american evolution/ martin schoeller: barbara sorensen:

Von iewD E C E M B E R 2 0 1 1 / J A N U A R Y 2 0 1 2F L O R I D A

50thA N N I V E R S A R Y O F

AmericanSTUDIO GLASS...

F E A T U R I N G

Evolution/REVOLUTIONA T T H E

N A P L E S M U S E U M

O F A R T

A N D

STUDIO GlassA T T H E

N O R T O N M U S E U M

O F A R T ,

W E S T P A L M B E A C H

A N D

Martin Schoeller:CLOSE UP

A T T H E B O C A R A T O N

M U S E U M O F A R T

P L U S

Barbara Sorensen:

TOPOGRAPHIESA T T H E

O R L A N D O

M U S E U M O F

A R T

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

ON THE COVER :

DAVID BENNETT,

HANDSTAND WITH BENT LEG,

2011, BLOWN GLASS

AND BRONZE, 56 x 24 x 24”

RIGHT:

DEBORA MOORE,

SUNSET EPIDENDRUM -

GIGANTICA, 2011,

HOT SCULPTED GLASS,

18 x 16 x 10”

IMAGES COURTESY OF

HABATAT GALLERIES, MI

44 Naples and West Palm Beach 50th ANNIVERSARY OF AMERICAN STUDIO GLASS

In celebration of the golden anniversary of American studio glass, the Patty & Jay Baker Naples Museum of Art and Norton Museum of Art are each showcasing exquisite works from leading American glass artists of the past half century, in two sparkling new exhibitions.

CONTENTSD e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 V o l . 2 , N o .5

Von iewD E C E M B E R 2 0 1 1 / J A N U A R Y 2 0 1 2F L O R I D A

50thA N N I V E R S A R Y O F

AmericanSTUDIO GLASS...

F E A T U R I N G

Evolution/REVOLUTIONA T T H E

N A P L E S M U S E U M

O F A R T

A N D

STUDIO GlassA T T H E

N O R T O N M U S E U M

O F A R T ,

W E S T P A L M B E A C H

A N D


A T T H E B O C A R A T O N

M U S E U M O F A R T

P L U S

Barbara Sorensen:

TOPOGRAPHIESA T T H E

O R L A N D O

M U S E U M O F

A R T

56 Boca Raton

MARTIN SCHOELLER: CLOSE UPThe world’s most famous visages merge with the unknown in a succession of stripped-down, hyper-close portraits that tempt the viewer to look again and again in this capti-vating exhibit, hosted by the Boca Raton Museum of Art.

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

TOP (LEFT TO RIGHT):

MARTIN SCHOELLER, FRANKIE

VELILLA, 2001; BARBARA SORENSEN,

SHIELD DE PYRENEES W4-07, 2007;

BARBARA MULLEN, BLOWING KISS,

NY, CIRCA 1958, REINTERPRETED

1994, COURTESY OF LILLIAN

BASSMAN; APHRODITE DÉSIRÉE

NAVAB, I AM NOT A PERSIAN

PAINTING, 2000-2001, GIFT OF DR.

AND MRS. HAROLD STEINBAUM,

©2001 APHRODITE DÉSIRÉE NAVAB

RIGHT:

WILL RYMAN, ICON (WITH

PETALS), 2011, RENDERING

OF INSTALLATION AT

FAIRCHILD TROPICAL BOTANIC

GARDEN, ©WR STUDIO INC./

PHOTO BY KIRKLAND HYMAN,

COURTESY FAIRCHILD

TROPICAL BOTANIC GARDEN

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

68 Orlando

BARBARA SORENSEN:TOPOGRAPHIES Barbara Sorensen’s sculptural forms take viewers on a topogra-phical expedition at the Orlando Museum of Art. PLUS: An interview with the artist on pg. 76.

78 West Palm Beach

COCKTAIL CULTUREElan and chemistry fizz together in this intoxicating look at the cultural phenomenon of the “cocktail hour,” presented by the Norton Museum of Art.

88 Coral Gables

WOMEN, WINDOWS AND THE WORD: DIVERGING PERSPECTIVES ON ISLAMIC ART This intriguing exhibition, on display at the Lowe Art Museum, provides an opportunity for viewers to gain vistas into the com-plex and dynamic field of Islamic art.

On View Destination: Coral GablesFAIRCHILD TROPICAL BOTANIC GARDEN

108 Fairchild Tropical Botanic Garden un-veils new, large- scale works by artist, Will Ryman, as part of its highly anticipated, annual visual art program—a celebration of art and culture.

CONTENTSD e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 V o l u m e 2 , N o . 5

5COMMENTARY

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

8CALENDAR Museum exhibitions

40GALLERYA selection of gallery artists


Fo c u s

102 ERWIN WURMDrawing on history, humor and philosophy, Erwin creates light- hearted works which, at times, convey serious messages.

Pr o f i l e

104 GUERRA DE LA PAZ The collaborative efforts of Guerra de la Paz focus primarily on the use of garments as visual metaphors in their thought-provoking works. C r a f t

106TOMMY SIMPSONTommy is best known for his mixed-media sculp-tures made from carved, laminated or wheel-turned wood, combined with found objects and vivid hand-brushed colors.

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

100THEO WUJCIK

Theo is masterful at combining fragmented images of contemporary popular culture

to create powerful works that convey a range of themes, iconography and experiences.

PICTURED:

Theo Wujcik,

Elton John/Little Boy Blue,

2008, acrylic on canvas,

115 x 90”, photo: Joe Traina

C O M M E N T A R Y

As the holidAys ApproAch, I want to wish you all a very happy holiday season. A selection of fun seasonal festivities can be found in Muse, on pg. 6.

Each year, in early December, the art world con-verges around Miami for several prestigious art fairs such as Art Basel Miami Beach (www.artbasel.com), Design Miami (www.designmiami.com), Art Now Fair (www.artnowfair.com), Pool Art Fair (www.poolartfair.com) and PULSE Miami (www.pulse-art.com), to name a few. And once again, Miami’s leading private collections—among them, the Rubell Family Collection, CIFO, the De la Cruz Collection Contem-porary Art Space, World Class Boxing, the Margu-lies Collection, and the Dacra Collection—open their homes and warehouses to the public. In Addition, the museums of South Florida are staging important exhi-bitions to coincide with Art Basel, including Enrique Martinez Celaya and American People, Black Light: Faith Ringgold’s Paintings of the 1960s at the Miami Art Museum; Erwin Wurm: Beauty Business at the Bass Museum of Art, Miami Beach; Jenny Saville at the Norton Museum of Art, West Palm Beach; Lib-erty, Equality, and Fraternity: French Design for Liv-ing at The Wolfsonian-FIU, Miami Beach; and Mark Handforth: Rolling Stop at MOCA North Miami—details on each can be found in our Calendar section.

It’s an exciting time and I hope you’ll have an opportunity to experience one or more of these world-class events. Cheers!

Cheers!

di A n e Mcen A n e y

Publisher & Creative Director

Editorial

Publisher & Creative Director

di A n e Mcen A n e y

Contributing Editor

pA u l At w o o d

Editorial Assistant

th e r e s A MAv r o u d i s

Advertising

Marketing & Sales Director

pA u l Mcen A n e y

Contact

[email protected]

[email protected]

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

by On View Magazine, LLC. No portion of this

publication may be reproduced without prior

permission of the publisher.

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O n V i e w M a g a z i n e . c O M • d e c e M b e r 2 0 1 1 / J A n u A r y 2 0 1 2 5

Von iewM A G A Z I N E

IF YOU LOVE ART

and are looking to add some magic to the holidays, here are

a few events you might like to consider...

DUNEDIN: Through December 23rd, the Dunedin Fine Art

Center presents The Greatest (Holiday) Show on Earth!, an

invitational exhibition featuring a collection of works from around

the country that any of your friends or relatives would be delighted

to find under their tree. Call for details: 727.298.DFAC

LAKELAND: The Polk Museum of Art celebrates Kwanzaa

on December 26th. Learn about the principles that Kwanzaa is

founded upon and do a little dancing with the Kuumba Dancers

and Drummers of Tampa Bay. Call for details: 863.688.5423

OCALA: Through December 31st, the Appleton Museum of

Art presents A Dicken’s Christmas: The Urban Family Holi-

day Collection, an exhibition of miniature Charles Dickens-era

ICelebrate

MUSE

villages, toy trains, Christmas trees, holiday decorations and ornaments. Call for details: 352.291.4455

PALM BEACH: On December 4th, the Flagler Museum

holds its Annual Tree Lighting ceremony featuring the 16-foot

Grand Hall Christmas tree adorned with lights and traditional

ornaments in the Gilded Age style. Seasonal refreshments,

brief organ and piano performances and holiday caroling add

to the festivities. Call for details: 561.655.2833

VERO BEACH: Join the Vero Beach Museum of

Art, on December 4th, for a free traditional holi-

day party for the children and families of the Trea-

sure Coast. Call for details: 772.231.0707

WEST PALM BEACH: Stroll through the enchanted

Ann Norton Sculpture Gardens, December 3rd-4th

and 7th-11th, during the 5th annual Festival of Trees,

with over 25 trees decorated around “The Magic of

the Movies” theme. Call for details: 561.832.5328

WEST PALM BEACH: The Norton Museum of Art’s

Holiday Family Festival takes place on December 4th and

embraces holiday traditions of different cultures. Treasure

hunts, face painting, storytelling, live music and dance, holi-

day inspired art activities and decorated trees await! Call for

details: 561.832.5196

WINTER PARK: On December 10th, the Albin Polasek Muse-

um and Sculpture Gardens provides prime viewing for the Win-

ter Park Boat Parade and Festival of Lights. Food, drink and

live music will kick off the festivities. For details call: 407.647.6294

WINTER PARK: On December 24th, the Morse Museum

invites the public to enjoy the museum’s galleries, at no charge—

a peaceful respite from the busy holiday season. Call for details:

407.645.5311 On View


MUSE

PICTURED:

image courtesy

of Ann Norton

Sculpture

Gardens

12 .2011-01.2012

BOCA RATON

12.13.11-03.18.12

American Treasures: Masterworks from the Butler Institute of American ArtBoca Raton Museum of Artwww.bocamuseum.org

American Treasures includes a selection of significant exam-

ples of American art from the 19th to the late 20th centuries, featuring a virtual who’s who of Ameri-can masters.

01.18-03.18.12

Martin Schoeller: Close Up Boca Raton Museum of Artwww.bocamuseum.org

This exhibition pres-ents 48 arresting, large-format im-ages that challenge the viewer to question topics such as self-representation, celeb-rity and photographic honesty as well as the impressive explan-atory power of portrait photography. (See story on pg. 56.)

01.18-03.18.12

Natura Morta: Photographs by Patrizia Zelano Boca Raton Museum of Artwww.bocamuseum.org

Natura Morta (Still Life) features 18 color photographs by one of Italy’s most interesting and controversial pho-tographers. Included are works from three portfolios: Attesa silente (Quiet Wait), Cenci (Rags) and In Carne ed Ossa (In Flesh and Blood).

Thru 01.08.12

Outsider Visions: Self-taught

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


1. Frank Weston Benson, Red and Gold, 1915, oil on canvas, 31 x 39”, courtesy of The Butler Institute of American Art 2. Martin Schoeller, Jackson, 2005, C-Print, ©Martin Schoeller, courtesy of the artist, Ace Gallery and August Agency 3. Patrizia Zelano, In Carne ed Ossa [In Flesh and Blood]#6 Caravaggio, 2008, archival digital print on dibond and plexiglass, 23.6 x 35.4”, courtesy of the artist

{ S P E C I A L E X H I B I T I O N S * • C O M P I L E D B Y O N V I E W }

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

Southern Artists of the 20th CenturyBoca Raton Museum of Artwww.bocamuseum.org

A veritable feast of more than 75 capti-vating works by self- taught artists, this exhibition presents rare and fascinating pieces from the collection of Ted and Ann Oliver.

Thru 05.13.12

Portraits from the Permanent Collection Boca Raton Museum of Art

www.bocamuseum.org

From the pensive gaze of Georgia O’Keeffe in pro-file, to the powerful punch of Mohammed Ali’s fist, this exhibi-tion presents more than 50 images in all media, explor-ing the intimate, as well as very public,

faces of artists, celebrities, politi-cians and everyday people.

12.13.11-01.08.12

Selections from The World

According to Federico UribeBoca Raton Museum of Artwww.bocamuseum.org

Colombian conceptual artist, Federico Uribe, is known for his fasci-nating transformation of everyday objects into art. Included in this exhibition are works from Uribe’s 2008 Animal Farm and the debut of his new creations. (See story in the August/ September 2011 issue on pg. 64.)

CORAL GABLES

12.01.11-05.31.12

Will Ryman

Fairchild Tropical Botanic Gardenwww.fairchildgarden.org

Sculptor, Will Ryman, has designed a series of larger-than-life fiberglass and stainless steel flowers and insects for the Fairchild’s 2011-2012 art season. Viewers,

young and young at heart, will enjoy Ryman’s organic and playful sculp-tures set amidst the Fairchild’s lush tropical gardens. (See On View Destination on pg. 108.)


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

1. Mose Tolliver, Siamese Twins, 1980s, house paint on plywood, 24 x 21”, courtesy of Ann and Ted Oliver 2. Andy Warhol, Muhammad Ali, 1979, silkscreen on Strathmore Bristol paper, edition no. 3/150, 4 panels, 40 x 30” each, Permanent Collection, gift of Dr. Richard Golden 3. Federico Uribe, Bull, 2008, wood and shoe soles, 96 x 72 x 36”, courtesy of Now Contemporary Art 4. Rendering of Icon (with Petals) by Will Ryman, 2011, at Fairchild Tropical Botanic Garden, ©WR Studio Inc. / photo by Kirkland Hyman, courtesy Fairchild Tropical Botanic Garden

1. Yu Haibo, image courtesy of Lowe Art Museum 2. Aphrodite Désirée Navab, I Am Not a Persian Painting, 2000-2001, gelatin silver print, 18-5/8 x 14-7/8”, gift of Dr. and Mrs. Harold Steinbaum, ©2001 Aphrodite Désirée Navab 3. El Alma de Maria, image courtesy of Lowe Art Museum 4. Dagmar Hollmers, Veiled Metaphors, 24 x 36”, acrylic, leaf, petals, gel on canvas

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

Thru 01.15.12

China: InsightsLowe Art Museum, University of Miamiwww.lowemuseum.org

This exhibit brings together the work of 7 photographers from mainland China—each has undertaken the long-term documenta-tion of one or more aspects of Chinese culture that reflects something vital about China now—whether emerging or vanishing.

