton Collection Norton Museum of Artwww.norton.org

From A to Z acknowl-

edges the work of some of the most notable photographers of the 20th and 21st centuries, ranging from such seminal figures as Ansel Adams and Edward Weston to a

younger generation of photo-based artists.

Thru 09.04

Out of This World: Extraor-dinary Costumes from Film and Television Norton Museum of Artwww.norton.org

Out of This World features more than 30 costumes and related objects from science fiction films and televi-sion programs, such as Star Wars, Terminator, Star Trek, Battlestar Galactica and Batman. The exhibit examines how costume design helps performers and audiences engage with the characters being portrayed.

WINTER PARK

Thru 10.09

It’s Always Rock and Roll: The Work of PhotojournalistJanet Macoska


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

1. Therman Statom, Chair on Pedestal, ca.1985, painted plate glass and mixed media, Museum Purchase with funds provided by the John K. Moore Memorial Fund 2. Jon Davis, Lover, 2006, mixed media, 23 x 25-1/4 x 9”, Museum Purchase 3. Graciela Iturbide, Nuestra Senora de las Iguanas, Juchitan, 1979, gelatin silver photograph, 24 x 20”, purchase, acquired through the generosity of the Photography Committee of the Norton Museum of Art, courtesy of the artist and Rose Gallery 4. George Clooney’s costume from Batman & Robin, image courtesy of the Paul G. Allen Family Collection

Cornell Fine

Arts Museum at Rollins College www.rollins.edu/cfam

Janet Macoska has captured some of rock and roll’s most legendary performers through the lens of her camera. Her im-ages have appeared in Creem, Roll-ing Stone, People, 16, Entertainment Weekly, the New York Times and the Lon-don Times.(See story in the June/July 2011 issue on pg. 84.)

Thru 10.09

Douglas Witmer: I Found a Reason

Cornell Fine Arts Museum at Rollins College www.rollins.edu/cfam

This exhibition marks the Florida debut of two series of intimate abstract works by Phil-adelphia artist, Doug-las Witmer. Beginning with found materials, both bodies of work

go in unique directions that differ suprisingly from the artist’s usual reductive geometric paintings.

Thru 10.09

E. Brady Robin-son: Transfer Cornell Fine Arts Museum at Rollins College

www.rollins.edu/cfam

E. Brady Robinson uses the camera to examine her environ-ment and record fleeting moments of existence. (See story on pg. 120.)

Thru 10.09

The Velvet Years: 1965-1967, Warhol’s Factory Photographs by Stephen Shore

Cornell Fine Arts Museum at Rollins College www.rollins.edu/cfam

This collection of photographs captures a time when Andy Warhol was emerging as a prominent visual artist and avant-garde filmmaker.

09.27-01.08.12

Darker Shades of Red: Soviet Propaganda from the Cold War The Albin Polasek Museum & Sculpture Gardens www.polasek.org

Darker Shades of Red provides a rare op-portunity to revisit the Cold War period through the exploration of the Soviet Union’s official imagery. The collection reveals the


C A L E N D A R { P g. 2 5 o f 2 6 }

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

1. Janet Macoska, Tina Turner, 1985, courtesy of the photographer 2. Douglas Witmer, installation view, AxD Gallery, Philadelphia, PA 3. E. Brady Robinson, Above Virginia, 2011, inkjet print 4. Andy Warhol and Lou Reed, lead singer, guitarist and songwriter of the Velvet Under-ground; photograph by Stephen Shore, courtesy of the photographer

economic, social and political ideology of the Soviet Union, from the mid-1940s to 1990, through striking poster graphics and Soviet ephemera.

Thru 09.18

The Red Chair Visits Orange County Public Art The Albin Polasek Museum & Sculpture Gardens www.polasek.org

In June 2010, Orange County Arts & Cultural Affairs Director, Terry

Olson, issued an invita-tion to 28 area pho-tographers to choose a piece of Orange County public art to incorporate into a pho-tograph of their own artistic interpretation. The photograph also had to include a small red chair within the composition. The chair is not only symbolic of arts audiences but is also representative of the Red Chair Project, the area’s cultural in-

formation portal (www.redchairproject.com).

Thru 09.04

A Church Record—Photo-

graphs from the Tiffany Studios Ecclesiastical Department

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

This exhibition fea-tures more than 30 archival photographs which provide a glimpse into the cre-ative range of Louis Comfort Tiffany’s ecclesiastical com-missions at the height of religious construc-tion in America.

Thru 09.04

The Now and Then RoomThe Charles Hosmer Morse Museum of American Artwww.morsemuseum.org

This Morse Museum vignette, created in 1974 for the Opera Gala Guild’s Decora-tor Show House in the Grace Phillips Johnson house in College Park, portrays a romantic themed interior scene developed from ob-jects in the Museum’s Collection. On View


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

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

1. A. Dobrov, The Borders of the Soviet Union are Sacred and Inviolate, 1969 2. Chip Weston, Emily’s Red Chair, 2010 3. Louis Comfort Tiffany, Chapel Electrolier, ca. 1900, duplicate image from a mounted photograph 4. Alphonse Mucha, Reverie, ca. 1898, lithograph


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

Gallery: Arts on Douglas Fine Art and Collectibleswww.artsondouglas.net

Artist: Hope BartonBARTON DIVIDES HER TIME BETWEEN ETCHINGS AND PAINT- ings inspired by water and its surrounding areas. In this painting, she explores the abstraction of reflections in the water and lingering light patterns on trees.

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

galleryP O N T E V E D R A B E A C H

Gallery:Stellers Gallerywww.stellersgallery.com

Artist:SUZANNE MAGEE BEGINNING WITH A

sturdy piece of blank cold-press watercolor paper, Suzanne Magee’s interpretation of the elegance of floral life is transformed into an intricate assembly of meticulous brush-strokes, while incorpo-rating fresh, bold colors forming a modern twist on a traditional subject.

From left: Suzanne Magee, Parrot Tulip III, acrylic on paper, 22 x 30”, courtesy of the artist and Stellers Gallery; Hope Barton, Total Reflection, acrylic on canvas, 12 x 16”, courtesy of the artist and Arts on Douglas Fine Art and Collectibles

FT. LAUDERDALE

Gallery:Artists’ Haven Fine Art Gallerywww.artistshavengallery.com

Artist:CHRISTINE ALFERYALFERY’S PAINTINGS ARE

visual poems that sing the praises of the natural landscape. The subject matter of her work has been gathered over years of wilderness travel. When not traveling, she works in her lakeside studio at her home in the north woods of Wisconsin.


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

galleryM I A M I

Gallery: Alejandra Von Hartz Gallerywww.alejandravonhartz.net

Artist: Manuel Ameztoy

AMEZTOY’S INTRI-cate works appeal to the imagination. “I intend to produce visual instabil-ity—pieces that show an image partly-produced and partly-invented by the imagination of the observer, the beholder.”

M I A M I Gallery: Art Fusion Gallerieswww.artfusiongallery.com

Artist: Nancy R. HallLARGELY A SELF-TAUGHT artist, Hall spends a great deal of her time creating colorful and expressionist paintings

with watercolor inks on Arches paper. Her abstract compositions evoke images of flowers, butterflies, birds, tropical fish and jungle foliage.

Clockwise from top left: Nancy R. Hall, courtesy of the artist and Art Fusion Galleries; Christine Alfery, Come Down To The Still Grove My Beloved, mixed media on paper, 30 x 42”, courtesy of the artist and Artists’ Haven Fine Art Gallery; Manuel Ameztoy, The Sources of the Nile 2, 2009, acrylic on canvas, 49-1/4 x 102-1/2”, courtesy of the artist and Alejandra Von Hartz Gallery

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


B O C A R A T O N

Gallery:Elaine Baker Gallerywww.elainebaker gallery.com

Artist:BILL ARMSTRONG ARMSTRONG’S UNIQUE

process of appropriating images and subjecting them to extreme blur-ring conjures a mysteri-ous world that hovers between the real and the fantastic—a world just beyond our grasp, where place may be suggested

but is never defined— where the identity of amorphous figures remains in question.