Thru 04.22.12

Women, Windows

and the Word: Diverging Perspectives on Islamic ArtLowe Art Museum, University of Miamiwww.lowemuseum.org

The complex theme of Islamic art is examined in 3 in-tertwining themes: Muslim women as creators and subjects of art, Western views of the Islamic world, and decoration and the written word. (See story on pg. 88.)

Thru 09.23.12

Saintly Blessings from Mexico: The Joseph D. and Janet M. Shein Collection of Retablos Lowe Art Museum, University of Miamiwww.lowemuseum.org

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

CORAL

SPRINGS

Thru 01.03.12

Dagmar Hollmers: Connecting to NatureCoral Springs Museum of Artwww.csmart.org

A series of mixed-media and collage, Connecting to Nature examines South Florida’s palettes and curious vegetation.


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


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

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

1. Michael Mills, Marquee Moon, courtesy of the artist and Coral Springs Museum of Art 2. Henri de Toulouse-Lautrec, Divan Japonais, 1893, lithograph, printed in color, 31-5/8 x 23-7/8” 3. Harry Moulis, MD, Morning ‘Do, 2011, Yellow-Crowned Night Heron, Ormond Beach, FL

Thru 01.03.12

Michael Mills: The Object in QuestionCoral Springs Museum of Artwww.csmart.org

The Object in Question presents recent photographs by the locally based artist and art critic, Michael Mills, who finds inspiration in industrial matter, found objects and things that have been used and discarded.

Thru 02.11.12

Toulouse- Lautrec and His 19th Century MentorsCoral Springs Museum of Artwww.csmart.org

Coral Springs Museum of Art presents a one-of- a-kind exhibition of 19th Century Impressionist art created by interna-tionally known artists, Henri Tou-louse-Lautrec, Mary Cassatt, Alphonse

Mucha, Edgar Degas, Edouard Manet, James Whistler, Pierre- Auguste Renoir and other notable Impressionists.

DAYTONA

BEACH

Thru 12.11.11

Florida and its Wildlife: Through the Lens of Harry Moulis, MDMuseum of Arts & Scienceswww.moas.org

This exhibition highlights Harry Moulis’ love of Florida’s wetlands and waterways and the creatures of its dusk and dawn, including those that wing across its rosy sunrise and burrow

‘neath the surface of the ground.

(See story in the October/November 2011 issue on pg. 50.)

12.15.11-03.18.12

Greek and Russian Icons: From the MOAS Collections+Illuminated Medieval and Renaissance Manuscripts: From the Collection of Ronald R. McCarty


1. Courtesy of Museum of Arts & Sciences 2. Laura Woodward, Royal Poinciana at Lake Worth, Florida, 1889 3. Courtesy of Museum of Arts & Sciences

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

Museum of Arts & Scienceswww.moas.org

The iconic visions of Russian and Greek saints, and the historic stories of the saints themselves, are beau-

tifully and strikingly represented in Greek and Russian Icons, depicting both miracu-lous stories of the past and the rich heritage of both nations.In Illuminated Medi-eval and Renaissance Manuscripts, the art of embellishing hand-scribed books and

manuscripts with col-ored, gold and silver margins and pictorial ornamental letters is exquisitely presented in a rare collection of text leaves, Biblical miniatures and Books of Hours.

Thru 04.01.12

Historic Portraits from the CollectionMuseum of Arts & Scienceswww.moas.org

Oil paintings from the historic international scene by Eastman Johnson, Thomas Sully and the famed English artist, George Morland, are featured in addition to bronze and marble portrait busts, delicate porce-lains, daguerreotypes and the perfection of French and Ameri-

can framed miniature portraits.

Thru 03.25.12

Reflections II: Watercolors of Florida 1835-2000, from the Collection of Cici and Hyatt BrownMuseum of Arts & Scienceswww.moas.org

A stunningly beau-tiful follow-up to Reflections I, which debuted at MOAS in 2009, Reflections II presents a broad, full-color survey of wa-tercolors of Florida in a range of styles, including examples within Realism, Im-

pressionism, Post-Im-pressionism, Ashcan, Regionalism, Mod-ernism and varieties of Abstraction.

Ongoing

The Arts of Africa from the MOAS CollectionMuseum of Arts & Scienceswww.moas.org

This collection of ex-quisite African tribal objects is considered one of the most excit-ing and exotic group-ings within the Mu-seum Collection as a whole. In their historic homeland, these items

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

1. Douglas Kirkland, Elizabeth Taylor, 1961, ©Douglas Kirkland 2. Image (detail) ©Kate Brooks 3. Image ©Khalid Hadi

D a y t o n a 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 3 2 }

originally played vital roles in daily events such as ceremonies for celebration, initia-tion from childhood into adulthood and preparation for war or harvesting.

Thru 02.19.12

Douglas Kirkland Retrospective: Fifty Years of PhotographySoutheast Museum of Photographywww.smponline.org Renowned for his work in photojournalism, celebrity portraiture and film photography, Douglas Kirkland’s retrospective is a com-pelling look into a career spanning over 5 decades. With just under 200 images, this exhibition features

portraits of celebrities alongside iconic stills taken on the sets of acclaimed films. (See story in the October/November 2011 issue on pg. 74.)

Thru 12.16.11

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 in the August/September 2011 issue on pg. 44.)

Thru 12.16.11

Portraits from Afghanistan by Khalid HadiSoutheast Museum of Photographywww.smponline.org 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. (See The Power of the Image in the August/

September 2011 issue on pg. 46.)

DeLAND

Thru 01.15.12

4 Florida Museum for Women Artistswww.floridamuseumfor

womenartists.org


1. Image courtesy of Florida Museum for Women Artists 2. Image courtesy of the Trammell and Margaret Crow Collections 3. Image courtesy of Morikami Museum and Japanese Gardens

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

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

4 showcases the remarkable talents of four Florida-based women artists. Fea-tured are paintings in oil and acrylic by plein air artist, Pam Griesinger; works in oil and pastel by Rainey Dimmitt; digital photography and transfers by Anna Tomczak; and creations in acrylic and print by Trish Thompson.

Thru 01.15.12

Wrap it Up Florida Museum for Women Artistswww.floridamuseumfor

womenartists.org

This show of fine works by contempo-rary Florida Crafts-women, is presented in the Museum’s Lee Gallery, which has been transformed into an interactive instal-lation of purchasable fine art crafts.

DELRAY BEACH

Thru 01.22.12

Small Wonders: Japanese Snuff Bottles from the Trammell and Margaret Crow Collection of Asian Art

Morikami Museum and Japanese Gardenswww.morikami.org

On display are more than 40 exquisite ex-amples of Japanese snuff bottles, pro-duced during the Meiji Period (1868–1912), for export abroad. These small, intri-cately designed bottles exemplify the superb technical virtuosity and artistic sensibility of late 19th and early 20th century Japanese craftsmen.

Thru 01.22.12

Zenmi—A Taste of Zen: Paintings, Calligraphy and Ceramics from the Collection of Riva Lee AsbellMorikami Museum

and Japanese Gardenswww.morikami.org

Featured in this exhibition are paint-ings, calligraphy and ceramics by Zen mas-ters of the 17th to the 20th centuries. The works are examples of the genre of Japa-nese art called zenga, which originated in the 17th century as spiritual exercises, aids to meditation and visual sermons show-ing the path to Zen enlightenment.

DUNEDIN

Thru 12.23.11

Believe It or Not?


1. Cynthia Holmes, Friends, oil on panel 2. Lynn Ponto-Peterson, The Nutmeg Lantern, watercolor, 3 x 3” 3. Alessandro Di Mariano Filipepi (called Sandro Botticelli), Madonna with Child (Madonna della loggia), ca. 1466-1467, oil on panel, collection of the Uffizi Gallery, Florence, Italy

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

Dunedin Fine Art Centerwww.dfac.org

This international show features con-temporary artists whose creations are quite simply—un-believable! Included are works by Carrie Ann Baade, Cheryl

Coon, Cynthia Hol-mes, Jennifer Le-derhouse, Jennifer Maestre, Carol Prusa, Brian Ransom, Jason deCaires Taylor and collaborative artists, Comenius Roethlis-berger and Admir Jahic.

Thru 12.23.11

The Greatest (Holiday) Show on Earth! Dunedin Fine Art Centerwww.dfac.org

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

01.15-02.05.12

The Miniature Art Society of Florida Dunedin Fine Art Centerwww.dfac.org

The 37th Annual International Minia-ture Art Society Exhibition returns

featuring another stunning array of works by the finest calligraphers, painters and sculptors working worldwide in minia-ture today.

FORT

LAUDERDALE

Thru 04.08.12

Offering of the Angels: Old Master Paint-ings and Tap-estries from the Uffizi GalleryMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

Featuring tapestries and paintings by some of the greatest artists of the Renaissance and Baroque periods, this highly-acclaimed exhibition includes paintings by Sandro Botticelli, Parmi-gianino, Alessandro Allori, Luca Giordano

and Lorenzo Monaco, selected by Antonio Natali, director of Florence’s famous Uffizi Gallery.

Thru 05.27.12

Primordial: Paintings and Sculpture by


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

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

1. Isabel De Obaldía, Blue Idol (Idolo azul), 2008, sand cast glass, 17 x 8 x 5”, Mary-Anne Martin Fine Art, NY 2. Roberto Behar and Rosario Marquardt, wall mural for Museum breezeway, courtesy of Museum of Art/Ft. Lauderdale, Nova Southeastern University 3. Kenneth Hayes Miller, Leaving the Shop, n.d., lithograph from the collection of Dr. August and L. Tommie Freundlich

Isabel De Obaldía, 1985–2011

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

Demons, gods, ghosts and beasts are the subjects of this mid-career retrospective of the work of Pana-manian-based artist, Isabel De Obaldía, who explores the art of ancient cultures.

Thru 2013

Wall Paintings: Installations by

Auturo Herrera, Gavin Perry, Jen Stark and Roberto Behar & Rosario Mar-quardtMuseum of Art /Fort Lauderdale, Nova Southeastern Universitywww.moafl.org

The Museum of Art has just unveiled four new art installations commissioned to enliv-

en all four sides of the Museum’s structure.

GAINESVILLE

Thru 06.03.12

A Singular Vision: Recent

Gifts from the Freundlich CollectionHarn Museum of Artwww.harn.ufl.edu

Among the selected highlights in this exhibit are numerous drawings from art-ists’ sketchbooks that relate to larger fin-ished works such as paintings, sculpture, prints or mural proj-ects. Artists repre-sented include Milton Avery, George Bel-lows, Robert Gwath-mey, Childe Hassam, Leon Kroll, Gaston Lachaise, Raphael Soyer and Marguerite Zorach.

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 cul-turally excluded from the promise of global development. In this exhibition, Salgado documents famine in Africa and manual la-bor around the world.

Thru 12.31.11

Soaring Voices: Contemporary Japanese Women Ceramic ArtistsHarn Museum of Art


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

1. Etsuko Tashima, Cornucopia 03-III, 2003, stoneware and glass, photo ©Taku Saiki 2. Sergio Vega, Tropical Rococo (detail), 2002, RC print, Museum Purchase, funds provided by the Caroline Julier and James G. Richardson Acquisition Fund 3. Photograph from the exhibition Artist Unknown/The Free World “pairings”, anonymous images collected by John D. Monteith and Oliver Wasow 4. Freddy Jouwayed, Sensesinfission, 2011, pigment pen, marker and acrylic on paper 5. Giannina Coppiano Dwin, Untitled (Bra), 2009, sugar

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

www.harn.ufl.edu

Soaring Voices demon-strates the shift in Japa-nese society toward individual women artists becoming recog-nized in an artistic realm traditionally held by men. This exhibit features 87 works by

25 exceptional women artists who reflect Ja-pan’s rich and innova-tive ceramic culture.

Thru 08.2012

Open Engage-ment: Strategies in Art, Love and War Harn Museum of Art

www.harn.ufl.edu

Open Engagement represents 25 inter-national artists who explore, recreate and imagine the nu-ances of love and war across time and place.

HOLLYWOOD

Thru 01.29.12

Artist Unknown/The Free WorldArt and Culture Center of Hollywood

artandculturecenter.org

This US premiere of a first-of-its-kind exhibition features hundreds of im-ages of vernacular photography found online by artists John D. Monteith and Oliver Wasow. From the bizarre to the sublime, these anon-ymously sourced amateur photographs provide a fascinat-ing view of Ameri-can culture through the new frontier of social media.

Thru 01.29.12

Freddy Jouwayed: Forks in the Wave FunctionArt and Culture Center of Hollywoodartandculturecenter.org

Miami based artist, Freddy Jouwayed,

presents a site-specific installation of his

labor-intensive draw-ings on paper.

Thru 01.29.12

Giannina Coppiano Dwin: Nothing We Call Our OwnArt and Culture Center of Hollywoodartandculturecenter.org


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

1. Larry Clark, Dead 1970, 1970, courtesy of the artist, Luhring Augustine, NY 2. Gustavo Godoy, Fast-formal Object: Big Blue, 2010, mixed media con-struction, 18 x 32 x 19’ 3. William Eggeleston, Memphis (Tricycle), ca. 1969-70, dye transfer print

Ecuadorian native, Giannina Coppiano Dwin, expresses in her work a desire to transform simple ma-terials into symbols of life’s basic needs. For her exhibition Nothing We Call Our Own, Dwin presents a site specific installa-tion, performance and photography.

JACKSONVILLE

Thru 01.08.12

Larry Clark: The Tulsa SeriesMuseum of Contemporary Art, Jacksonville www.mocajacksonville.org

A harrowing account of the aimless drug use, violence and sex activities of Clark’s circle of friends is de-picted in this searing photo documentary.

Taken in 3 protracted series between 1963 and 1971, the Tulsa photographs com-bine the documentary style and narrative sequencing of a Life magazine photo essay with startling inti-macy and emotional intensity.

Thru 03.11.12

Project Atrium: Gustavo Godoy

Museum of Contemporary Art, Jacksonville www.mocajacksonville.org

Known for his uncon-ventional and large sculptures, this Los Angeles-based art-ist creates interactive constructions made of plexiglass, plywood and wall polish, simul-taneously playful and replete with art histori-cal references.

01.28-04.08.12

ReFocus:Art of the ’60sMuseum of Contemporary Art, Jacksonville www.mocajacksonville.org

This is the first of a 3-part series examin-ing contemporary art in the 1960s,’70s, and ’80s. Featured artists for the ’60s installation include

Andy Warhol, Pablo Picasso and Roy Lichtenstein.