S A R A S O T A

Gallery: Allyn Gallup Contemporary Artwww.allyngallup.com

Artist: Joan MomentMOMENT’S NEWER WORK REPRESENTS THE BIOMETRIC and cosmic. “Multiple associations are inferred—planets, cells, comets, atoms, stars, earth and ocean surfaces. The clustering of circles implies cosmic entities, space as alive in a constant state of flux, assuming multiple dimensions of time. Scraping the imprints often brings surprising results, trails of paint that swoop away from the image, referencing speeding com-ets, or primordial ooze. Issues of mortality, transcendence and the continual change/flux in all that surrounds us, remain an important focus for my work. What I hope to achieve are visual metaphors of immateriality and the tem-poral nature of everything, including our own corporeal existence.”

From left: Bill Armstrong, Mandala 406, 2001-02, C-print, 10 x 10”, 20 x 20”, 30 x 30”, courtesy of the artist and Elaine Baker Gallery; Joan Moment, Outburst, 2004, acrylic on canvas, 30 x 42”, courtesy of the artist and Allyn Gallup Contemporary Art


J A C K S O N V I L L E B E A C H Gallery: J. Johnson Gallerywww.jjohnsongallery.com

Artist: Ryan McGinness “I STRUGGLE TO PRODUCE work with an honest language that is uniquely my own but that

resonates a universal truth...I’m most interested in the language of imag-es—the language of symbols, shapes, forms and semantics. By combin-ing and remixing graphic vocabularies from a range of sources, I explore meanings in iconography and historical and contemporary symbolism.”

P A L M B E A C H

Gallery: Gavlak Gallerywww.gavlakgallery.com

Artist: Wade GuytonW I T H T H E A I D O F A N Epson inkjet printer, Guyton produces compositions, pri-marily in black and shades of gray. The abstraction he implements using standardized word pro-cessing, graphic design and digital printing software is heightened by variations in the quality produced by the printing technology.

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

M I A M I

Gallery: Zadok Art Gallerywww.zagallery.comArtist:YOM

YOM BEGAN HIS WORK

in sculpture as a welder, trained by Marcello Zitelli. He then went on to mosa-ics and later turned to composite materials. YOM completed his training with Raymond Hains in 2002/2003, in Paris, and has since embarked on a mission to revolutionize con-temporary sculpture through his own artis-tic language.

Clockwise from top: Ryan McGinness, Rainbow McTwist, 2007, twelve laser-cut painted skateboards with steel hardware, 55” dia. x 22” deep, courtesy of the artist and J. Johnson Gallery; YOM, Bel Amour, 2007, 27” dia., courtesy of the artist and Zadok Art Gallery; Wade Guyton, Untitled (B&W Circles), 2005, Epson Ultrachrome ink on linen, 40 x 38”, courtesy of the artist and Gavlak Gallery

THROUGH A SERIES OF COMPELLING exhibitions featuring powerful imagery created by some of the most accomplished photojour-nalists in the field today, the Southeast Museum of Photography has attempted to shed light on various aspects of what has been a complicated decade following the tragic events of 9/11.

Each of the exhibitions presented in this series provide interesting and unique perspec-tives on the conflicts surrounding war and ter-rorism and the toll each has taken on human-ity. The images act as a tool, enabling us to dig beneath the surface and potentially reveal some of the underlying causes and stresses that have contributed to the violence and unrest that has plagued humankind for generations.

From a recap of SMP’s original exhibition portraying the aftermath of 9/11, to the chron-icles of a photographer’s extensive travels through the war-torn regions of Afghanistan, to the wounded soldiers and unwitting child victims, to rarely seen simulation camps pre-paring soldiers for war—the history, logistics and consequences of world conflicts are exam-ined and explored from a variety of angles.

These exhibitions speak to the power of the image both as a vital means of preserving his-tory—allowing us to see, through the camera’s lens, reflections of life and the cultural com-plexities of diverse societies—and in its ability to create intriguing narratives and profound emotional connections. On View

IMAGETHE POWER OF THE

The SOUTHEAST MUSEUM OF PHOTOGRAPHY in Daytona Beach presents a se-ries of special exhibitions which pay homage to photojournalism and the men and women who risk their lives documenting the ravages of a world in conflict.

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 1 39Image ©Kate Brooks

THE POWER OF THE IMAGE THE POWER OF THE IMAGE

E X H I B I T I O N

A SECOND TELLINGSeptember 11th: Here is New York

August 18th through October 2nd at the Southeast Museum of Photography in Daytona Beach

www.smponline.org

THIS POWERFUL SERIES of photographs is drawn from the Permanent Collection of the Southeast Museum of Photography. The original exhibition was organized in response to the World Trade Center tragedy of 2001, and to the unprecedented flood of images that resulted from that event. The goal of the 2002 project was to collect, organize, display and preserve, for historical purposes, the broadest possible view of this event and its aftermath. The 2002

presentation of Here is New York at SMP was one of only a handful of such presentations outside of New York City.

More than 50 images were acquired by the Museum from the 1,200 photographs that were originally exhibited in the spring of 2002. The images were taken not only by top photojournalists and other professional photographers but also by schoolchildren, office workers, emergency workers and amateurs of every stripe.


42 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 1Untitled, 2001, digital print,

©Mark Selliger

Untitled, 2001, digital print,

artist unknown

THE POWER OF THE IMAGE


artist unknown

Previous pages (L to R):


©Christophe Agou


©Philip Parker

E X H I B I T I O N

KATE BROOKS In the Light of Darkness:

A Photographer’s Journey after 9-11

September 9th through December 16th at the

Southeast Museum of Photography, Daytona Beach

www.smponline.org

K A T E B R O O K S B E G A N W O R K I N G as a freelance photojournalist at the age of 20. Her photographs portray the harsh beauty and poignant pain of a region mired in conflict. In the Light of Darkness includes a collection of images that chronicle her 10year passage from the mountains of Tora Bora to the uprisings in the Arab world in early 2011.

At the age of 23, following the Twin Tower attacks, Brooks moved to Pakistan to photograph the impact of US foreign policy on the region and its people in the wake of the American led operation that ousted the Taliban. In 2003, she covered the American invasion of Iraq from Kurdistan and, for Time magazine, she began to photograph the beginning of the Iraqi insurgency.

Kate has since worked extensively across the Middle East and South Asia, covering many of the major news stories in both regions and photographing not only political events and violent conflicts but also documenting daily life.



Afghanistan’s nomadic

Kuchi people seek refuge in the

ruins of Darulaman Palace

after violent ethnic disputes erupted

between them and the Hazaras.

An estimated 135 people were killed

in a car bombing at the Tomb

of Imam Ali in Najaf. The attack targeted

a prominent Shi’ite cleric and

occurred as the faithful were leaving

after Friday prayers.

All images ©Kate Brooks

Pakistani jihadis held in a

makeshift prison in Nangarhar

province, Afghanistan,

were later released by the

Afghan authorities as

part of a Ramadan amnesty.

After a shooting at a

US military checkpoint, in which

five Iraqi civilians were killed,

a shopkeeper slaughtered a sheep

and marked his generator

with his bloody handprints, asking

God for his protection.

E X H I B I T I O N

KHALID HADIPortraits from Afghanistan

C U R A T E D B Y E D G R A Z D A *

September 9th through December 16th at the


www.smponline.org

FROM 1990 TO 2002, thousands of identification portraits of wounded Mujahideen and Taliban fighters, orphans and Afghan civilians were made by Khalid Hadi for an Afghan aid and welfare organization. The organization, established in 1992 by a mullah in Kandahar, was providing monetary support for people wounded or injured in fighting during the invasion and occupation of Afghanistan by the Soviet army in the 1980s and early 1990s.