Thru 01.08.12

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


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C A L E N D A R { P g. 1 2 o f 3 2 }

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

1. Eugene Savage, Orchid Trail, 1935, oil on canvas on Masonite board, 13 x 13” 2. Photograph by Ingrid Damiani 3. Interior of Cummer Home (detail), ca. 1958, gelatin print, The Cummer Museum of Art & Gardens Archives 4. Tea Caddy from the Queen Marie of Hanover Coffee and Tea Service, ca. 1730, porcelain with painted decoration Johann Gregorius Höroldt, 4-1/3”

Thru 01.08.12

Eugene Savage: The Seminole PaintingsThe Cummer Museum of Art & Gardens www.cummer.org

In the 1930s, Eugene Savage became enchanted with the Seminole Indian tribe and depicted them in paintings and works on paper—each presents Seminole traditions in a manner reminiscent of Art Deco and Surre-alist dreamscapes. (See story in the October/November 2011 issue on pg. 62.)

Thru 01.09.12

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.

Thru 12.31.11

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

As part of its 50th Anniversary season, The Cummer has unveiled a restored Tudor Room gallery, incorporating panel-ing, flooring, fur-nishings, a fireplace and a selection of art from the Cummers’ home, to recreate the domestic sphere in which their collec-tion was originally displayed.

Thru 12.31.11

The Wark Collection of Early Meissen PorcelainThe Cummer Museum of Art & Gardens

www.cummer.org

More than 3 years

of planning and research have cul-minated in a new reinstallation of The Wark Collection of Early Meissen Por-celain, recognized as the most important collection of Meissen in the US.


1. Lilian Garcia-Roig, Rapid Waters, 2010, oil on canvas 2. Hunt Slonem, Lories, 2011, oil on canvas, 60 x 70” 3. Jessica Lange, Mexico, ed. 2/20, 2008, silver gelatin print, Polk Museum of Art Permanent Collection, gift of Robert and Malena Puterbaugh 4. Margaret Ross Tolbert, Juniper Springs, 1993, oil on canvas, 72 x 48”, Polk Museum of Art Purchase Award: 1993 All-Florida Biennial

LAKELAND

Thru 12.10.11

“EN PLEIN”

SIGHT: Paint-ings by Lilian Garcia-RoigPolk Museum of Art

www.polkmuseumofart.org

Garcia-Roig tran-scends the typical definition of a land-scape painter. Her style oscillates be-tween realism and abstraction, combin-ing brushwork with thick globs of color, forced directly onto the canvas. (See story in the August/Sep-tember 2011 issue on pg. 116.)

12.17.11-03.24.12

Hunt Slonem: An Expressive NaturePolk Museum of Artwww.polkmuseumofart.org

As a youth in Hawaii, Slonem developed an early affinity for nature, especially the various species of

tropical birds living on the island. These natu-ral forms ultimately became the subjects for his art.

Thru 12.10.11

Jessica Lange: In Mexico Polk Museum of Art

www.polkmuseumofart.org

Through Lange’s pho-tography, we witness a fusion of intimacy and curiosity. In Mexico reveals slivers of her experiences with the country’s culture.

Thru 01.21.12

The Blues

Polk Museum of Artwww.polkmuseumofart.org

In conjunction with its annual Red, White & The Blues celebra-tion, Polk Museum of Art pays homage to the cool color by displaying works from its Permanent Collection wherein blue is a major com-ponent.

MAITLAND

12.09.11-02.26.12

Borders of Paradise: The New World in the Eyes of ExplorersMaitland Art Centerwww.artandhistory.org

Imagined and exagger-ated portrayals of the Americas are presented through maps, etch-


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

1. J. Trentsensky (After Jacques le Moyne de Morgues, French (ca. 1533–1588), Floridaners of 1500, ca.1825 (le Moyne original ca.1564), lithograph on paper, on loan from the Museum of Arts and Sciences, gift of Kenneth Worcester Dow and Mary Mohan Dow 2. Camilo Velasquez, image courtesy of Art & History Museums, Maitland 3. Federico Castellon, Stop Him and Strip Him I Say, 1968, lithograph/collection of the Kalamazoo Institute of Arts, Direc-tor’s Fund Purchase, 1969 4. Ernst Oppler, Untitled (Dance of Bacchantes), ca. 1900, oil on canvas, 18 x 14-5/8”, gift of Susan Wood, Permanent Collection, Foosaner Art Museum, Florida Institute of Technology

ings, engravings and lithographs from the 17th through 19th cen-turies, depicting tales of mysterious, lost paradises and fantastic

creatures from evolv-ing primitive worlds.

Thru 01.22.12

Dialogue: Camilo Velasquez

Maitland Art Centerwww.artandhistory.org

Velasquez’s work combines imagery, text and assemblage in a sophisticated network of juxtaposi-tions. Both poetic and sublime, his art is a series of mono-logues and dialogues on life and death.

MELBOURNE

01.13-03.18.12

Fear and Folly: The Visionary Prints of Francisco Goya and Federico CastellonFoosaner Art Museumwww.foosanerartmuseum.org

Many artists have been drawn to things dark and fantastic, but few have probed the

human condition with the insight and truth-fulness found in these images, which include Castellon’s litho-graphs for Edgar Allen Poe’s The Masque of the Red Death and Goya’s etchings from Los Disparates (or The Proverbs). Thru 01.08.2012

Treasures Revealed: Selections from the Permanent Collection Foosaner Art Museumwww.foosanerartmuseum.org

Explore the Museum’s extensive and diverse Permanent Collection, which includes prints and drawings from the Ernst Oppler archive, Chase Art Deco ob-jects from the Enrique and AnaMaria Conill Mendoza Collection of American Industrial Design, and works by important 20th century women artists, includ-

ing Alice Aycock, Miriam Schapiro and Louise Nevelson.

Thru 12.17.11

Interwoven: Contemporary


Textile Art by Alejandrina Cué, Andrea Donnelly and Jennifer GlassRuth Funk Center for Textile Arts at FIT

http://textiles.fit.edu

Interwoven showcases the work of 3 contem-porary fabric artists whose visual imagery exploits the inherent quality of fabric ma-terials to portray both the fragility and depth of the human psyche.

MIAMI

Thru 01.01.12

Center of AttentionArtCenter/ South Florida www.artcentersf.org

Center of Attention presents a group show highlighting ArtCenter resident artists.

01.07-02.19.12

Potential Amend-ments: Jenny Brillhart, Vincent Hemphill and Moira Holohan

ArtCenter/ South Florida www.artcentersf.org

This show is based in structure, form and mark-making—all three artists work within made and found forms, conceiving pos-sibilities that allow for reworking, acknowl-

edged errors, purpose and process.

12.01.11-03.04.12

Erwin Wurm: Beauty BusinessBass Museum of Art www.bassmuseum.org

Erwin Wurm: Beau-ty Business makes its debut during Art Ba-

sel Miami Beach 2011.Wurm combines var-ious art forms into a unique personal view of the everyday world. Drawing on history, humor and philosophy, he creates light-hearted artworks with, at times, serious messages. (See story on pg. 102.)

Thru 02.12.12

Portrait of a Young Man:Laurent Grasso


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

1. Alejandrina Cué, Restauradora de Sueños, 2011, textile collage with oil paint 2. Lissette Schaeffler, By the Hour, photographic print, 2011 3. Jenny Brillhart, NH Storage, oil on panel, 34 x 38”, 2009 4. Erwin Wurm, Little Big Earth House, 2003/2005, silverplated bronze, 7-7/8 x 13-3/8 x 9-7/8”, courtesy of the artist; Xavier Hufkens, Brussels; Galerie Thaddaeus Ropac, Salzburg and Paris; and Lehmann Maupin, NY 5. Laurent Grasso, 1610 (detail), 2011, neon tubes, transformer, edition of 5 & 2 A.P., 98-7/16 x 137-13/16”, courtesy of Sean Kelly Gallery, NY

Bass Museum of Art www.bassmuseum.org

Grasso juxtaposes his-torical works from the Permanent Collection with his own series of paintings, sculptures, videos and neons to form unexpected con-nections that become reflections on the past, from a contemporary viewpoint.

Thru 01.01.12

American People, Black Light: Faith Ringgold’s Paintings of the 1960sMiami Art Museum www.miamiartmuseum.org

The works presented in this exhibition represent an unprec-edented artistic explo-ration of the intersec-

tions of race, gender and class, made in direct response to the social upheavals of the 1960s.

Thru 01.01.12

Anchor Gallery: Enrique Martinez CelayaMiami Art Museum www.miamiartmuseum.org

Schneebett is a two-room installation in-

spired by Beethoven’s convalescence and death in 1827. The ti-tle, Schneebett (Snow-bed), is from a poem by Holocaust survivor, Paul Celan—a medita-tion on death.

01.15-02.26.12

Dana Schutz: If the Face Had Wheels

Miami Art Museum www.miamiartmuseum.org

Schutz combines fan-tasy and reality, and humor and horror, to create figurative paintings that abound with expressionist en-ergy and a distinctive

visual style character-ized by vibrant color and raw and tactile brushwork.

Thru 03.18.12

Focus Gallery: Marcel DuchampMiami Art Museum

www.miamiartmuseum.org

This is a rare opportu-nity for audiences to experience the seminal French artist’s work firsthand. Among the works presented is MAM’s edition of De ou par Marcel Duch-amp ou Rrose Sélavy (Boîte-en-valise) [From or by Marcel Duchamp or Rrose Sélavy (Box in a Suitcase)].


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

1. Faith Ringgold, American People, Black Light: Faith Ringgold’s Paintings of the 1960’s 2. Enrique Martinez Celaya, Schneebett (Snow-bed), 2003-4, installation (detail), dimensions variable, collection Miami Art Museum, promised gift of Dieter & Si Rosenkranz 3. Dana Schutz, Swimming, Smoking, Crying, 2009,oil on canvas, collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS, gift of Marti & Tony Oppenheimer & the Oppenheimer Brothers Foundation, photo courtesy of the artist & Zach Feuer, NY 4. De ou par Marcel Duchamp our Rrose Sélavy (Boîte-en-valise), Series D, 1941/1961, ed. 1/30, collection Miami Art Museum, Museum Purchase with funds from Lang Baumgarten & Mimi Floback & Sally Ashton Story in memory of Jon Ashton, photo: Sid Hoeltzell, ©2011 Artists Rights Society (ARS), NY / ADAGP, Paris / Succession Marcel Duchamp

Thru 02.19.12

Mark Handforth: Rolling StopMuseum of Contemporary Art, North Miami

www.mocanomi.org

Mark Handforth was the first Miami artist to receive a solo show at MOCA, North Miami in March 1996. He has since achieved major inter-national recognition and has become an important role model for Miami artists. (See story in the October/November 2011 issue on pg. 104.)

Thru 02.19.12

Color on Color

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

Color on Color pres-ents works by different artists in which the use of color is not used as a representation,

but as the essence of the artwork.

Thru 01.08.12

Magdalena Fernández: 2iPM009 The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

In her video instal-lation, 2iPM009, Fernández brings Geo-

metric Abstraction to a new level of expres-sion, incorporating sound and movement of lines and colors.

Thru 01.15.12

Modern Meals: Remaking American Foods from Farm to Kitchen The Patricia & Phillip Frost

Art Museum http://thefrost.fiu.edu

Modern Meals ex-plores how technology and design remade the places where food was produced, sold, cooked and eaten, from the turn of the century into the post-1945 period. Posters, prints and advertisements as well as objects such as toasters, cookware and tableware are on display.

Thru 01.08.12

The Florida Artist Series: Humberto Calzada—The Fire Next Time The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Cuban-American art-ist, Humberto Calzada, presents an exhibition


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1. Mark Handforth, Rolling Stop, 2008, aluminum, vinyl and acrylic, 96 x 96”, courtesy of the artist and Gavin Brown’s enterprise 2. Karina Peisjovich, Color Making Machine (Eight-Movement Suite), 2010, light projection, installation view at Theories at Recoleta Cultural Center, courtesy of MACBA 3. Magdalena Fernández, 2iPM009, 2009, video installation with sound, dimensions variable, digital animation: Marcelo D’Orazio, sound effects, corporal percussion: courtesy Perpetuum Jazzile, installa-tion view at Periférico Caracas, 2011, photographer: Ángela Bonadies, courtesy of the artist and Faría+Fábregas Galería, Caracas 4. Poster, Corn. The Food of the Nation, 1918, designed by Lloyd Harrison (dates unknown), published by the US Food Administration, commercial color lithograph, The Wolfsonian–FIU, gift of Henry S. Hacker

of recent works on the idea of “fire”— the fire of war, the fire of light and the fire of passion and emo-tions—with its meta-phorical properties that are both destruc-tive and regenerative.

Thru 12.04.11

Tirzo Martha: Afro-Victimize

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

The Frost Art Mu-seum hosts a video installation by Tirzo Martha, who recently participated in the 1st international Triennial of the Caribbean in the Dominican Republic.

Thru 03.18.12

Tour de France/Florida: Con-temporary Art-ists from France in Florida’s Pri-vate Collections The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

This exhibition fea-tures paintings by French artists Christian Boltanski, Sophie Calle, An-nette Messager and

Bernar Venet—many of which have never before been presented to the public.

Thru 08.2012

Manifest and Mundane: Scenes of Modern America from the Wolfsonian Collection

The Wolfsonian–Florida

International University www.wolfsonian.org Witness how artists manifested in their work the most pro-found and the most mundane aspects of American life through this display of more than 50 American paintings, sculptures and fine art prints from the 1920s to the ’40s.

Thru 01.2012

Statistically Speaking: The Graphic Expres-sion of DataThe Wolfsonian–Florida International University www.wolfsonian.org Statistically Speaking highlights eye-catch-ing statistical graph-ics from the first half of the 20th century


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1. Humberto Calzada, Untitled, 2011, from the exhibition The Fire Next Time, acrylic on canvas, 47 x 47”, courtesy of the artist 2. Tirzo Martha, Afro victimize, video, 2009, site specific performed at “Licht Aan Zee”, Kunsthall 52, Den Helder, The Netherlands 3. Christian Boltanski, Untitled (Reserve), 1989, clothes, black and white photographs and lights, 111 x 64 x 7”, ©Christian Boltanski / ADAGP, Paris, courtesy of the Rubell Family Collection 4. Torvalt Arnt Hoyer, Barn, 1938, produced for Federal Art Project, Works Progress Administration, Illinois, oil on board, The Wolfsonian–FIU, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, photo: Silvia Ros

in The Wolfsonian’s rare book and special collections library. The works in this exhibition were vehicles for the ambitions of Portu-guese imperialists, soviet propagandists

and American New Dealers.

Thru 03.26.12

Liberty, Equality and Fraternity: French Design for LivingThe Wolfsonian–Florida

International University www.wolfsonian.org This exhibition exam-ines the changing po-litical, economic and cultural contexts in which French design is created and dissem-inated. Approximately 150 objects on dis-play include furniture, industrial design and craft created by some of the most celebrated French designers of the past and present.

Thru 01.16.12

Jungle Sweat, Roseate by Naomi FisherVizcaya Museum & Gardens www.vizcayamuseum.org

Jungle Sweat, Roseate is a video piece and installa-tion by artist, Naomi Fisher, which tells the fantastical story of a female char-acter’s experiences after stumbling upon Vizcaya from

the depths of the mangroves.

NAPLES

12.17.11-01.15.12

Lithography from Galerie Mourlot, New York

Naples Art Association at The von Liebig Art Center

www.naplesart.org

The Naples Art As-sociation hosts this exhibition showcas-ing signed lithograph prints and vintage posters by Alexander Calder, Marc Chagall, Raoul Dufy, Fernand Léger, Henri Matisse, Joan Miró and Pablo Picasso.

01.28-02.27.12

The Art of Tommy Simpson


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1. Portfolio plate, Average Monthly Wages in Various Branches of Industry, from The Struggle for Five Years in Four, ca. 1934, published by State Publishing House of Fine Arts, Moscow, 7-1/2 x 9”, The Wolfsonian–FIU, The Mitchell Wolfson, Jr. Collection 2. Martin Szekely, chaise lounge, Pi, 1984, Galerie Néotù, Paris (producer), steel, aluminum paint, leather, foam, Centre national des arts plastiques, France, ©Martin Szekely/CNAP/photo: Jean Tholance/Les Arts déco-ratifs, Paris 3. Naomi Fisher, Production Still from Jungle Sweat, Roseate, 2011, courtesy Vizcaya Museum and Gardens and Naomi Fisher, ©Vizcaya Museum and Gardens, Miami, Florida, all rights reserved 4. Joan Miró, Salon de Mai, 1966, lithographic poster, 26.5 x 19.5”, courtesy of Galerie Mourlot, NY

Naples Art Association at The von Liebig Art Centerwww.naplesart.org

Simpson is an “imag-inist” who has worked in nearly every me-dium, including wood-working, painting, printmaking, clay, woodcarving, book-making, jewelry and

even prose. (See story on pg. 106.)

Thru 01.15.12

Edgar Degas:The Private Impressionist—Works on Paper by the Artist and His Circle

Naples Museum of Art

www.thephil.org

This captivating exhi-bition of 90 rare works by French master, Edgar Degas, includes drawings, prints, pho-tographs, etchings, a sculpture and a letter, in addition to works on paper by artists in Degas’ circle, includ-ing Mary Cassatt, Paul Cézanne and Henri de Toulouse-Lautrec.

12.15.11-04.01.12

Evolution/ RevolutionNaples Museum of Artwww.thephil.org

The evolution of Stu-dio Glass is traced in this delightful exhibi-tion, which includes a wide assortment of exquisite work from the leading American glass artists of the past half century, including Marvin Lipofsky, Dale Chihuly and many

others. (See story on pg. 44.)

Thru 06.30.12

Leaders in American ModernismNaples Museum of Artwww.thephil.org

An exciting new selec-

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

01.14-04.29.12

Louise NevelsonNaples Museum of Artwww.thephil.org

This insightful ex-hibition features a remarkable variety of works from throughout Nevelson’s prolific career, ranging from massive wall pieces to more intimate wood sculptures.


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

1. Tommy Simpson, Bonhomie, 2010, mixed woods bench, 26 x 39 x 15”, photo: Brad Stanton 2. Edgar Degas, Before the Race, ca. 1895, color lithograph (collaboration with the printer Auguste Clot), image courtesy of Landau Traveling Exhibitions 3. Leah Wingfield, Chance Meeting = Love, 2010, cast glass, 17 x 17.5 x 4”, courtesy of Habatat Galleries, MI 4. Arthur B. Davies, Facades, oil on canvas, 23 x 28”, collection of the Naples Museum of Art, Museum Purchase

12.06.11-03.25.12

Manolo ValdésNaples Museum of Artwww.thephil.org

This stunning retro-spective features a variety of paintings and sculpture that demon-strate the range and singular talent of inter-nationally renowned

Spanish master, Mano-lo Valdés.

Thru 06.30.12

Modern Mexican MastersNaples Museum of Artwww.thephil.org

This new installation reflects the colors, vibrancy, beauty and mystery of Mexico and includes works by David Alfaro Siqueiros, Miguel Covarrubias and José Clement Orozco.

01.24-04.15.12

Prendergast to PollockNaples Museum of Artwww.thephil.org

Featured in this sur-vey are key works from some of the most important artists of the first half of the 20th century, including Mau-rice Prendergast, Mark Rothko, Arthur Dove, Ashile Gorky, Jackson Pollock and more.

Thru 06.30.12

Selections from The Patty & Jay Baker Naples Museum of Art Permanent CollectionNaples Museum of Artwww.thephil.org

Throughout the season, the Museum will feature rotating exhibitions of selec-tions from the Per-manent Collection, including new and recent acquisitions and art never before

displayed in the Mu-seum.

Thru 12.30.11

Steve Tobin’sNatural HistoryNaples Museum of Art

www.thephil.org

Tobin, has transformed the wonders of na-ture into monumental sculptures in bronze, steel, glass and ceram-


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1. Manolo Valdés, Retrato de una Dama con Collar, 2009, mixed media on canvas, 76.8 x 70.9”, ©Manolo Valdés, courtesy Marlborough Gallery, NY 2. Pedro Friedeberg, Cualquier Lado Por Arriba (Any Side Up), 1975, acrylic on board mounted on wood, 29 x 29”, collection of the Naples Museum of Art, gift of Harry Pollak, ©Pedro Friedeberg 3. Jackson Pollock, No. 34, 1949, enamel on paper mounted on masonite, 22 x 30”, Edward W. Root Bequest, Munson-Williams-Proctor Arts Institute Museum of Art, Utica, NY, Photo: Williamstown Art Conservation Laboratory, ©2011 Pollock-Krasner Foundation /Artists Rights Society (ARS), NY 4. Alfred Eisenstaedt, Premiere at La Scala, Milan (detail), gelatin silver print, 25-1/2 x 21”, collection of the Naples Museum of Art, bequest of Herbert & Ruth Abramson 5. Steve Tobin, Steelroot series, Untitled, 2010, steel

ics. (See story in the October/November 2011 issue on pg. 42.)

Thru 06.30.12

The Mouse House: Works from the Olga Hirshhorn CollectionNaples Museum of Art

www.thephil.org

The Mouse House is a treasure trove of intimate-sized works from some of the gi-ants of 20th century art. This delightful ex-hibition recreates the environment of Hirsh-horn’s art-packed home in Washington, known as “The Mouse House.”

OCALA

01.21-03.11.12

For the Love of the Sea: Watercolors of Philip SteelAppleton Museum of Artwww.appletonmuseum.org

Steel’s paintings re-flect a lifelong love of the sea and the people whose lives are affected by it.

Thru 01.22.12

Katharine Hepburn: Dressed for

Stage and ScreenAppleton Museum of Artwww.appletonmuseum.org

This exhibition show-cases an extensive collection of the screen legend’s performance clothes, which include stage and film cos-tumes spanning Hep-burn’s 6-decade career as well as apparel she wore for publicity purposes. (See story in

the October/November 2011 issue on pg. 86.)

12.03.11-01.15.12

Scenes from the

South: American Art from the Collection of James Fuller

Appleton Museum of Art

www.appletonmuseum.org

Presented are more than 30 works of art depicting views of southern landscapes and interiors as created by some of America’s most im-portant artists.

ORLANDO

Thru 04.29.12

The Serious Art of Make-BelieveOrange County Regional History Center


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1. Installation view of The Mouse House: Works from the Olga Hirshhorn Collection exhibition 2. Philip Steel, Light In A Storm 3. Katharine Hepburn, publicity photograph 4. Jessie Conklin, Louisiana Cabin

www.omart.org

Enjoy a rare opportu-nity to peek inside the creative genius behind the theme-park enter-tainment experience. Discover how imagi-nary worlds of unique characters, objects, and environments start with the art and design revealed in this exhibition of detailed drawings, architectural plans, set designs, props and costumes.

01.07-04.01.12

Barbara Sorensen: TopographiesOrlando Museum of Artwww.omart.org

Topographies is the largest retrospective of work by artist, Bar-bara Sorensen, who is known for her large-scale installations. Her sculptures serve as references to geo-logical forms and the conceptual notion of

the vessel. (See story on pg. 68.)

Thru 01.01.12

Eight from FloridaThe Mennello Museum of American Artwww.mennellomuseum.com Eight from Florida features items from

the Museum’s Col-lection or The City of Orlando’s Collection. Included are works by Robert Rauschenberg, James Rosenquist, Jose Bedia, Margaret Tol-bert, Sandy Winters, Dan Gunderson, Leslie Neuman and John Chamberlain.

01.20-03.18.12

Style & Grace: The Michael and Marilyn Mennello Collection The Mennello Museum of

American Artwww.mennellomuseum.com This exhibit features paintings portraying women in many varied settings—in the gar-den, at repose, lighting Chinese lanterns and attending an outdoor musical concert. Works created by George Bellows, John White Alexander, and

Milton Avery are on display.

01.06-03.18.12

William H. Johnson: An American Modern


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

1. Terra Queen’s bike from the 2005 Halloween Horror Nights at Universal Orlando Resort 2. Barbara Sorensen, Shield de Pyrenees W4-07, 33 x 30 x 4”, stoneware & stones, 2007 3. Dan Gunderson, Toys Are Us, mixed media 4. Lila Cabot Perry, The Japanese Children, ca. 1900, oil on canvas, from the collection of Michael Mennello

The Mennello Museum of American Artwww.mennellomuseum.com One of the most im-portant African Ameri-can artists of the 20th century, William H. Johnson produced a body of work that focused on biblical themes, Harlem’s en-ergy and his Southern roots.

ORMOND

BEACH

12.09.11-01.15.12

Women of the Uncommon Cloth

Ormond Memorial Art Museum & Gardenswww.ormondartmuseum.org

Women of the Uncom-mon Cloth presents the fiber work of Califor-nia’s Patricia Mont-gomery, Minnesota’s Eun-Kyung Suh and

New York’s Christina Massey.

PALM BEACH

01.31-04.22.12

A New Light on Tiffany: Clara Driscoll and the Tiffany Girls

The Henry Morrison Flagler Museum

www.flaglermuseum.us

A New Light on Tif-fany features more than 50 Tiffany lamps, windows, mosaics, enamels and ceram-ics designed by Clara Driscoll as well as nu-merous objects made under her direction by the “Tiffany Girls.”

12.03.11-01.15.12

Andy Warhol, The Bazaar Years 1951-1964The Society of the Four Arts www.fourarts.org

During the 1950s, Andy Warhol became one of New York’s most successful and prolific illustrators for magazines such as Harper’s Bazaar. This exhibition presents some of his finest con-tributions to the publi-cation, reproduced as

they were originally published.

12.03.11-01.15.12

The Art of the Illustration, Original Works of Howard Chandler Christy and J.C. LeyendeckerThe Society of the Four Arts


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

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

1. William H. Johnson, Aunt Alice, 1944, oil on compressed cardboard, courtesy Morgan State University 2. Christina Massey, from her Business and Pleasure series (#14) 3. Wisteria lamp, designed by Clara Driscoll, ca. 1901, 18-1/2” diam., New-York Historical Society, gift of Dr. Egon Neustadt 4. Andy Warhol, Fabricology; Harper’s Bazaar, July 1960

www.fourarts.org

Some of the most esteemed American art-ists of the 20th century have included illustra-tors. Two of the best are Howard Chandler Christy and J.C. Ley-endecker, whose art for Hearst Magazines

and newspapers is on display.

PENSACOLA

Thru 12.30.11

E. J. Manton: 3 Hots and a CotPensacola Museum of Art

www.pensacola

museumofart.org

Manton’s photography explores the daily lives of homeless individu-als and families in mo-ments of rest, reflec-tion, joy and sorrow.

Thru 02.12.12

Woven and Wrapped: Kimonos, Clothing and Culture from Early 20th Century JapanPensacola Museum of Artwww.pensacola

museumofart.org

A wide sampling of

kimonos explores the history, styles and symbolism of the traditional Japanese garment.

PONTE VEDRA

BEACH

12.09.11-12.29.11

Small Objects ExhibitionThe Cultural Centerwww.ccpvb.org

This holiday exhibi-tion includes works from over 30 artists—all less than 12 x 12” in dimension and all available for sale.

SARASOTA

Thru 01.16.12

Josef Albers:ColorThe John and Mable Ringling Museum of Art

www.ringling.org

This installation of Albers’ work is com-prised of color studies which reflect his in-vestigations into how colors interact with and alter one another when placed together.

Thru 01.29.12

The Amazing American Circus Poster:


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

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

1. J.C. Leyendecker, Thanksgiving. Sailor watching grandmother baste the holiday turkey. From The American Weekly cover, November 18, 1945, oil on canvas, signed 2. E. J. Manton, Off to Play 3. Laire, Okefenokee, Ga., 2011 4. Josef Albers, Homage to the Square, screen print, gift of Mrs. Robert Feitz, in memory of her husband

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

The Amazing Ameri-can Circus Poster showcases 80 boldly bombastic posters advertising the feature attractions and perfor-mers of the Big Top, while providing a por-trait of the American circus in its Golden Age. (See story in the October/November 2011 issue on pg. 124.)

Thru 01.08.12

Zimoun:Sculpting SoundThe John and Mable Ringling Museum of Art

www.ringling.org

Utilizing motors, wires, cardboard boxes, cotton balls and ventilators, Zimoun builds architecturally-minded platforms of sound through mecha-nized kinetic sculp-tures. (See story in the October/November 2011 issue on pg. 120.)

ST. PETERSBURG

12.17.11-04.29.12

Ancient Egypt—Art and Magic:

Treasures from the Fondation Gandur pour l’ArtMuseum of Fine Arts, St. Petersburgwww.fine-arts.org

Mummy cases and sa-cred works, tomb and temple reliefs, papyrus fragments, alabaster vessels and rare objects comprised of precious stones make this one

of the most dramatic shows ever presented at the MFA.

Thru 04.10.12

Forever in a Moment: 19th

Century Photo-graphs of EgyptMuseum of Fine Arts, St. Petersburg

www.fine-arts.org

This exhibition pres-ents photographs of Egypt created during the 19th century, a pe-riod of great archaeo-logical exploration and worldwide fascination with the rediscovered ancient culture.