Using a primitive, locally made, box camera, Khalid made thousands of small papernegative portraits of these wounded fighters. One of the men he photographed later became the founder of the Taliban—Mullah Omar—and when the Taliban took power, Khalid became the “official” Taliban photographer.

Although small in size, these portraits of wounded fighters, orphans and children, injured by land mines and bombs, form a moving visual record of the toll taken on the population of Afghanistan during the Soviet occupation. The selection of images in the exhibition is drawn from more than 5,000 portraits produced by Hadi.



Men and young boys

sit stoically, presenting their

severed arms and legs

to the camera as proof.

Hadi’s pictures resemble somber,

19th-century portraits

rather than modern photographs.

All images ©Khalid Hadi


*Exhibition Curator, Ed Grazda,

was an instrumental force in making

Hadi’s work available for this exhibit.

Grazda spent 20 years photographing in

Afghanistan and Pakistan. His most

recent photographs record the

post-Taliban era in Afghanistan as well

as the Afghan community in the US.

His work will be featured in Excerpts:

Afghanistan Diary by Ed Grazda at SMP

August 18th-October 2nd.

E X H I B I T I O N

LOUIE PALUAfghanistan: Garmsir Marines

August 18th through October 2nd at the


www.smponline.org

DURING HIS LONG STINT in Afghanistan, Torontoborn, awardwinning photojournalist, Louie Palu, grew a long grey beard to blend in with the locals. He spent months in the field, on the line, out in the districts, with troops and unembedded, capturing gritty visuals of a country at war—the harsh landscape, the warweary people and the soldiers.

For this series, Palu created simple, direct portraits of US Marines operating in a single unit in Garmsir, Helmand Province, Afghanistan, where some of the most intense fighting of 2008 took place. The area is also known as the “Snakes Head”, due to the shape that the land and bases make when seen from the air. This unit, which was supposed to be a onetime, shortterm, special deployment of troops, ordered to Afghanistan by President George W. Bush in 2007, marked the start of an escalation of US troops being deployed to the war in 2008. These stark and revealing portraits were taken in the final weeks of the unit’s operation in Afghanistan.



U.S. Marine Lcpl.

Patrick “Sweetums” Stanborough, age 21,

Garmsir, Helmand, Afghanistan,

2008

All images ©Louie Palu

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 1 00

US Marine Pfc.

Chad Wilson, age 21,


2008

US Marine Gysgt.

Carlos “OJ” Orjuela, age 31,


2008

US Marine Lcpl.

Anthony Nagel, age 25,


2008

E X H I B I T I O N

LUCIAN PERKINS

A Journey Through Afghanistan



www.smponline.org

“ S E V E N M O N T H S B E F O R E 9 / 1 1 , Afghanistan stood isolated and in ruins after 22 years of war and the worst drought in memory. By 2001, 700,000 Afghans streamed toward the borders. Many had watched their crops and animals die. Many were caught in the middle of the longstanding civil war. At that time, Afthanistan was just a dot on the map to most Americans. No one seemed to care.” —LuciAn perkins

Taken in late 2001, these pictures show the immediate aftermath of the initial battles in Afghanistan with graphic and moving imagery. Over the years, Pulitzer Prizewinning photographer, Lucian Perkins, has covered many of the important world crises and conflicts as a photojournalist for The Washing-ton Post. He is known for an approach that counterpoints a deep sympathy for his subjects with an ability to expose their hopes and foibles, and a style that combines formal clarity with an offbeat humor.



“That’s all their life is.

The search for food.”

The children

become the unwitting

victims in this.

The refugees look

in every direction and see

nothing but wind,

sand and mountains in

the distance.

All images ©Lucian Perkins

A woman quietly lowers her

head after watching a UN Delegation

pass through Maslakh refugee

camp near Herat, Afghanistan

Afghan farmers left

their land after losing their

crops and livestock to

the drought and headed

toward every border

E X H I B I T I O N

CHRISTOPHER SIMS

Theater of War: The Pretend Villages of Iraq and Afghanistan



www.smponline.org

“IN RECENT YEARS, I have been making photographs within fictitious Iraqi and Afghan villages on the training grounds of US Army bases. The villages, which are situated in the deep forests of North Carolina and Louisiana, and in a desert expanse near Death Valley in California, serve as way stations for people heading off to war and for those who have fled it. Here US soldiers interact with pretend villagers—often recent immigrants from Iraq and Afghanistan—who have now found work playing a version of the lives they left behind.

The villages are places of fantastic imagination. The actors continue playing their roles during the long stretches of day between training exercises. Designers and inhabitants of these worlds take great pride in the scope and fidelity of their warsinminiature. By each day’s end, hundreds of soldiers and civilians lay dead—the electronic sensors on their special halters indicate whether friendly fire, an improvised explosive device, or a sniper’s bullet killed them.” —christopher sims



Above (top to bottom):

Iman’s Bodyguard,

Camp Mackall, North Carolina

Mosque,

Camp Mackall, North Carolina

All images ©Christopher Sims

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 1 00Mother with Babies,

Fort Polk, Louisiana

Jihad Lamp,

Fort Polk, Louisiana

09.11Through at the

SAMUEL P. HARN MUSEUM OF ARTUNIVERSITY OF FLORIDA

Gainesville

w w w. h a r n . u f l . e d u

Y E A R S o f

by J E R R Y U E L S M A N N

50MIND’S EYE

PHOTOGRAPHY

T H E


66 O n V i e w M a g a z i n e . c O M • A p r i l / m A y 2 0 1 1


BEAUTIFUL AND SURREAL, FUNNY AND

provocative, the photographs of Jerry N. Uelsmann have become icons of American photo history. A master of the photo montage and pioneer of photo manipulation, Uelsmann has been exploring—and pushing—the boundaries of the photographic medi-

um for over 50 years. The Mind’s Eye, 50 Years of Photography by Jerry Uelsmann, at the Harn Museum of Art, is the first major retrospective exhibition to consider the full range of Uelsmann’s work, including his earliest documentary photographs and his experiments with artist books and three-dimensional photo-sculpture.

The Mind’s Eye

Above: Untitled, 1996, gelatin silver print

Left: Untitled, 1976, gelatin silver print

Previous spread: Dream Theater, 2004,

gelatin silver print

All images ©Jerry N. Uelsmann

The exhibition was organized by the Peabody Essex Museum in Salem, MA, and curated by Phillip Prodger, Curator of Pho-tography at PEM. Twenty-four additional works from Uels-mann’s personal archives—selected by Uelsmann and Tom Southall, retired Curator of Photography at the Harn—were added exclusively for the Gainesville show.

“You will see the scope of his imagination, which is bound-less,” said Dulce Roman, Cura-tor of Modern Art for the Harn.

While most photographers compose their images through

the lens of a camera, Uelsmann compiles images from within his contact sheets with ele-ments from different negatives. The photographic manipula-tions take place in his dark-room, which functions as a visual research laboratory. With the use of several enlarg-ers, he is able to execute mul-tiple printing techniques to achieve his visions. The pro-cess often requires lots of test-ing for correct exposure and for correct blending of the separate elements before attempting to make a finished print. “Usu-ally I run through 50 sheets of

B


paper during a darkroom day,” Uelsmann explained. “I always hope that at the end of the day, I will have produced one or two images that I care about. I make a small edition of each of these, usually 6 prints. Over

the years, I have discovered that approximately 10 percent of my finished images survive. This means that out of a year’s work, during which I produce approximately 150 images, about 15 of them have a lasting value for me.”