Thru 12.04.11

Story and Symbol: Dutch and Flem-ish Paintings from the Collection of Dr. Gordon and Adele Gilbert


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

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

1. The Barnum & Bailey Greatest Show on Earth, Stobridge Lithographing Company, courtesy of The John and Mable Ringling Museum of Art 2. 49 prepared vibration motors/Untitled Sound Objects, Pe Lang + Zimoun 2008 3. Lid from an Anthropoid Sarcophagus (detail), wood, gessoed and painted, Dynasty XXI-XXII, 1080-720 BC, image ©Sandra Pointet 4. Antonio Beato, Travelers at the Great Pyramids (detail), ca.1870, Albumen print, gift of Dr. Robert L. and Chitranee Drapkin from The Ludmila Dandrew and Chitranee Drapkin Collection

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

The more than 30 paintings in this exhi-bition are striking and rich in the history of 16th and 17th cen-tury northern Europe, encompassing biblical stories, mythologi-cal subjects, portraits, landscapes and still lifes.

TAMPA

Thru 01.08.12

Bud Lee’s America

Florida Museum of Photographic Artswww.fmopa.org

Spanning a career that began in 1965, Lee’s images of celebrities, war, landscapes and Americana have ap-peared in Life, Esquire, Harper’s Bazaar, Rolling Stone, the New York Times, Vogue and

numerous other publi-cations.

Thru 01.08.12

Celebration of the Body: The

Work of Dianora Niccolini

Florida Museum of Photographic Arts

www.fmopa.org

In her photographic studies of the body, Niccolini reveals the subtle connections between the naked body and nature, the natural person and our universe. She invites us to look upon the body with total acceptance and reverence, in all its natural splendor.

01.19-03.12.12

Tampa: A Town With a PastFlorida Museum of Photographic Artswww.fmopa.org

FMoPA worked closely with the Tampa Bay History Center on this very special his-toric tour of the City of Tampa, which includes

vintage photographs of notable people and significant architecture.

Thru 01.08.12

No Limits: Janet Biggs


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

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

1. Michiel Jansz. van Mierevelt, Double Portrait of a Husband and Wife with Tulip, Bulb, and Shells, 1609, oil on panel, collection of Dr. Gordon and Adele Gilbert 2. Bud Lee, Clint Eastwood 3. Dianora Niccolini, Untitled, 1982, ©Dianora Niccolini, courtesy of the artist 4. Image courtesy of the Tampa Bay History Center

Tampa Museum of Artwww.tampamuseum.org

Video artist, Janet Biggs, has explored the relationships between athleticism and human ambition, individual-ism and community, and free will and control. Her work has focused on sports and natural environments ranging from a pool with synchronized swimmers to the vast expanse of the High Arctic. (See story in the October/November 2011 issue on pg. 102.)

Thru 03.04.12

Realism: Selections from

the Martin Z. Margulies Collection Tampa Museum of Artwww.tampamuseum.org

Realism juxtaposes stellar examples of the Photo-Realist move-ment in painting with a selection of sculp-tural installations by

leading contemporary artists.

Thru 12.10.11

The Talent ShowUniversity of South Florida

Contemporary Art Museum

www.ira.usf.edu

The Talent Show explores the compet-ing desires of notori-ety and privacy, and the evolving relationship between artists and audiences in our culture of reality television and Web-based social media.

VERO BEACH

Thru 12.31.11

Against the Grain: Wood

Sculpture by Robert F. Lyon Vero Beach Museum of Artwww.verobeachmuseum.org

Robert Lyon creates innovative sculpture in turned wood, utilizing form and color to ex-press beauty, fragility, memory and our con-nection to the earth. (See story in the Oc-

tober/November 2011 issue on pg. 106.)

Thru 01.08.12

Inspired by Nature: Celebrat-ing the Beauty and Complexity of Trees Vero Beach Museum of Art


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

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

1. Janet Biggs, Fade to White, 2010, still images from the single channel video, courtesy of the artist and Conner Contemporary Art, Washington, DC 2. Tony Oursler, Coo, 2003, fiberglass sculpture, Sony VPL CS5 projector, DVD, DVD player, courtesy of Martin Z. Margulies 3. David Lamelas, Limit of a Projection I, 1967, theater spotlight in darkened room, dimensions variable, collection Walker Art Center, T.B. Walker Acquisition Fund, 2009 4. Robert F. Lyon, Double Taille, 2009, poplar, pencils and graphite, 11-3/4 x 24 x 7”, collection of the artist

www.verobeachmuseum.org

Visitors to this exhibit can enjoy the beauty and complexity of arboreal forms in the work of James Balog, Clyde Butcher, Jen-nifer Steinkamp and

Charles Burchfield, among others.

Thru 01.15.12

In the Tradition of Wyeth: Contemporary Watercolor Masters Vero Beach Museum of Artwww.verobeachmuseum.org

Focusing on water-color paintings that unify realism with emotional expression,

this exhibition features five Andrew Wyeth paintings alongside the influenced work of contemporary master watercolorists Stephen Scott Young, Ray Ellis, Dean Mitchell, William Matthews and Alan Shuptrine.

01.07-04.29.12

Matthew Geller: Woozy Blossom

Vero Beach Museum of Artwww.verobeachmuseum.org

Geller’s outdoor sculpture, Woozy Blos-som, is a 16-foot-tall tree form that spouts a foggy mist from its branches, invit-ing viewers to inter-act with the playful, unexpected masses of moist air.

Thru 12.31.11

Sculpture from the Permanent CollectionVero Beach Museum of Artwww.verobeachmuseum.org

A variety of sculptural styles are presented, including welded sculpture by David Hayes, John Henry and Lyman Kipp, kinetic sculpture by Jerome Kirk and bronze work by Han-

neke Beaumont and Thomas Ostenberg.

WEST PALM

BEACH

01.04-01.29.12

Ironworkers: Balance, Form, Finality—The Photographs of Dennis O’KainAnn Norton Sculpture Gardens


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

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

1. Clyde Butcher, Loxahatchee River #1, 1991, gelatin silver print, 34 x 54”, gift of the artist 2. Andrew Wyeth,The Wales Farm, 1967, watercolor on paper, 22 x 29-1/2”, Museum Purchase with funds provided by the Athena Society 3. Matthew Gellar, Woozy Blossom (Platanus nebulosus), 2010, steel, water, copper, pump, 16 x 8 x 8’, courtesy of the Katonah Art Museum, Katonah,NY 4. Lyman Kipp, E, 1979, painted aluminum, 84 x 30 x 48”, gift of Janet and Clark Daugherty 5. Dennis O’Kain, Iron Workers #1, 1980-90, gelatin print, 30 x 30”

www.ansg.org

Dennis O’Kain will exhibit works from his Iron Worker Series created from 1980-1990.

12.16.11-01.21.12

A Spectacle of Wings: Rosalie Winward Armory Art Centerwww.armoryart.org

A Spectacle of Wings is a selection of wild-life photographs by award winning pho-tographer and natural-ist, Rosalie Winard, whose black and white photos of wetlands birds are both beauti-ful and informative.

12.16.11-04.06.12

Curved: Herbert Mehler Sculptures

Armory Art Center

www.armoryart.org

The inspiration for Mehler’s artwork comes from organic, natural matter. His sculptures serve as a play between light fluid shapes and the seemingly insur-mountable weight of the metal. It is this ambivalence between the natural and the man-made that makes Mehler’s works so captivating.

01.18-05.27.12

Beth Lipman: A Still Life Installation Norton Museum of Artwww.norton.org

For this exhibit, the Museum commis-sioned Lipman to create a large-scale glass construction which will be installed in the center of the

Museum’s European galleries, to be dis-played in the context of Old Master works—the inspiration for the installation. (See story on pg. 55.)

12.15.11-03.11.12

Cocktail Culture Norton Museum of Art

www.norton.org

Decorative arts, photography, fashionable cocktail attire and accessories by major designers are included in this first-of-its-kind, exhibition, which explores the social ritual of drinking and enter-tainment through the lens of fashion and design. (See story on pg. 78.)

Thru 03.04.12

Jenny Saville Norton Museum of Artwww.norton.org


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

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

1. Rosalie Winward, image from Wild Birds of the American Wetlands, courtesy of the artist and Armory Art Center 2. Herbert Mehler, WV718 & 765 (2006, 2010) 3. Beth Lipman, One and Others 4. Larry Salk, Summer Cocktail Party with English Butler, 1961, watercolor, gouache, ink on paper, gift of Jean S. and Frederic A. Sharf, Museum of Fine Arts, Boston

This selective exhi-bition of canvases and drawings, dat-ing from 1999-2011, brings Saville’s mature work together for the first time.

Thru 01.01.12

Recent Acquisitions: Photography Norton Museum of Artwww.norton.org

Featured are signi-ficant works by a younger genera-tion of photographers with fresh insight into the use of the camera.

01.18-05.27.12

Studio Glass: Works from the Museum Collection Norton Museum of Artwww.norton.org

Dramatic works by internationally recog-

nized artists, Dale Chihuly, William Morris and Toots Zynsky, will be fea-tured alongside other outstanding examples of contemporary stu-dio glass. (See story on pg. 44.)

01.18-03.25.12

The Corning Museum of Glass Hot Glass

Roadshow Norton Museum of Artwww.norton.org

Live demonstrations of hot glassmaking techniques, hands- on workshops and glassblowing perfor-mances will be con-ducted by the world’s premiere mobile “hotshop.”

Thru 02.19.12

The Emperor’s Orders: Designs from the Qian-long Imperial Workshop (1736-1796) Norton Museum of Artwww.norton.org

Objects in various me-dia, including painting, jade, ceramic, glass and metalwork, are on display—all created for the greatest art col-

lector in 18th century China, the Qianlong Emperor.

WINTER PARK

Thru 01.15.12

A Room of One’s Own: Women Artists from the Permanent Collection


C A L E N D A R { P g. 3 1 o f 3 2 }

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

1. Naomi Leshem, Ofir, Israel, 2009, chromogenic print, ©Naomi Leshem, courtesy Andrea Meislin Gallery, NY 2. Dale Chihuly, Green Macchia with Lemon Yellow Lip Wrap, 1994, blown glass, 23 x 38”, purchase acquired through the generosity of Mr. and Mrs. Frederick Adler, Mr. and Mrs. Rand Araskog, Mrs. Nanette Ross, Mrs. Frances Scaife, and Mr. and Mrs. Robert Sterling 3. Portrait of the Imperial Guard Uksiltu/Keshiki Batu Luwuke Shier (detail), the 29th of 100 portraits of Meritorious Officers participating in the East-Turkestan campaign (1755-1759), ink on silk, Qianglong seal, dated 1760 with honorific calligraphy in Manchu and Chinese by Liu Tong xun (1700-1773), 60 x 38”, Private Collection 4. Faith Ringgold, Tar Beach 2, 1993, #10/10, woodcut, 12 x 11”, collection of the Cornell Fine Arts Museum, Faith Ringgold ©1993

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

This show provides an overview of the important art historical contributions women have made, featuring paintings by Grandma Moses, prints by Georgia O’Keeffe and sculpture by Anna H. Huntington.

Thru 01.15.12

Kim Russo: Family Cornell Fine Arts Museum at Rollins College www.rollins.edu/cfam

Kim Russo addresses contemporary social

concerns in offbeat imagery culled from the Internet and com-bined into technically brilliant watercolor renderings.

Thru 01.08.12

The Very Queer Portraits of Heyd Fontenot Cornell Fine Arts Museum at Rollins College www.rollins.edu/cfam

In his quirky likeness-es, Fontenot empha-sizes the expressive features of his sub-jects—absurdly large heads, visual puns with erotic innuendoes and the occasional goat,

accentuate Fontenot’s highly intentional sense of playfulness in his work.

01.17-04.15.12

Artful Strings – Four Centuries of Harp Making The Albin Polasek Museum & Sculpture Gardens www.polasek.org

American, European as well as ancient African, Asian and Egyptian harps are presented, along with an interactive, hands-on installation and live musical performances.

Thru 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 striking post-er graphics and Soviet ephemera from the mid-1940s to 1990.On View


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

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

1. Kim Russo, Family (Kitchen), 2011, watercolor and graphite, 23” x 28-1/2” 2. Heyd Fontenot, Yellow Panorama (detail), 2007, oil on canvas,75 x 22” 3. Image courtesy of The Albin Polasek Museum & Sculpture Gardens, photo: Douglas Nesbitt 4. A. Dobrov, The Borders of the Soviet Union are Sacred and Inviolate, 1969


M I A M I

Gallery: Diana Lowenstein Fine Artswww.dlfinearts.com

Artist: Xawery WolskiWOLSKI CONTINUES his experimentations with terracotta, bronze, steel, seeds and natural fibers, searching for ways to meld them organical-ly, while infusing them with a spiritual, complex and introspective energy.

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

galleryB O C A R A T O N

Gallery:Karen Lynne Gallerywww.karenlynnegallery.com

Artist:JIM SPERBER“I PAINT BECAUSE

I have always enjoyed making things, prefer-ably things of my own invention. Creation is one of life’s greatest rewards. Making art, writing music, plant-ing a seed or starting a family— all provide the creator with something unique, spiritually lifting and hopefully timeless.”

From left: Jim Sperber, Ebe, mixed media, 24 x 24”, courtesy of the artist and Karen Lynne Gallery; Xawery Wolski, Globos installation, 2010, alpaca, metal wire, courtesy of the artist and Diana Lowenstein Fine Arts

N A P L E S

Gallery:Trudy Labell Fine Art

Artist:HYOIN KIM“MY WORK FOCUSES ON

modern influences on traditional Korean fashion. By combining life size metal screen sulptures of traditional women’s clothing with minature castings of toys, jeans, dresses and shoes, I am representing the cultural clash between Western modernization and traditional fashion.”


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

galleryM I A M I

Gallery: Fredric Snitzer Gallerywww.snitzer.com

Artists: Cristina Lei Rodriguez

RODRIGUEZ ENTICES the viewer with pieces that are both familiar and surprisingly incongruous. With forms often adorned with precious objects, alongside everyday objects, the art-ist balances the natural and industrial, the feminine and masculine.

S T . P E T E R S B U R G Gallery: Mindy Solomon Gallerywww.mindysolomon.com

Artist: Sungyee KimI N H E R D E N S E L Y layered paintings, Kim enacts the coexistence of material presence and illusion, reflecting the in-

herent connectedness of microcosm and macrocosm.