Uelsmann has been extreme-ly successful in creating his sur-real photographic montages by

hand. In an age of ever-evolv-ing computer technology, he is more than happy to seques-ter himself in his darkroom with coffee by his side, music blaring (always the blues) and enlargers at his beck and call.

“There’s something about the ambiance to this dimly lit place that greatly appeals to me,” he admitted, “it’s just a magical place for me.”

While known for building new images from an existing library of pictures he’s taken over many years, Uelsmann still shoots quite frequently. “To me the camera is a license

Above:

Untitled, 1969,


Right:

Untitled, 1982,


The Mind’s Eye

“ To me the camera is a license to explore. It’s a glorious instrument.”—Jerry Uelsmann

70 O n V i e w M a g a z i n e . c O M • A p r i l / m A y 2 0 1 1

to explore,” the artist once said. “It’s a glorious instrument. Without a camera, if you stop to look at a crack in the side-walk, people question that. But as long as you have a camera, there’s a kind of heightened perceptual awareness that is very much a part of my con-sciousness.” His arsenal of images includes nudes, trees, clouds, bodies of water, win-

dows and open hands—all fig-ure prominently in his work, acting as symbolic metaphors reflecting both psychological and spiritual dimensions. The images invite viewers to create their own interpretations. Ulti-mately, Uelsmann is focused on creating works that are uniquely his own and provide him with a sense of personal growth. “Sim-ply stated, my hidden agenda is to amaze myself.”

Jerry N. Uelsmann was born in Detroit, Michigan on June 11, 1934. He developed an interest in photography as a high-school student and went on to gradu-ate in the first four-year B.F.A. degree program in photogra-

phy at the Rochester Institute of Technology in 1957. He published his first image in Photography Annual that same year. Uelsmann continued his studies in audio-visual commu-nications, art history and design at Indiana University, where he studied under Henry Holmes Smith, a professor whom Uels-mann says was his most impor-tant teacher and influence in

life. He received his M.F.A. and M.S. degrees from Indiana Uni-versity in 1960. That same year he began teaching photography at the University of Florida in Gainesville (his first job offer) and was a graduate research professor of art at the Univer-sity of Florida since 1974. He is currently retired from teaching.

Uelsmann received a Gug-genheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of The Society of Photographic Education and a trustee of the Friends of Photography. He is

The Mind’s Eye

Above:

Magritte’s Touchstone (first version),

1965, gelatin silver print

Left:

Untitled, 2003,


“Simply stated, my hidden agenda is to amaze myself.” —Jerry Uelsmann


also the author of several books currently in print, including Referencing Art (2004) and Other Realities (2005).

His work has been exhibited extensively in the US and abroad and his photographs are in the permanent collections of many museums worldwide, including the Metropolitan Museum of Art and the Museum of Mod-ern Art in New York, the Chi-cago Art Institute, the Interna-tional Museum of Photography at the George Eastman House in Rochester, the Victoria and Albert Museum in London, the Bibliotheque National in Paris, the National Museum of Ameri-can Art in Washington, DC, the Museum of Fine Arts in Boston and the Harn Museum of Art.

Uelsmann is represented by A Gallery for Fine Photography in New Orleans, John Cleary Gallery in Houston, Modern-book Gallery in San Francisco, Telluride Gallery of Fine Art, PaciArte in Italy, Galerie Ste-phen Hoffman in Germany and See+Gallery in Beijing.

His photographs have also been featured in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Ste-phen King’s Salem’s Lot.

Uelsmann currently resides in Gainesville with his wife, artist Maggie Taylor.

The exhibition is accompa-nied by a catalogue of the same title, published by Modernbook editions (2010). On View


The Mind’s Eye

Above:

Eclipse, 2011,


Right:

Untitled, 1997,


FEDERICO URIBET h e W O R L D A c c o r d i n g t o

On view 0 9 .21-12 .0 4 at the B O C A R AT O N M U S E U M O F A R T • www.bocamuseum.o r g

Traffic, 2011, wood, oil and bicycle tires, 192 x 96”, courtesy of Now Contemporary Art

FEDERICO URIBET h e W O R L D A c c o r d i n g t o

On view 0 9 .21-12 .0 4 at the B O C A R AT O N M U S E U M O F A R T • www.bocamuseum.o r g



The World According to Federico Uribe

C O N C E P T U A L A R T I S T , Federico Uribe, is known for his fascinating transformation of everyday objects into art. He creates sculptures which are constructed and woven in all kinds of ways—curious and unpredictable, intricate and compulsive. Individual works and whole-room installations are made entirely out of com-mon everyday objects—like thousands of shoes, colored pencils and shoe laces.

For the Boca Raton Museum of Art, Uribe will create a site specific walk-in environment filling an entire 5,000-square-

C

Opposite page:

Albinos, 2006, puma shoes,

72 x 36 x 12”

Above:

Bull (and Bull textural detail), 2008,

wood and shoe soles, 96 x 72 x 36”

Images courtesy of Now Contemporary Art


foot gallery. Included in the exhibition will be works from his Animal Farm series (2008), a huge installation containing a life-sized farmer’s family made of colored pencils, with flies hovering above, framed images on the walls and flocks of birds (fashioned with pliers) in flight across the sky. Sev-eral farm animals will also be on view—all created from an assortment of objects, from clothes hangers to corks, pen-cils, sneaker soles, screwed-in pieces of wood and mop heads. Additionally, the exhi-bition will debut Uribe’s new

work—several life-sized palm trees made from the spines and fanned pages of books as well as gardens constructed of gar-dening tools.

Born in 1962 in Bogota, Colombia, Uribe studied art at the University of Los Andes in Bogota. In 1988 he left for New York to study under the supervision of Luis Cam-nitzer—the beginning of a journey that included years of training and work in Cuba, Mexico, Russia, England and finally, Miami.

Initially, Uribe’s formation began as a painter with sen-


sual and brooding canvases. He abandoned his paintbrushes in 1996, attracted by the usu-ally neglected beauty of simple objects in daily use. He began to observe these objects with care, collecting them, setting them side by side, and combin-ing them so that they became unusual instruments of a new aesthetic—full of color, irony and lively playfulness.

Humor, beauty and love are essentially what Uribe hopes viewers will take away from his exhibit. For an artist who comes from a country that has been at war for almost half a century, this is a means of rec-onciliation with life: “I have the hope that people who relate

continued on pg. 72


Left:

Key, 2008, wood and corks,

48 x 66 x 30”

Right:

Horse, 2008, wood shavings

and crutch, 96 x 72 x 48”

Images courtesy of Now

Contemporary Art



Left:

Mule, 2008, wood and shoes,

78 x 60 x 30”

Above:

Mule (textural detail)

Images courtesy of

Now Contemporary Art


to my sculptures, and live with them, will see the love I put into them,” says the artist. “I want people to feel that I do this with a lot of careful atten-tion and the purpose of beauty. I give my life to my work and I want people to see it.”

Uribe has received interna-tional recognition with exhibits in New York City, Italy, Spain, Mexico and Germany. His art-making is a labor-intensive, repetitive and compulsive pro-cess which re-envisions how the world around us is per-ceived. He introduces irony,

humor, childhood memories and fantasy in his work with a fresh association of materials and ideas. He transforms the objects of daily life into new objects that have different sig-nificance, appearance and tex-ture. Once the viewer gets past the “wow” factor of the work, Uribe’s world entices the view-er to physically experience and complete the work by interact-ing with it in a personal way.

Federico Uribe lives and works in Miami and is repre-sented by Now Contemporary Gallery in Wynwood. On View



Below (and right):

Mother (and

Mother textural detail),

2009, color pencils

and plastic fasteners,

63 x 25 x 42”

Opposite:

Dog, 2009, color pencils

and plastic fasteners,

24 x 12 x 36”

Images courtesy of

Now Contemporary Art

On v iew through O C T O B E R 13 t h a t t h e O R L A N D O M U S E U M O F A R Tw w w. o m a r t . o r g

TONY ROBBIN: A RETROSPECTIVE

“Art based on geometry is expected to be dry with only primary colors—who wrote those rules?” —Tony Robbin


On v iew through O C T O B E R 13 t h a t t h e O R L A N D O M U S E U M O F A R Tw w w. o m a r t . o r g

TONY ROBBIN: A RETROSPECTIVE

“Art based on geometry is expected to be dry with only primary colors—who wrote those rules?” —Tony Robbin

Previous pages:

Untitled, 1976,

acrylic on canvas,

54-1/2 x 140”,

gift of William D.

and Norma

Canelas Roth

Right:

1979-1, 1979,

acrylic on canvas,

56 x 70”,

Collection of

William D. and

Norma Canelas Roth


Tony Robbin: A Retrospective

TONY ROBBIN’S VIBRANT and lyrical work is founded upon the visualization of high-er-dimensional space. He has been exploring the depiction of four-dimensional objects and spatial configurations for the past 40 years. His creations are infused with complex layers of geometric forms, animated by patterns of color—all based upon scientific research in the fields of geometry, mathemat-ics and physics.

Tony Robbin: A Retrospective,at the Orlando Museum of Art, chronicles the artist’s remark-able career and includes 25 paintings, works on paper, a sculpture and video animations of four-dimensional forms. A beautifully illustrated catalogue accompanies the exhibition.

T



As a 15-year-old, Robbin was inspired by the Impression-ist paintings he saw while visit-ing Paris and decided early on that painting was his calling. He painted portraits and landscapes throughout his youth and under-graduate studies at Columbia University. His portfolio of work gained him admission into the Master of Fine Arts program at Yale University in 1965.

After Yale, Robbin held sev-eral teaching positions before landing his first exhibition in 1974 at the Whitney Museum of American Art in NY. Mar-cia Tucker, the Museum’s Curator of Painting and Sculp-ture, commented that his work looked four-dimensional, and so marked the beginning of his life-long fascination with high-er-dimensional geometry.

Shortly after the Whitney exhibit, Robbin was present-ed with two highly influential books of the early- and mid-20th century: Henry Parker Manning’s Geometry of Four Dimensions and William Ivins Jr.’s Art and Geometry: A Study in Space Intuitions. For Robbin, these books solidified his under-standing of the intersection of



1980-13, 1980,

acrylic on canvas,

56 x 70”,

Collection of

the artist




1999-4, 1999,

acrylic on canvas,

56 x 52”,

Collection of

Lisa and Joe Jensen

art and geometry as well as his fascination with their symbiosis.

Around 1979, Robbin be-came interested in mathematical visualization while visiting with Brown University mathemati-cian, Thomas F. Banchoff, who had created computer-generated images of hypercubes (objects resembling three dimensional cubes but extended into a fourth spatial dimension). Robbin was so impressed by this work that he decided to go back to school to become a computer program-mer. Within just a few months of training, he created some of the most sophisticated programs for visualizing four dimensions. His work gained him recogni-tion in both the mathematics and computer art communities.

Robbin’s closeness to the mathematics community even-tually led him to Quasicrystal geometry (a derivative of four dimensional geometry with remarkable visual properties), for which he holds the patent on its application to architec-ture. Robbin has lectured and written so widely on the idea that it is now studied in archi-tecture schools. To date, he has made two large structures—




a large architectural sculp-ture in Denmark, completed in 1994, and a mural relief for the city of Jacksonville, FL. Since the Denmark project, Robbin has worked primarily on painting, which he believes to be the most powerful of media.

Robbin has had over 25 solo exhibitions of his paintings and sculptures and has been included in over 100 group exhibitions in 12 countries. He has lectured to professional organizations and university departments of art, physics, mathematics, com-puter science, architecture and engineering in the US, Europe and Japan. His work is held in numerous museum and corpo-rate collections, including the Whitney Museum of American Art, New York; Polk Museum, Lakeland; Orlando Museum of Art; Coca Cola USA; General Electric; IBM; and Sony. He is also the author of three books: Four-field: Computers, Art and the 4th Dimension (1992), Engi-neering A New Architecture (1996) and Shadows of Real-ity: The Fourth Dimension in Relativity, Cubism, and Modern Thought (2006). Tony Robbin lives and works in NY. On View



Left:

2009-O-3,

2009,

oil on canvas,

56 x 70”,

Collection

of the artist

Above:

Tony Robbin,

courtesy

of the artist



T H E C I T Y O F T A M P A p r e s e n t s T H E B I G P I C T U R E P R O J E C T , Vo l . V I I I

o n v i e w t h r o u g h O c t o b e r 1 6 t h a t t h e T A M P A M U S E U M O F A R T

w w w. t a m p a g o v. n e t / a r t s • w w w. t a m p a m u s e u m . o r g

Hillsborough River Clarity

Karen GlaserT H E H I L L S B O R O U G H R I V E R : F R O M T H E G R E E N S W A M P T O T H E B A Y

I m a g e s b y K a r e n G l a s e r , C i t y o f T a m p a P h o t o g r a p h e r L a u r e a t e V I I I


T H E C I T Y O F T A M P A p r e s e n t s T H E B I G P I C T U R E P R O J E C T , Vo l . V I I I

o n v i e w t h r o u g h O c t o b e r 1 6 t h a t t h e T A M P A M U S E U M O F A R T

w w w. t a m p a g o v. n e t / a r t s • w w w. t a m p a m u s e u m . o r g

Karen GlaserT H E H I L L S B O R O U G H R I V E R : F R O M T H E G R E E N S W A M P T O T H E B A Y

I m a g e s b y K a r e n G l a s e r , C i t y o f T a m p a P h o t o g r a p h e r L a u r e a t e V I I I

eAch yeAr, since 2003, the city of tAmpA’s public Art progrAm has commissioned an artist to photograph a portion or perspective of the city of Tampa and/or its citizens and visitors at work, or at play, with an emphasis on what it means to be in Tampa at this particular time in history. The results of this process have produced a public collection and archive that is representative of the life and times in Tampa, by regional, national and international photographers.

Karen Glaser has photographed in Florida for nearly 20 years. Her first proj-ect, which featured manatees, culminated in a book titled Mysterious Manatees,

Green Green Swamp

Karen Glaser T h e H i l l s b o r o u g h R i v e r : F r o m t h e G r e e n S w a m p t o t h e B a y


released by the University Press of Florida, and a show with the Smithsonian. She has explored springs and rivers in the north and central part of the state and was awarded Artist in Residence at Big Cypress National Preserve and Ever-glades National Park, where she photographed both under and above water. Gla-ser was also a recent Fellow at Florida’s prestigious Hermitage Artists Retreat.

On the following pages, the artist reflects on The Big Picture Project and her travels from the swamp through the city, as she documented the unique cultural and natural landscapes of one of Florida’s most vibrant cities.