Clockwise from top left: Sungyee Kim, Meditation 18, 2010, 30 x 30”, sumi ink and mixed media on panel, courtesy of the artist and Mindy Solomon Gallery; Hyoin Kim, Mesh Dress, courtesy of the artist and Trudy Labell Fine Art; Cristina Lei Rodriguez, Excavation, 2011, paper, plaster, paint, epoxy, plastic, wood, rope and selected objects, 28 x 31 x 58”, unique, courtesy of the artist and Fredric Snitzer Gallery

www.trudylabellfineart.com

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


B O C A R A T O N

Gallery:Rosenbaum Contemporarywww.rosenbaumcontemporary.com

Artist:MELINDA HACKETTHACKETT’S PAINTINGS

reference the world of nature rather than depict it literally. “One of my purposes in making paintings is to transport the viewer to a necessar-ily foreign place, where nature can be experi-enced without know-ing it fully, and where reality is communicated through the senses.”

From left: Melinda Hackett, Bumbleberry (detail), 2009, oil on canvas, 54 x 42”, courtesy of the artist and Rosenbaum Contemporary; Elisa-beth Condon, Double Fragment, 2010, acrylic on linen, 44.5 x 72”, courtesy of the artist and Dorsch Gallery

M I A M I

Gallery: Dorsch Gallerywww.dorschgallery.com

Artist: Elisabeth Condon“ T H E M U L T I P L E P E R S P E C T I V E S A N D T I M E - L A P S E compositions of traditional Chinese scrolls make perfect sense in a landscape defined by movement, frequent travel and global culture. I adapt them in my paintings of fictional landscapes....Sketches I’ve made on my travels form a vocabulary of trees, pavilions, explosions, webs and stripes that appear and reappear within fields of translucent color, approaching form as peripheral. The imagery, palette and climate of where each painting is made evolve a unique pictorial logic so that making a painting becomes like taking a trip.”


M I A M I Gallery: Etra Fine Artwww.etrafineart.com

Artist: Andrea Dasha Reich “IF YOU LOOK DEEP into my work, you can see how I try to pull you, like a hypnotic wheel, into the layers that I create. Each is a small slice of the pieces of the world, people, and life that I was so fortunate to brush my hand over.”

M I A M I

Gallery: Giovanni Rossi Fine Artswww.giovannirossifineart.com

Artist: Andreas ReimannR E I M A N N ’ S T E C H -nique evolved from clas-sic painting, more and

more into a mixed media creation, with the usage of silk screening as a major part. He produces multi-layered works, with refined hid-den details, creating illusion and even reversed sense.

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

M I A M I

Gallery: Carol Jazzar Contemporary Artwww.cjazzart.com

Artist:RORY MACARTHURMACARTHUR’S

psychedelic creations seem to tease magic from thin air, making work that floats and pulsates as if supplied by an unseen force— each piece exacting a kind of visual dance with illusionistic qualities of surface and paint.

Clockwise from top: Andrea Dasha Reich, Dansko, 2011, mixed media/resin, 54 x 54”, courtesy of the artist and Etra Fine Art; Rory MacArthur, Orbital, 72 x 70 x 7”, styrofoam, aquaresin, enamel, acrylic, courtesy of the artist and Carol Jazzar Contemporary Art; Andreas Reimann, Painted Geisha I, courtesy of the artist and Giovanni Rossi Fine Arts

ATHE YEAR 2012 marks the 50th anniversary of the development of the Studio Glass Move-ment in America. To celebrate this milestone and recognize the work of talented American artists, a number of glass demonstrations, lectures and exhibitions will take place in museums, galleries, art centers, universities, and other venues across the country, throughout the year.

Historically speaking, glass was seldom used as a medium for expression, like painting and

Above: David Bennett, Handstand with Bent Leg, 2011, blown glass and bronze, 56 x 24 x 24”, courtesy of Habatat Galleries, MI

A N N I V E R S A R Y

50th

mericanS T U D I O G L A S S

Opposite page (left to right):

Kreg Kallenberger,

Quartz Mountain Crevasse,

2010, 13 x 32 x 7”, courtesy of

Habatat Galleries, MI;

Dale Chihuly, Mineral Violet Macchia

with Sky Blue Lip Wrap, 1992,

blown glass, 20 x 32”,

purchase acquired through the

generosity of Mr. & Mrs.

Frederick Adler, Mr. & Mrs.

Rand Araskog, Mrs. Nanette Ross,

Mrs. Frances Scaife, and

Mr. & Mrs. Robert Sterling, courtesy

of the Norton Museum of Art

AO n V i e w M a g a z i n e . c O M • D e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 45

sculpture. When it was, artists had to rely on the skilled glassworkers in factories to execute their glass designs for them. The American Studio Glass movement, which began in 1962 with two glass workshops held at the Toledo Museum of Art, changed all that. The workshops were taught by Harvey K. Littleton, who, along with scientist Dominick Labino, introduced a small furnace built for glassworking. For the first time, individ-ual artists had the ability to work in independent

studios, to make glass alone and unaided, without the necessity of a factory environment.

Using small furnaces containing 50-150 pounds of glass, artists are now creatively pro-ducing glass as a mainstream art form, along-side painting and sculpture. Some of Littleton’s students, including renowned artists, Dale Chi-huly and Marvin Lipofsky, have played semi-nal roles in raising the awareness of studio glass around the world.

Above: David Bennett, Handstand with Bent Leg, 2011, blown glass and bronze, 56 x 24 x 24”, courtesy of Habatat Galleries, MI

mericanS T U D I O G L A S S

C U R R E N T E X H I B I T I O N S . . .

STUDIO GLASS: WORKS FROM THE MUSEUM COLLECTIONNorton Museum of ArtPage 53

EVOLUTION/REVOLUTION: 50 YEARS OF AMERICAN STUDIO GLASSPatty & Jay Baker Naples Museum of ArtPage 47

Above: Marvin Lipofsky, Chico Group II 2004-5 #4 (Sea Grass), 13 x 14 x 13”, blown at Cal State University: Chico, CA,

with help from Robert Herhusky and student team, photography by M. Lee Fatherree;

Opposite page: Toots Zynsky, Avvincente, 2010, 13-1/2 x 19 x 12-1/4”. Images courtesy of Habatat Galleries, MI

50th Anniversary ofAmerican Studio Glass:EVOLUTION / REVOLUTION


THE STUDIO GLASS MOVEMENT TRANS- formed glassmaking from a craft to an art form and continues to forge new and excit-ing directions. The evolution of studio glass is traced in this delightful exhibition of sparkling and, very often, surprising creations. Glass takes the form of bowls and vessels, along with sculpture of intricate shape, texture and subject matter, from abstract to figurative. The exhi-bition, organized in conjunction with Habatat

Galleries in Michigan, showcases a wide assortment of exquisite work from the leading American glass artists of the past half century, including Marvin Lipofsky, Dale Chihuly and many others.

Evolution/Revolution also features a special presentation from the founding fathers of the Studio Glass movement, Harvey Littleton and Dominick Labino, as well as an illustrated his-tory of studio glass.

E x h i b i t i o n

Evolution/Revolution:

On view December 15th through April 1st at the Patty & Jay Baker Naples Museum of Art

w w w. t h e p h i l . o r g

5 0 Y E A R S O F A M E R I C A N S T U D I O G L A S S


50th Anniversary ofAmerican Studio Glass:EVOLUTION / REVOLUTION

Left:

David Huchthausen,

Eye of the Storm,

2011, 10 x 10 x 10”,

cold worked

and assembled glass

Right:

Stephen Powell,

Cherry Stretch Vertigo,

2010, blown glass

and murrini,

48 x 19 x 10”

Images

courtesy of

Habatat

Galleries, MI

Left (top to bottom):

Leah Wingfield,

Chance Meeting = Love,

2010, cast glass,

17 x 17.5 x 4”

Jose Chardiet,

Mystic, 2006,

blown, hot sculpted

and cast glass,

and wood,

25.5 x 15.5 x 5”

Right:

Richard Jolley,

Still Life #4,

29 x 19 x 16”,

cast and

hot worked glass

Images courtesy

of Habatat

Galleries, MI


50th Anniversary ofAmerican Studio Glass:

EVOLUTION / REVOLUTION

50th Anniversary ofAmerican Studio Glass:STUDIO GLASS

Left: Dale Chihuly,

Green Macchia with Lemon

Yellow Lip Wrap (detail),

1994, blown glass, 23 x 38”,

purchase acquired through

the generosity of

Mr. and Mrs. Frederick Adler,

Mr. and Mrs. Rand Araskog,

Mrs. Nanette Ross,

Mrs. Frances Scaife, and

Mr. and Mrs. Robert Sterling

Opposite page:

Toots Zynsky, Blue Horses

Chaos, 1993, Filet-de-verre

(fused and thermoformed

color glass threads),

6-3/4 x 10 x 9”, gift of

Dale and Doug Anderson

Images courtesy of

the Norton Museum of Art


THE GOLDEN ANNIVERSARY OF AMER- ican glass art is the perfect opportunity to show-case the Norton Museum’s exquisite glass collec-tion. Works by internationally recognized artists Dale Chihuly, William Morris and Toots Zynsky will be featured alongside other outstanding exam-ples of contemporary studio glass. Working in a variety of styles, these artists address themes such as nature and abstraction, and create pieces that are nothing less than dramatic in scale and form.

Coinciding with the opening of Studio Glass

will be the display of an extravagant, large-scale glass construction created by contemporary artist, Beth Lipman. Inspired by the Museum’s collec-tion of Old Master still life paintings, the piece will be installed in the center of the Museum’s Europe-an galleries. The Beth Lipman installation will be accompanied by a 10-week visit from the Corning Museum of Glass Hot Glass Roadshow—a mobile “hotshop” housed in a 28-foot-long trailer—with live demonstrations, hands-on-workshops and glassblowing performances.

E x h i b i t i o n

Studio Glass:

On view January 18th through May 27th at the Norton Museum of Art

w w w. n o r t o n . o r g

W O R K S F R O M T H E M U S E U M C O L L E C T I O N

Left:

Richard Marquis,

Teapot Goblet,

not dated,

glass and murrine

elements, 10”,

gift of Charles R.

Bronfman

Images courtesy of

the Norton Museum of Art

Right:

Beth Lipman, One and Others,

from Beth Lipman: A Still Life.

This site-specific installation

for the Norton Museum of Art is a

composite “portrait” of the

Museum, an early settler

to Palm Beach, Richard Hone,

and the artist. The work

includes pineapple flowers,

leaves and fruit, gazing balls

from David Teniers the Younger’s

The Interior of a Nobleman’s

Gallery and multiple floral swags

referring to Daniel Seghers’s

A Garland of Pink Roses, a Tulip,

a Pink Carnation, Narcissi

and Other Flowers with Blue Bows,

as well as numerous other

objects found in the Museum’s

Permanent Collection

paintings. The entire composition

balances atop a casket that

is custom fitted to the artist’s

dimensions.


50th Anniversary of American Studio Glass:

STUDIO GLASS

JANUARY 18th –MARCH 18th at the BOCA RATON MUSEUM OF ART • www.bocamuseum.org

Above (Left to right): Frankie Velilla, 2001, C-Print; Matthew Havemann, 2001, C-Print; Eminy, 2007, C-Print

CLOSE UPMartin Schoeller:

JANUARY 18th –MARCH 18th at the BOCA RATON MUSEUM OF ART • www.bocamuseum.org


CLOSE UPMartin Schoeller:

“IN A CLOSE-UP, THE IMPACT STEMS

solely from the static subject’s expres-sion or apparent lack thereof, so the viewer is challenged to read a face without the benefit of the environ-mental cues we naturally use to form our interpersonal reactions.”

—Martin Schoeller

IN THE EXHIBITION CLOSE UP ,

at the Boca Raton Museum of Art, Martin Schoeller’s magnetic, straight-forward portraits explore the depths of the human face. The world’s most famous visages merge with the un-known in a succession of stripped-down, hyper-close portraits that tempt the viewer to look again and again.

“IMartin Schoeller:

CLOSE UP


Above: Martin Schoeller,

photo courtesy of Martin Schoeller

Opposite:

Paris Hilton, 2008, C-Print

All images ©Martin Schoeller,

courtesy of the artist,

Ace Gallery and August Agency

Close Up is organized

and circulated by Curatorial

Assistance Traveling Exhibitions,

Pasedena, California


For more than a decade, Schoeller has been making close-up portraits of the most recognizable faces of our time, as well as of ordinary people living private lives. Close Up presents 48 arresting large-format color images—many

of which are Schoeller’s most famous celebrity por-traits. The images challenge the viewer to question topics such as self-representation, celebrity, photographic hon-esty, as well as the impressive explanatory power of portrait


“A photographic close-up is perhaps the purest form of portraiture.”—M. Schoeller

photography. Furthermore, the subjects portrayed pro-voke the observer to compare the individuals’ appearance, as communicated through the media, with the viewer’s own impressions and experiences.

Hollywood stars includ-

ing Angelina Jolie, George Clooney, Brad Pitt and Cate Blanchett; politicians such as Barack Obama and Bill Clin-ton; sports icons Kobe Bryant and Andre Agassi; pop-idols like Chris Rock and even it-girl, Paris Hilton, show that

Above (Left to right):

Bill Murray, 2010,

C-Print;

Shaun White, 2008,

C-Print;

Jane Lynch, 2010,

C-Print


“A photographic close-up is perhaps the purest form of portraiture.”—M. Schoeller

Martin Schoeller:CLOSE UP they are not afraid of “open-

ing up” for Schoeller and his camera. Through his portraits, Schoeller achieves a unity of expression that brings out the personality and individuality of each of his subjects. It is in these images that the truth within his subjects, their sur-face and inner expressions, is most clearly revealed.

A native of Germany, Schoeller’s career evolved

from unassuming begin-nings. After high school, a friend urged him to apply to photography school. Of 800 applicants, he was one of just 40 students accepted. After graduation, Schoeller moved to New York City to pursue a photography career. From 1993 to 1996, he worked as an assistant to Annie Leibovitz. “Watching her deal with all of

the elements that have to come together—subjects, lighting, production, weather, styling, location—gave me an insight into what it takes to be a por-trait photographer,” he said. In 1999 Schoeller was named one of three contracted pho-tographers at The New Yorker magazine. While he continues to shoot for The New Yorker and other major publications, he has also pursued his own

photographic interests. Schoeller’s work is deeply

influenced by the photog-raphy of German minimal-ists Bernd and Hilla Becher, who inspired him to take a series of pictures, to build a platform that allows one to compare. His close-up style emphasizes the facial fea-tures of his subjects, chal-lenging the viewer to identify


Opposite:

Mickey Rourke, 2005,

C-Print

“The greatest challenge in taking these images lies in the attempt to arrest the subtle moment that flickers between expressions.” —M. Schoeller

O n V i e w M a g a z i n e . c O M • D e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 2 0 1 1 81


the qualities that either distin-guish individuals or link them together, raising the question: What is the very nature of the categories we use to compare and contrast?

Large, close-up portraits are Schoeller’s signature style.

Over the years, he has photo-graphed dozens of celebrities and politicians in this inti-mate format. “It’s a reflection maybe of my personality that I feel comfortable being close to somebody,” he said. “I always felt that it really was


“I aim to record the instant the subject is not thinking about being photographed.” —M. Schoeller

the most essential part about a person, stripping away the clothes, stripping away any backgrounds, really focus-ing in on that person.” For Schoeller, it’s not about mak-ing people look good or look bad. “I just think I’m trying to

take real portraits, what por-traits should be like, showing a person for who they are and what they look like without retouching, without tricky lighting, without distortion, without crazy wide angle lenses, without any cheap

Above (Left to right):

Toowi, 2007

C-Print;

Piipaio, 2007,

C-Print;

Bahaio, 2007,

C-Print


“I aim to record the instant the subject is not thinking about being photographed.” —M. Schoeller

Martin Schoeller:CLOSE UP tricks—just straight up hon-

est portraits.”Schoeller uses a medium

format camera that takes roll film and he shoots his subjects from a distance of about four to five feet away with a fairly long lens, to avoid distortion. He uses Kino Flos, a type of lighting system used mainly in the film industry, ideal for very shallow and narrow depth of field, which helps to bring

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

Schoeller has gained worldwide recognition and is one

of the best-known portrait photographers of the young-er generation. His work has appeared in Rolling Stone, GQ, Esquire, Vogue, Inter-view, W and The New York Times Magazine, in addition to The New Yorker, where he remains on contract. He is represented for fine art by Hasted Kraeutler Gallery in New York, Ace Gallery in Los Angeles and Cam-

era Work in Germany. His portraits are exhibited and collected internationally, ap-pearing in solo exhibitions as well as the permanent collec-tions of the National Portrait Gallery in London and the Smithsonian Institution in Washington, DC. Schoeller’s commercial clients include Nike, Citibank, Goldman Sachs, BBDO and Saatchi & Saatchi. On View


Opposite

(Clockwise from top left):

Masino, 2005,

C-Print;

Jackson, 2005,

C-Print;

Mzee Mwapo, 2005,

C-Print;

Thomas, 2005,

C-Print

“I try to get my focus right so the eyes and the lips are the focal point... Everything else becomes secondary.”—M. Schoeller

O n V i e w M a g a z i n e . c O M • D e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 2 0 1 1 81

B A R B A R A S O R E N S E N : T O P O G R A P H I E SO n v i e w 0 1 . 0 7 - 0 4 . 0 1 . 1 2 a t t h e O R L A N D O M U S E U M O F A R T • w w w. o m a r t . o rg


Topographies Installation, 2010, Museum of Florida Art; Boat Installation, 16’ x 16’ x 2’

overall, stoneware and stones; Foothills II Installation, 1’ x 7’ x 7’ overall, stoneware, video and sound

B A R B A R A S O R E N S E N : T O P O G R A P H I E SO n v i e w 0 1 . 0 7 - 0 4 . 0 1 . 1 2 a t t h e O R L A N D O M U S E U M O F A R T • w w w. o m a r t . o rg


THE ORLANDO MUSEUM OF ART’S

latest exhibition series, Made in Florida, features the exemplary work of Florida-based or inspired artists, offering visitors a perspective on how Florida’s unique envi-ronment and culture have helped to shape

the work of many artists around the world. The series opens January 7th with Topographies—the largest retrospective ever of the nationally recognized sculptor, Barbara Sorensen, who is known for her large-scale installations which reference geological forms and the conceptual notion of the “vessel.” Her work portrays vastly different environments, explored further through extensive travel to some of the world’s most dynamic landscapes. Inspired by these rugged and remote settings, Sorensen’s sculptural forms take the viewer on a topographical expedition.

Barbara Sorensen:Topographies

Transitioning from her origi-nal works in clay, Sorensen recently turned her energies to large-scale environmental ves-sels constructed of metals and resins, as well as new, experi-mental mixed-media prints and two-dimensional works. Often interconnected and chromati-cally bold, Sorensen’s works emerge from and focus on her sense of the relationships

between human and landscape. “...my sculptures are about the figure, the landscape and how these relate to each other in the environment,” the artist states. “My work ranges from geolog-ic scale totems to small decora-tive ceramic chests that speak of energy, transformation and the volcanic movement of the earth.”

“Sorensen’s sculpture cel-

TAbove: Shield de Pyrenees W4-07, 2007,

33 x 30 x 4”, stoneware and stones

Opposite: Chalice W1-08, 2008,

30 x 25 x 14”, stoneware, stones and gold leaf

All images ©Barbara Sorensen


ebrates the earth’s terrain by replicating its processes, char-acteristics and imagery,” noted curator, Barbara Bloemink. “By learning the language and visual vocabulary of the earth’s geology and processes, Sorensen’s work metaphori-cally reminds us of the globe’s wild, natural beauty and brings it to our visual consciousness.”

Sorensen discovered clay, an ideal medium for her inter-est in textural plasticity, as an undergraduate at the University of Wisconsin. After completing her degree there, Sorensen went on to work with mentors Peter Voulkos, Paul Soldner, Don Reitz, Rudy Autio and others who were pushing the medium

in fresh, sculptural directions. Today, in her Snowmass Vil-

lage, CO, and Winter Park, FL, studios, she continues to evolve and expand her concerns in the series of works that explore her enduring interests: the natural environment and conceptual notions of the vessel. Accord-ing to art critic, Eleanor Heart-ney, “Sorensen’s ultimate subject is growth and change. Characteristics of both the physical world that surrounds us and the interior landscape we carry inside, movement and energy are the essence of life. Sorensen’s works breathe with this truth and, in turn, convey it to us.” Topographies completes a two-year tour which began at

Above: Entrada de Pyrenees PA1-00,

22 x 22”, Monotype

Right:

Dunes Installation, approx.

7 x 7 x 1.5’, resin, rope and wood

Opposite:

Nymph II, approx. 3.5 x 2 x 1’ +

9” base, stoneware


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

the Museum of Florida Art in DeLand, and traveled to the Leepa-Rattner Museum of Art in Tarpon Springs. It features a survey of the last 20 years of her work, with a concentration on resin and metal installations. It also includes Sorensen’s col-laboration with composer, Stella Sung, and videographer, David Hiser, to create a site-specific sound/video/sculptural installation that relates to her work and the environment. A second collaboration is with the Orlando Ballet Company in a performance “Art and Dance: A Pas de Deux,” featuring the Orlando Ballet dancers, cho-reographed by Eric Yow. A comprehensive catalogue with essays by Eleanor Heartney and Barbara Bloemink accom-pany the exhibition.

Sorensen’s work is in numer-ous museum, corporate and pri-vate collections. Her work has been showcased at the Aspen Art Museum; Mennello Muse-um of American Art in Orlando; San Angelo Museum of Fine Arts in San Angelo, TX; Hous-ton Center for Contemporary Craft; University of Wisconsin-Madison; and the Museum of Fine Arts in St Petersburg.

Her recent one-person shows have been at Kouros Gallery in New York, 212 Gallery in Aspen, Elaine Baker Gallery in Boca Raton, Millenia Gallery in Orlando, Museum of Florida Art and Leepa-Rattner Muse-um of Art.

In a brief interview with On View, Barbara discussed the process and inspiration behind her work...


Above:

Barbara Sorensen, courtesy of the artist

Left:

Fragment W75-02, front view,

13 x 19 x 10”, stoneware,

stones, gold leaf and metal

Opposite:

Pyramid W42-02, 23 x 17 x 3”,

stoneware and stones


OV: When did you first become interested in explor-ing geological forms and the concept of the “vessel”?BS: The notion of the vessel has been at the essence of my work since I began study-ing art, back in the ’60s, at the University of Wisconsin. It was while throwing clay on the wheel during my first ceramics class, working with my teacher and mentor, Don Reitz, that the vessel emerged. It has since played an integral part in most of my series.

I realized that geologi-cal formations could be an influence on my ceramics while traveling in Colorado in the late ’70s—this is when I started using the stones I picked up while hiking in the mountains, with the clay. Soon I was interpreting the geologi-cal landscape to change and expand the vessel and gradu-

ally, the geological influences became more important to me—the vessel, in the more literal sense, became dimin-ished. As I began to explore materials beyond clay, surface and form became predominant in my work.

OV: What environments have you found particularly inspirational to your work?BS: While Colorado has been the biggest influence, I have scrambled up the limestone rocks of Snow Canyon in Utah, meandered amongst the hoodoos of Bryce Canyon and felt the monumental sig-nificance of the Grand Can-yon. I also trekked to Milford Sound in New Zealand, snor-keled amongst the coral reefs of the British Virgin Islands and hiked the Pyrenees in Spain. All of these travels have left a mark on my work.

OV: What do you consider to be most important when designing a new piece? BS: I have an overall idea of the piece, inspired by a sense of the landscape that I have recently experienced. With a few brief sketches, I begin making and molding the clay or bending the aluminum. The piece develops in the studio as I work. I like using new materials and developing a new vocabulary with them.

OV: What part of your creative process do you find most enjoyable?BS: I love to make the parts, build the piece and add layers of clay or metal. The most excit-ing part of the process is when all the finished parts are brought together into an installation.

OV: How do you see your



B A R B A R A S O R E N S E N

O N V I E W I N T E RV I E W :

work evolving in the future? BS: My latest inspiration is my new installation featured in the Topographies exhibit, Speloet-hems, which are vessel forms constructed with new materials. I am looking forward to explor-ing and developing this series further. My wire-like Dwelling series provides ways for me to discover new combinations and installation possibilities. Also, my new edition of move-able paper sculptures, which I recently completed with the Flying Horse Editions, has opened up some new ways of

looking at my existing series. I am fascinated with exploring the vessel thru new materials.

OV: What do you hope viewers will take away from this exhibition?BS: I hope the viewer will be reminded of the environmen-tally rich planet that we live on, which provides us with such precious materials as metal, stone and clay. I hope they will be inspired by my work and take care to pass it on to future generations. On View

Pictured:

Barbara

Sorensen with

Dwellings V

Installation,

2010,

9 x 12.5 x 6’

overall,

aluminum

CocktailCulture78 O n V i e w M a g a z i n e . c O M • D e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2

CocktailCultureLeft: Barbara Mullen, Blowing Kiss, New York, ca. 1958,

reinterpreted 1994, courtesy of Lillian Bassman

De c e m b e r 15, 2011through

Ma r c h 11, 2012 at the

NORTON MUSEUM o f ART ,West Palm beach

www.norton.org


E L A N A N D C H E M I S T R Y F I Z Z

together in this intoxicating look at the development and influence of a decades-long cultural phenomenon—the “cocktail hour.” This chronologi-cal survey, presented by the Norton Museum of Art, is the first multi-disci-plinary exhibition to explore the social ritual of drinking and entertainment through the lens of fashion and design.

On display are more than 150 ob-jects, assembled by curator, Michelle Tolini Finamore, dating from the 1920s to the present day. From eye-catching cocktail dresses and jewelry, to ele-gantly designed barware and novelty items, Cocktail Culture is a sparkling mix of fantasy and pleasure.

E

Larry Salk, Summer Cocktail Party with English Butler, 1961, watercolor, gouache, ink,

courtesy of Jean S. and Frederic A. Sharf Collection, Museum of Fine Arts, Boston

COCKTAILCulture

Larry Salk, Summer Cocktail Party with English Butler, 1961, watercolor, gouache, ink,

courtesy of Jean S. and Frederic A. Sharf Collection, Museum of Fine Arts, Boston

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

COCKTAILCulture

“The cocktail party is almost a purely American concep-tion where, during the hours between afternoon and eve-ning, fashion and culture col-lide,” says Finamore. “For more than 80 years, it has been a fascinating reflection of his-tory and culture, from shifting customs to changing roles in society.”

Cocktail Culture is like an elegant party that indulges its guests with time to contem-plate each ravishing item. One could almost hear the ice swirling in the silver martini shaker, the flick of a bejew-eled cigarette lighter, or the swish of a cocktail dress. Like a bracing libation, the exhibition melds some of the cultural forces that shaped America over eight decades. Seeded and reflected in the clothing, cocktails and relat-ed accoutrements are echoes back to the days of Prohibi-tion, World War II and peri-od-specific artistic move-ments that underscore chang-ing social mores.

“Drinking really played a role in how people interacted,” Finamore explains. “Even in the 1920s, when drinking was forbidden, the cocktail hour

was glamorized in films that starred screen sirens such as Joan Crawford, as ‘the Flap-per,’ who exuded youth, ener-gy and exuberance.”

The end of Prohibition det-onated a whole new genre in fashion and in the way peo-ple socialized—the “proper” cocktail hour emerged, where women wore cocktail attire and sported accessories, like cocktail rings and cigarette holders.

In the 1930s, architecture was translated into lifestyle objects from barware to cos-metic cases, and by the 1950s, etiquette books addressed

Above:

Erik Magnussen for Gorham

Manufacturing Company,

Cocktail Set, 1925-28,

silver, Bakelite, purchase 1997

Louis Bamberger Bequest Fund

and The Members’ Fund,

Collection of the Newark Museum

Left:

The V-Back Evenings, Suzy Parker,

1955, skirt and V-back by

Grenelle and hat by Lilly Dache,

reinterpreted 1994,

courtesy of Lillian Bassman


cocktail hour protocol. The cocktail itself, emerged as a major beverage category replete with a myriad of reci-pes. “Even today,” adds Fina-more, “who could argue the impact made by the signature cosmopolitan on the hit TV series Sex & The City, and the ‘girls-only’ cocktail hour?”

From the Jazz Age flappers of the 1920s, to fans of the “lit-tle black dress” epitomized by Holly Golightly in Breakfast at Tiffanys, to the sleek and sexy disco queens of the 1970s, this exhibition presents a veritable walk-through history of fash-

ion, via cocktail attire.Garments by legendary

designers such as Cristobal Balenciaga, Christian Dior, Alexander McQueen, Jeanne Lanvin, Scaasi, Yves Saint Laurent, Valentino and Pierre Cardin, in addition to acces-sories by Tiffany & Co, Judith Leiber, Van Cleef and Arpels, and Kenneth Jay Lane are all on display. Imagery of the cocktail hour also plays an important role in the exhi-bition, and photographs by Irving Penn, Lillian Bassman and Gosta Peterson as well as fashion illustrations by Ken-neth Paul Block help recreate the party atmosphere of their respective eras.