“This portfolio was created for The Big Picture Project during my tenure as the City of Tampa Florida’s 8th Photographer Laureate. This pro-gressive city project was modeled after those such as the Farm Security Administration photo program of the 1930s and ’40s and Tampa’s own historic Burgert Brothers archive. These men left an extraordinary visual link to Tampa’s past with photographs dating from the late 1800s to the early 1960s. The modern Big Picture Photogra-pher Laureate program also becomes part of an

Above (top to bottom): Aron’s Favorite; Near the Source Opposite: Brown Gars



image archive about the life and times of Tampa. Each year, via a juried process, one photogra-pher is commissioned to do a project of his or her choosing, resulting in a unique portfolio about the city. I chose the Hillsborough River as my subject. Florida is a most alluring state and a puzzle of con-tradictions. The state has a truly interesting history and a remarkable cultural and natural heritage. It is home to some of the most unique natural areas in the world. That said, it is no secret that there is a constant balancing act between the preservation of


Above (top to bottom): Fallen Palm at Hillsborough River State Park; Fish Camp



Florida’s wild areas and development. For me, the tie that binds all in this most diverse state is water. And my obsession has been Florida’s freshwa-ters, its springs, rivers and swamps. This interest recently culminated in an exhibition at the South-east Museum of Photography, in Daytona Beach, titled The Mark of Water: Florida’s Springs and Swamps. The Hillsborough River Project allowed me to take my work one step further. The story of this specific river speaks volumes about Tampa, one of Florida’s most vibrant cities. The river

begins at the still wild Green Swamp in Pasco County. Like so many other natural areas in Flor-ida, it is a relatively short drive from the city. Not only is this area the headwaters of the Hillsbor-ough, it is also the headwaters of the Withlacooch-ee, Peace and Ocklawaha rivers. When I began the project, I spoke to my friends Bill and Mar-tin who are Tampa natives and have been friends since childhood. For them, the river was just part of growing up and has always been in their lives. It flows into Hillsborough Bay where, as boys, they


water-skied and fished. These waters were a place of adventure when they were young—Bill even found a dead body floating in it one day. Martin wished I could have talked to his dad. He lived in Tampa all of his 90 years. By trade, he owned a menswear store. By heart, he was an avid fish-erman. He REALLY knew the waters around Tampa. For nearly a century he explored them and saw them change. For a visual artist, the paradoxi-cal scenery—as I traveled through time both cul-turally and naturally from the swamp through the

city—was irresistibly compelling. I allowed the work to bend and flow, in whatever direction the experience took me—all the while creating work that reflects the life and character of Tampa in a very special way. The Hillsborough River proj-ect I created as the 2010 Photographer Laureate is formally complete. I commend the city for hav-ing such a forward-thinking program. My time of explorations and new directions this project nur-tured, continues, and I welcome the vulnerability that it brings.” —KAren glAser

Above: Bayshore Blvd.; Opposite: Yacht Club




09.09-10.17 at the DUNEDIN FINE ART CENTERwww.dfac.org


s t e p r i g h t u p A n d s e e t h e A m A z i n g w o n d e r s o f t h e w o r l d … the strangest, most exotic things imaginable…and even some you could never imagine! Sideshow, at the Dunedin Fine Art Center, presents fresh interpretations of the ‘sideshow’, a phenomenon which, in its heyday —from the mid-1800s to the mid-1900s—was one of the big-gest draws in entertainment. A sampling of these works, by a few of the artists represented in this show, are included here in this sneak pre-view—each have rekindled the wonder and spectacle of this bygone era through their unique visions, which draw from current events and pop cul-ture as well as the rich history of traveling carnivals and circuses.

SIDESHOWART

O F T H E

5

O F T H E

“The concept for Sideshow originally sprang from Florida’shistorical connection as the wintering grounds for circus, carnie and sideshow folks since the 1930s. What intrigued us was the number of contemporary artists whose works draw obvious inspiration from the genre. Artists Lori Ballard, Bryan Cunningham, Amy ‘Banner Queen’ Johnquest, Daniel Mrgan, Chris Rush, John & Lynn Whipple and Kreg Yingst share distinctly modern interpretations of the ‘sideshow’ that speak to the present, tilted moment. Come see DFAC’s Sideshow...AMAZING! LIVE! ORIGINAL!” —Catherine Bergmann, Curator, Dunedin Fine Art Center

Art of the Sideshow

Previous page: Amy ‘Banner Queen’ Johnquest, There Is No Elephant, 2010, approx. 39” x 7’, acrylic on canvas ; Above: John Whipple, Parade, 24 x 72”, mixed media

*Images may be representational of artists’ works on display.


“The concept for Sideshow originally sprang from Florida’shistorical connection as the wintering grounds for circus, carnie and sideshow folks since the 1930s. What intrigued us was the number of contemporary artists whose works draw obvious inspiration from the genre. Artists Lori Ballard, Bryan Cunningham, Amy ‘Banner Queen’ Johnquest, Daniel Mrgan, Chris Rush, John & Lynn Whipple and Kreg Yingst share distinctly modern interpretations of the ‘sideshow’ that speak to the present, tilted moment. Come see DFAC’s Sideshow...AMAZING! LIVE! ORIGINAL!” —Catherine Bergmann, Curator, Dunedin Fine Art Center

Art of the Sideshow

Previous page: Amy ‘Banner Queen’ Johnquest, There Is No Elephant, 2010, approx. 39” x 7’, acrylic on canvas ; Above: John Whipple, Parade, 24 x 72”, mixed media

*Images may be representational of artists’ works on display.


LORI BALLARD...“I have long appreciated the art of the circus sideshow banner line. About 7 years ago, I began to document the people and the attractions of carnival life. As I got more and more excited about my images, I began to wonder how I could recreate the banner line art with my photography. One day I recalled someone telling me about heat transfers—a perfect solution

Art of the Sideshow

The Century Wheel (Ferris Wheel), 44 x 64”, photo iron-on on canvas with acrylicMiles Block (detail), 5.5 x 8”, photographic print mounted on wood block with acrylic


because it offered the weathered appearance I was looking for and the final coat of sepia tinted acrylic medium added to the antique feel that seems to transcend time. Although I want the banners to be traditional in their structure, I use mostly monochromatic images as opposed to the traditional bright colors that are used for midway advertisement.”

The Century Wheel (Ferris Wheel), 44 x 64”, photo iron-on on canvas with acrylic Clown Block, 5.5 x 8”, photographic print mounted on wood block with acrylic


BRYAN CUNNINGHAM...Bryan Cunningham (a.k.a. MUTIE) has always been attracted to sensational advertising —those ads in the back pages of comic books promising X-ray vision and he-man strength, sideshow banners depicting nature’s grotesque mistakes, and the mail order hoodoo spells and powders guaranteed to rid you of your enemies, put a lover under your spell and get you

Art of the Sideshow

Jackalope, 20 x 25”, acrylic and enamel on wood, textile and canvas with found objects


rich quick. Of course what you get is a pair of paper glasses and spring loaded grips, some crafty taxi-dermy and bags of bad smelling incense. Yet, oh how these exaggerated promises and lurid visuals stoke the delinquent fires of the imagination! Cunningham uses his skills in painting and wood work-ing to create unique mixed-media assemblages hand crafted from recycled wood and found objects.

Money to Burn, 12.25 x 20”, acrylic and enamel on wood, textile and canvas with found objects

AMY ‘BANNER QUEEN’ JOHNQUEST...“My work is influenced by the historical adver-tising in traveling circuses and sideshows. Using modern pop cultural references and imaginary scenarios, I play with text and imagery in a painterly way, finding double entendres and curiosities in the language of signage. These paintings are a balancing act of heartfelt sincerity and tongue-


Art of the Sideshow

Welcome to the Fun Spot, 2011, 38” x 7’, casien & acrylic on muslin Don’t Miss Peace on Earth, 1999, 38” x 7’, casien & acrylic on muslin


in-cheekiness...In the end, my images translate in any number of directions: political, evolutionary twists, loving tributes, weird science, or good ol’ comic relief.” Johnquest created her first sideshow banner in 1998 and has been exploring her art through this genre ever since, attracting commissions from notables such as Bruce Springsteen, Disney Magazine, American Express and more.”

Art of the Sideshow

It’s Here We Have It, 2005, approx. 39” x 3’, casien & acrylic on brown cotton mesh


DANIEL MRGAN...“I am a compulsive doodler. I’ll doodle any chance I get on any surface available. I save most of my doodles and sometimes spread them out on the floor or a bed. I look at these drawings and wonder what event, color, smell, object, childhood memory, everyday pop culture debris, etc., possessed me to commit all this nonsense to paper. Then I start connecting the

Art of the Sideshow

Slug, woodburning with wood stain and water colors, approx. 8 x 10”


dots, coming up with little stories that amuse me and hopefully will translate into amusement for the viewer. Stylistically, my wood burnings owe much to my passionate love of the sideshow, cinema, Fleischer Studios’ cartoons, silent cinema, small press comics, daguerreotypes, Olympic games and East European stop motion animation.”

Rooster, woodburning with wood stain and water colors, approx. 8 x 10”


Art of the Sideshow

CHRIS RUSH...“As a child I searched junk shops and thrift stores for evidence of life outside my little world. Over and over I would come across old medical books full of scary and beautiful images. In 1998, I began to work in a facility for people with mental and physical disabilities, with the agreement that I would sketch during the quiet hours. After several months, I began to make

Eclipse, from the Spin Art Series, 8 x 10”, oil on gessoed cardboard, courtesy of the Mindy Solomon Gallery


portraits. There is a strange grace around many of these people and I have found no better way to represent this than as a condition of light.”

These portraits, placed in the middle of a carnival style ‘spin art’ frame, were included in the art-ist’s 10-year retrospective of figurative studies at the Mesa Center for Contemporary Art in 2010.

Nectar, from the Spin Art Series, 8 x 10”, oil on gessoed cardboard, courtesy of the Mindy Solomon Gallery


Art of the Sideshow

JOHN WHIPPLE...“I started my career as an art director and illustrator and then shifted to film and television when Universal Studios and Nickelodeon opened in Orlando. I used the experience of painting large scenic backdrops to become a muralist. In 1996 while doing the Piedmont show in Atlanta, I met artists who brought their ‘art car’ to the show and they inspired me to decorate a car and

Chain Smoker, 32 x 40”, mixed media


take it to the Houston Art Car Parade. I wanted to embellish the car with sculptural elements, so I taught myself to carve. The whole experience inspired me and I now spend my studio time flitting back and forth from sculpture to painting, trying to let each discipline influence the other. At present, I am still painting and incorporating found objects with hand carved wood to create assemblage style sculptures.”

Side Show, 32 x 40”, mixed media


Art of the Sideshow

LYNN WHIPPLE...Whipple is drawn to the absurd, believing that humor is one of humanities greatest gifts. She incorporates drawing, painting, collage, sewing and found objects in her assem-blage work and relishes the search for interesting items. Fascinated by history, old books, lost let-ters, worn fabrics, family photographs, wooden boxes and odd pieces of memorabilia, her process

Image fom Ninnies series, 4.25 x 6.5”, mixed media


is to surround herself with all of these found items and play, seeing how different combinations will take hold and lead her down a path. Whipple’s work, at times, may be playful or serious, simple or complex, large or small. She enjoys objects with a past and things that are slightly beat up but have much more charm because of their journey.

Image fom Ninnies series, 4.25 x 6.5”, mixed media

Art of the Sideshow


KREG YINGST... As a child, Yingst reveled in watching his grandfather perform magic tricks in front of crowds of people. The innocence and wonderment of that special time remains with him to this day. In addition to using magic tricks as subject matter in his art, he depicts circus sideshows and performances. “The circus has always been a close relative to the magic show, depicting con-

Invisible Man, 24 x 12” framed, acrylic on panel Sideshow, 16 x 8” framed, acrylic on panel


jurors and hosting many famous magicians. The specialty items off the midway presented embel-lished attractions of a dubious nature. This body of work merges the strange, humorous and surreal. My Magic/Circus Series is, in a sense, an homage to my Grandfather. The series is a nostalgic look at childhood wonder and a time remembered…an era that has virtually ‘disappeared’.” On View

Starving Artist, 24 x 12” framed, acrylic on panel Trapeze Artists, 24 x 12” framed, acrylic on panel

THE MENNELLO MUSEUM of American Art presents an exhibition of striking abstract works by the father of “Astro-ism” and Vero Beach resident, Ron Van Sweringen.

Van Sweringen describes himself as a “slightly eccen-tric” self-taught artist. Over the past 35 years, he has trans-lated his lifelong fascination with art of all kinds into oil paintings ranging from early primitive and impressionist to classic landscape, still life and beach scenes. His many expressive styles have capti-vated a loyal following of art lovers around the world.

Most recently, this multi-di-mensional artist has been in-spired by the art of airborne painting, or “Astroism”—an original method he developed which utilizes airborne appli-cations to create uniquely vi-brant interpretations of his subjects. Derived from Ab-stract Symbolism, “Astroism” produces paintings created in midair. Pigment from the artist’s brush is thrown onto a canvas at rapid speed, pro-


SPOTLIGHT{ R O N V A N S W E R I N G E N }

E x h i b i t i o n

Ron Van SweringenOn view through September 25th at The Mennello

Museum of American Art, Orlando www.mennellomuseum.com

ducing images of incredible action and vitality. Reminis-cent of the movement inspired by Jackson Pollock’s famous “drip” paintings, “Astroism” works of art are created when paint is “thrown” at an upright canvas. The larger of these canvases can require up to five thousand throws to com-plete the compo-sition. The artist’s brush rarely touch-es the canvas, ren-dering control of the pigment near-ly impossible. The airborne paint ar-rives on the can-vas upon its own terms, creating a spontaneous vital-ity—the hallmark of this new school of painting. Van Sweringen describes this process as an obsession “…it rules you!” All of his paintings reflect a sense of proportion, style, color and beauty in the world he sees around him—and he is compelled to share this vi-sion on canvas.

Born in Hampton, VA, in 1936—and heir to the C&O Railroad fortune—Van Swer-ingen began painting when he was just 9 years old, after re-ceiving his first oil set. Dur-ing his adult life, he lived in Old Town Alexandria, VA, and later relocated to Vero Beach. He received notoriety in the

art world when, in 1982, Nancy Rea-gan discovered his work in a George-town gallery and purchased two im-pressionist paint-ings for the pri-vate residence at the White House.

In addition to having his works hung at the White House—in both

Reagan and Bush administra-tions—Van Sweringen’s real-ist and representational-styled works have been included in exhibitions at the Corcoran Museum of Art in Washing-ton, DC, and in various pri-vate national and internation-al collections. On View

opposite page:

Fascination, acrylic on canvas,

38 x 30”, Private Collection


1. Close to Heaven, acrylic

on canvas, 40 x 30”, Collection

of Michael A. Mennello

2. Manhattan, acrylic on canvas,

60 x 48”, Private Collection

left:

RON VAN SWERINGEN,

courtesy of the artist

S P O T L I G H T

Van Sweringen describes himself as a “SLIGHTLY ECCENTRIC”

self-taught artist.

LILIAN GARCIA-ROIG IS A native Cuban and currently a professor of art at Florida State University. She has been prac-ticing the art of landscape paint-ing en plein air over the past several years, primarily in New England, the Pacific Northwest and North Florida.

Although her work is rooted in historical convention, she tran-scends the typical definition of a landscape painter—her large-scale, surface leavened works transform the plane of the can-vas into a painterly relief and piv-ot between the recognizable and the abstract. From afar, the paint-ings appear highly realistic but upon closer inspection, the im-ages fade into pure abstraction. Her impastoed surfaces, created with brushes, gloved fingers and squeezed out paint, elicit com-parisons to Vincent Van Gogh and Willem de Kooning.

“ I try to capture the character of seemingly ordinary landscapes in a way that reflects a passion-ate engagement with the scene and with the painting process,” the artist explained. “I work on-site because it is the only way for


PROFILE{ L I L I A N G A R C I A - R O I G }

E x h i b i t i o n

“EN PLEIN” SIGHT: Paintings by Lilian Garcia-Roig

On view September 17th through December 10th at the Polk Museum of Art, Lakeland

www.polkmuseumofart.org

a painter to capture the multi-di-mensional experience of a land-scape, focusing in and out at vari-ous depths, noticing and trying to balance various relations among spatial elements such as color, size, shape and visual weight…Moreover, by working on-site, I can achieve an expanded sense of time in the work. Monet fa-mously remarked that he could notice the light change in a scene after only sev-en minutes, so his problem was how to capture the overall impression of a spe-cific moment in so little time. For me, as the light changes in the scene, differ-ent features come to my attention and are recorded on the can-vas…In this way, I see more than what is apparent at any one mo-ment. This is not available in a photograph, which only captures a single monocular instant. Our memory of places is much more like a summary of highlighted moments experienced at differ-

ent times but compressed into one intense impression.”

Garcia-Roig obtained her M.F.A. in 1990 from the Uni-versity of Pennsylvania. She has received numerous awards, in-cluding the Joan Mitchell Foun-dation Award in Painting, State of Florida Individual Artist Grant and NEA Grant as well as res-

idencies to Skow-hegan, MacDowell and Vermont Center Colonies. Her work has appeared in sev-eral recent solo ex-hibitions, including Hyperbolic Nature (2010) at MOCA, Jacksonville; More Than a Brush With Nature (2010) at UNF Gallery, Jack-sonville; Caught in the Act of Looking:

Post-Modern Plein-Air (2010) at Broward College Gallery, Hol-lywood; Nature of Being There (2009) at the Bob Rauschen-berg Gallery, Edison College, Ft. Myers; and Cumulative Na-ture (2007) at Carol Jazzar Gal-lery, Miami. On View

opposite page:

1. St. Mark’s inlet (florida),

2006, 48 x 36”


1. Big River Rocks (Washington),

2010, 30 x 30”

2. central panel of Fall flows

triptych (northeast), 2008, 48 x 48”

3. Water and rock flows

(Washington), 2010, 48 x 48”

left:

LILIAN GARCIA-ROIG,

courtesy of the artist

P R O F I L E

Garcia-Roig TRANSCENDS THE TYPICAL definition of a LANDSCAPE

painter.

THIS SUMMER, VISIT THE Morikami and be inspired to go fly a kite! Japanese kites and kite papers, including striking multi-colored images of famous sam-urai warriors, demons, sea crea-tures and more, are on display.

These high-flying, colorful constructions of paper and bam-boo are the products of artist-craftsmen following centuries of inherited tradition. Kites and kite-flying were introduced from China as early as the 8th centu-ry and were often used for mil-itary and religious purposes. Kites were flown to appease the wishes of the gods and to pray for successful harvests and healthy children—purposes for which they continue to be used today.

Kite-making, as a profession, began to develop in provincial castle towns at the end of the 16th century. Regional kite-making traditions thrived dur-ing the Edo Period (1600-1868) that followed, as kite-flying be-came popular among the grow-ing urban population.

Kite-making continues to be carried on in local craft tradi-tions throughout Japan. These


CRAFT{ J A P A N E S E K I T E S }

E x h i b i t i o n

Catching Air: Kites of JapanOn view through October 2nd at the Morikami Museum and Japanese Gardens, Delray Beach

www.morikami.org

traditions dictate the form and decoration of local products and differentiate them from others. While dozens of kite-making centers exist, three broad types of kites designs are distinguishable according to place of origin—The “north-ern” type (designs which mi-grated from northern mainland Asia), the “southern” type (those which derive from south-ern Asia and Indo-nesia), and the “in-digenous” type (designs evolved sole- ly within Japan).

The first type in-cludes the Baramon, Magoji and Oniyo-zu kites, known for their intricate fram-ing structure and complex shapes that require tails to retain equilibrium in flight. The popular Yakko, or footman design, is also a “northern” kite.

The second type is exempli-fied by the Nagasaki Hata, a simple diamond-shaped kite that may have derived from a primi-tive kite made from a leaf. Both

“northern” and “southern” kites predominate in the southwestern region of the country.

The “indigenous” kite is based on simple geometric shapes like rectangles and hexagons, and in-cludes the Edo and Sanjō Rokkaku kites. “Indigenous” designs pre-dominate in northeastern Japan.

The most influential of all Japanese kite-mak-ing traditions was that of Edo (pres-ent-day Tokyo). The relatively sim-ple construction of Edo kites and their wide range of mo-tifs, drawing from history and legend, had an impact on re-gionally made kites everywhere. Fierce, wild-eyed warriors

predominated on these kites, which drew considerable inspi-ration from the ukiyo-e wood-block prints also produced in Edo through much of the 18th and 19th centuries. Today, such kites offer a unique look at Jap-anese values, legends and his-tory. On View

opposite page and above:

typical forms and decoration

found in traditional japanese

kite designs

left:

YŌSHŪ Chikanobu (1838-1912),

woodblock print, flying kites at

new year’s (detail)

C R A F T

Edo KITES drew INSPIRATION from “ukiyo-e” WOODBLOCK PRINTS of Edo.

S N A P S H O T S …we all have them. Popular since the 1880s, following the introduction of cheap, easy-to-use, hand-held cameras, the snapshot is consid-ered by many photographers to be the purest form of photogra-phy—the true momentary cap-turing of a candid moment.

Photographer, Elizabeth Brady Robinson, exploits the tradition of the snapshot to ex-amine and document social and cultural environments. Her work is informed by the tech-nology of instant mobile image capture as well as travel and landscape photography. Rob-inson’s images offer multiple points of view and cross-cul-tural references while evoking momentary life experiences.

In her newest photography exhibition, Transfer, at Cornell Fine Arts Museum, the snap-shot aesthetic is used as a means to record the environment by combining instant mobile im-age capture with the concept of drifting. The exhibit, which features photographs of fleeting landscapes taken from the win-dow seats of cars, trains and air-


FOCUS{ E . B R A D Y R O B I N S O N }

E x h i b i t i o n

E. Brady Robinson: Transfer On view through October 9th at Cornell Fine Arts Museum at Rollins College, Winter Park

www.rollins.edu/cfam

planes—as well as still images taken on the street—is a map-ping of geography encountered as the artist drifted from various landscapes. Within this body of work, Robinson has created new formal and conceptual re-lationships between contrast-ing images through the use of scale and sequence. A sense of rhythm and move-ment guides viewers through the series of images which visu-ally define an area where social land-scapes, personal ex-periences and pure aesthetics meet.

Robinson first be-came intrigued with this concept in the fall of 2004 while teaching in Corto-na, Italy, for the University of Georgia. She began shooting images from bus windows dur-ing her travels through Europe and loved the effect of the blurs and reflections on her imagery.

Born in 1970 and raised in Winchester, VA, Robinson grav-itated toward photography at

an early age. Her mother gave her a camera when she was very young and the two pho-tographed together while tak-ing trips through the Virgin-ia countryside. While in high-school, she started stringing as a freelance photojournalist for The Northern Virginia Daily and The Winchester Star.

E. Brady Rob-inson received her BFA from the Maryland Institute College of Art in Baltimore, MD, and her MFA in photog-raphy from Cran-brook Academy of Art in Bloomfield Hills, MI. Her work has been exhibited at the Orlando Mu-seum of Art; Corco-

ran Gallery of Art in Washing-ton, DC; ZONES Art Fair, Mi-ami; and Art Now Fair, Miami Beach. She is Associate Profes-sor in the MFA program in Stu-dio Art and the Computer at the University of Central Florida and maintains a studio in Washing-ton, DC, and Orlando. On View

opposite page (top to bottom):

1. route 11, 2011,

inkjet print, 18 x 24”

2. Wynwood, 2011,


above (top to bottom):

1. i-4 light, 2011,


2. mco underpass, 2011,


3. above virginia, 2011,


left: E. BRADY ROBINSON

IMAGES courtesy of the artist

F O C U S

E. Brady Robinson EXPLOITS

the TRADITION OF the

SNAPSHOT.

Documents

On View 08-09.2011