The show also features items that are uniquely con-nected to Palm Beach’s cocktail culture. A black silk taffeta 1950s dress by long-time Palm Beach resi-dent and respected custom dressmaker, Philip Hulitar, is a stunning example of the “New Look” silhouette and the typical cocktail dress of the period. It is paired with a diamond-encrusted enam-eled cigarette holder, retailed by Tiffany & Company. Two 1960s fashion illustrations


COCKTAILCulture

Opposite:

Jeanne Lanvin, Woman’s

evening ensemble in two parts,

French, winter 1935-36,

House of Lanvin, French, founded

in 1890, silk plain-weave crepe,

trimmed with gilded leather,

overall: 50-9/16”, gift of Miss Lucy

T. Aldrich, Collection of

Museum of Fine Arts, Boston

Below:

Elsa Schiaparelli, Woman’s jewelry

suite in four pieces (necklace),

American, 1950s, silver-colored metal

and colored glass “gems”, 17 x 2”,

gift of Susan B. Kaplan, Collection of



COCKTAILCulture

by Fred Greenhill for Saks Fifth Avenue are wonderfully evocative images of rooftop cocktail parties of the decade, and the 1970s is represented by a draped, midnight-blue jersey dress by London-based designer, Yuki, who present-ed his collection at the promi-nent Worth Avenue retailer, Martha, in 1976.

Additional highlights in-clude objects and accessories that were specifically created for use during the cocktail hour. Items such as a Tiffany & Co. sterling silver cock-tail set originally designed for the 1939 World’s Fair, a Van Cleef and Arpels blue enamel and jade compact, and a variety of pieces from the iconic Stork Club, includ-ing a whimsical top-hat-and-canes champagne bucket from the 1930s, help recre-ate the exhibition’s nightclub atmosphere.

“Fashion has really come into its own as being appreci-ated as an art form,” says Nor-ton Museum Director, Hope Alswang. “The public under-stands that style is a mirror to the movements of society. Like paintings and photo-graphs, it too has a voice. We

have had tremendous response to exhibits such as Rare Bird of Fashion: The Irreverent Iris Apfel, and Fabulous Fakes: The Jewelry of Kenneth Jay Lane, and we are thrilled to present Cocktail Culture.”

The party runs through mid-March, so slip on your favorite party dress and head over to The Norton...Cheers! On View

Above:

Kenneth Paul Block, Cocktail Caper;

gift of Kenneth Paul Block, made possible

with the generous assistance of Jean S.

and Frederic A. Sharf; Collection of the


Left:

Ormond Gigli, Girls in the Windows,

1960, color coupler photograph,

printed later, Private Collection, courtesy

of Holden Luntz Gallery


WO n V i e w M a g a z i n e . c O M • D e c e m b e r 2 0 1 1 / J a n u a r y 2 0 1 2 89

on view through a p r i l 22, 2012 LOWE ART MUSEUM,

university of miami • www.lowemuseum.org

D I V E R G I N G P E R S P E C T I V E S O N I S L A M I C A R T

Women,winDows anD

the worD:

Above: Africa, Hausa people (Nigeria), Islamic Manuscript and Case, 19th to 20th century, ink and colors on paper,

leather and dye, 7-1/4 x 5-1/8 x 1-7/8”, gift of The May Department Stores Company

Left: Aphrodite Désirée Navab, I Am Not a Persian Painting, 2000-2001, gelatin silver print, 18-5/8 x 14-7/8”,

gift of Dr. and Mrs. Harold Steinbaum, © 2001 Aphrodite Désirée Navab

ARTLAB @ THE LOWE SERIES IS SPONSORED BY STELLA M. HOLMES


SPANNING THREE CONTI-

nents and over a millennium in time, Islamic art defies easy definition. Great politi-cal changes and the number of Muslims living outside of tra-ditional Islamic lands only add to the complexity and dyna-mism of the field of Islamic art. Scholars and students still seek synthetic understandings of this field, but such gener-

SWomen, Windows and

the Word

Aphrodite Désirée Navab, I Am Not a Persian Painting II, 2000-2001, gelatin silver print,

14-1/4 x 18-5/8”, gift of Dr. and Mrs. Harold Steinbaum, ©2001 Aphrodite Désirée Navab

Left: In this image from

the I Am Not a Persian

Painting series, contem-

porary artist, Aphrodite

Désirée Navab, shows

the Persian/Iranian

Woman in connection

to society. Here Navab

explores the different

dimensions between

the foreground and the

background in a sort

of “connected discon-

nection” between the

woman and society, and

the woman and viewer.

Through her work,

Navab reveals what she

calls “hybrid identi-

ties”—in this case, a

woman caught between

East and West. Accord-

ing to Navab, “… cultur-

ally hybrid persons are

usually caught in

the crossfire of preju-

dices. For Iranians

living in the West, the

demonization of the

‘other’ becomes a daily

negation of the ‘self.’”

With her use of the cam-

era, Navab attempts to

disrupt stereotypes and

preconceptions to unveil

the veiled woman.

—Chantal Krivopisk


alizing definitions tend to sim-plify more than illuminate. This exhibition does not attempt to define Islamic art as a totality. Instead, it provides visitors the opportunity to gain vistas into Islamic art by contemplating it through three distinct but inter-twining themes: women, West-ern views of the Islamic world and the importance of the word.

Students enrolled in ArtLab @ The Lowe (ARH 511) select-ed the themes for the exhibi-tion, determined the works of art that would be represented, researched objects, wrote didac-tic texts and designed the exhi-bition space.

The image that greets viewers at the beginning of the exhibi-tion, Lalla Essaydi’s Converg-ing Territories #30, was chosen because it evocatively addresses all three themes. It is an image by a Muslim woman of Mus-lim women, so a female is both subject and object of the work. Essaydi challenges Western stereotypes of the veiled and enclosed Muslim woman by appropriating symbols imposed on women and making them powerful markers of female

Women, Windows and the Word


Left: This image, from Lalla

Essaydi’s Converging Ter-

ritories series, shows four

Muslim females, ranging

from adults to children,

standing in a confined area,

covered in textiles adorned

with text. To shoot the

series, Essaydi left the US

and returned to her family’s

abandoned home in Mo-

rocco—to the room where

the men in her family con-

fined women for days at a

time, when they disobeyed.

The image highlights the

concept of space in Islamic

culture, where women oc-

cupy private spaces in the

realm of domesticity while

men engage publicly. Es-

saydi further addresses the

issue of gender by inscrib-

ing the textiles with her

own writings. She employs

calligraphy, a male tradi-

tion at the core of Islamic

art, but paints the words in

henna, a female tradition.

The writing integrates rather

than rejects the “veil” as

an integral element in the

identity of Islamic women

and engages viewers in a

more complex understand-

ing of the meanings behind

the veil. —Megan Besecker

Lalla Essaydi, Converging Territories #30, 2004, chromogenic color print, 20 x 24”,

Museum purchase through funds from Richard and Shelly Bermont, ©2004 Lalla Essaydi


identity. The women and the children in the photograph are all enveloped in cloth which is covered with the artist’s own writings. The traditional and esteemed format of the written word serves as a central means of expression for the artist.

Disrupting stereotypes of

the VeilThe first theme in the exhi-bition addresses the ways in which Muslim women are portrayed in modern and con-temporary art. These imag-es encompass a number of dichotomies or binaries—mas-culine/feminine, public/pri-vate, tradition/modernity and home/exile. Women’s bod-ies and spaces are defined in particular ways—covered and confined—but available to the viewer of the images. These works also juxtapose imag-es of women and images by women. Several of the piec-es were produced by female Muslim artists who redefine imagery like the veil and cal-ligraphy, not as instruments of control, but as key manifesta-


Left: British painter,

Valentine Cameron

Prinsep, addressed his

fascination with the

Middle East in his work.

In this image, he depicts

a pale-skinned, red-

haired woman covered

in beautiful and exotic

silks, preparing to take

a bath. This seemingly

naturalistic work

of Orientalist painting

contains a number of

discordant elements.

Identified as a “slave

girl” in the painting’s

title, this enslaved

“Western” woman clash-

es with her lavishly deco-

rated Eastern surround-

ings, symbolized by the

intricate marble pilaster,

Iznik tiles and religious

inscription panel—cre-

ating a pastiche of

stereotypical images.

Embodying the Western

contemporary interest in

the romantic, exotic and

erotic, Prinsep’s paint-

ings perpetuate Victorian

fantasies and stereo-

types of Middle Eastern

harems and defenseless

women that were so pop-

ular with Western audi-

ences.—Alanna Pugliese

Below: Rodolphe Ernst was an Aus-

trian artist who dedicated himself to

painting Orientalist subjects. Ernst

traveled to Turkey and other Islamic

lands in 1890, which greatly en-

hanced his repertoire of subject mat-

ter. In spite of his first-hand knowl-

edge of the East, Ernst often fused a

variety of Islamic cultures into one.

This eclectic mix is evident in The

Moor, where he displays an intricate-

ly patterned Turkish rug and carved

wooden window, or mashrabiya. The

use of patterns and designs found in

Islamic artworks added credibility to

the work by making it more “real” to

the viewer. Judging from his muscu-

lar physique, array of mismatched

clothing and lounging posture, this

man was most likely not a noble, but

perhaps a servant or bodyguard, who

seems at odds with his elaborate and

luxurious setting. —Mary Cristina Cole

Valentine Cameron Prinsep, Slave Girl, ca. 1880, oil on canvas,

35-1/2 x 27-1/2”, gift of Mr. and Mrs. Alan Radcliff

Rodolphe Ernst, The Moor, 1894, oil on panel,

17-5/8 x 14-3/8”, gift of the estate of Homer S. Rhode


tions of female identity in the contemporary Muslim world.

VieWing the east through Western

WinDoWsThe images in this thematic unit were all created by Westerners and address Western percep-tions of the East. While some of the artists traveled to the Middle East and visited Islamic countries, many did not—their artworks are imaginative con-structions of the East. The con-cept of Orientalism refers to this type of construct where the East is defined by the West and the relations between the two are made to seem real and natural so as to emphasize the superiority of the West. These images are, therefore, representations of the East, glimpsed through Western windows—manifestations of observation and ethnographic study at times, and cultural ste-reotypes and fantasy at others.

Decorating the WorD, illuminating

the imageThe final theme of the exhibi-tion examines the word and


Left: The carved

stone window screen

or jali is typical of

palaces and religious

structures created in

Mughal India. The

Mughals were a

Muslim dynasty that

controlled much of

the Indian subconti-

nent from the 16th

to the 19th century.

Exquisite stone trac-

ery jalis were set into

the walls of build-

ings to allow cooling

air to circulate while

screening off the in-

terior. These window

sculptures are usually

carved with delicate

floral designs derived

from nature and lat-

ticework in geometric

forms. Jalis seam-

lessly combine practi-

cality and beauty, as

they provide privacy

and a distinction of

space while creat-

ing a beautiful and

ever-changing play

of light and pattern

in both religious and

secular architectural

contexts.

—Judy Von Tress-Pretto

India, Rajasthan, Jali [Window], 18th century,

red sandstone, 23 x 18-5/8 x 1”, gift of Subhash Kapoor

Morocco, Qur’an Case, 19th century, silver,

copper alloy and white stone, 4-3/8 x 6 x 1-3/4”,

gift of Ruth and Harvey Rosenwasser

Below: Along with wood, glass, ce-

ramics and textiles, metalwork was

one of the most important media

used in Islamic art. The significance

of decoration and pattern in Islamic

art is clearly seen on the exterior of

this small Qur’an case, which pro-

tected the word of God contained in

the Qur’an manuscript while allow-

ing the owner to keep the holy text

near. The main decorative elements

are the floral and vegetal motifs that

outline the lid and the front section,

which is inlaid with a triangular-

shaped white stone and smaller

teardrop shaped stones placed on

the corners of the front of the case.

Symmetry, order and repetition were

seen as means to symbolize the

presence of God in all things and

the visual infinity created by pattern

and symmetry parallels the cosmic

and constant power of Creation.

—Lesli M. Cuenca


ornament, two central compo-nents of Islamic art that inter-twine in a number of ways. Many Islamic texts were illustrated, and though Qur’an manuscripts contained no fig-ural imagery (representations of humans or animals), they were lavishly decorated with floral and geometric patterns. Muslim artists decorated even the most mundane objects with pattern and color and elevated the status of these functional works by adding texts or inscriptions to them.

The word in Islamic art could encompass the holy text of the Qur’an, but the high level of literacy in the Islamic world meant that other types of texts, literature, poetry, sci-entific works and biographies, circulated widely in a number of languages. In both reli-gious and secular artworks, the word itself could become ornament and was accom-panied by bright colors, rich textures and complex pat-terns that manifested the skill of the artist and the harmony and symmetry of the natural world. On View


Left: Naturalistic

studies of flowers

and animals became

popular during the reign

of the Mughal leader,

Jahangir (r. 1605-

1627). In the 16th and

17th centuries, many

European illustrated

manuscripts, books and

engravings circulated in

India, creating an inter-

est in highly realistic

depictions of nature.

In this study, the artist

depicted plants and

flowers in extraordinary

detail, delineating veins

on the petals and even

holes in the leaves,

perhaps formed by the

insects on and around

them. In Islam, gardens

were designed and

nurtured to symbolize

Paradise. Many Islamic

texts included descrip-

tions of the beauties

of Paradise, with its

abundance of flowers,

trees and water. Gar-

dens were frequently

included in mosques,

madrasas, mausoleums

and palace complexes,

such as the Taj Mahal.

—Lesli M. Cuenca

India, Uttar Pradesh, Botanical Study with Insects, 18th century, gouache on paper,

13 x 9-1/2”, gift of Mr. and Mrs. Gora Dutta, Acquisition Endowment Fund

West Asia, Manuscript Page from the Qur’an,

11th century, ink, tempera and gilding on paper,

14 x 11”, gift of Mr. and Mrs. Stanley Marcus

Below: This page of the Qur’an

displays text written in a cursive style

known as naskhi. It was developed

between the 10th and 11th centuries

and rapidly became the most com-

mon writing style used throughout

the Islamic world. It is recognizable

by its elongated and supple forms,

elegant proportions and legibility.

The Naskhi style of writing facili-

tated the reading of the Qur’an as

well as its circulation. This particular

manuscript has very little decoration

however, making the text itself—the

Word of God—the central focus. This

page contains verses 89-93 from

surah 9 (Surat al-Tawbah, the Repen-

tance) and is the only chapter in the

Qur’an that does not start with the

classic formula of the Bismillah (“In

the Name of God, the Merciful, the

Compassionate”). —Melyssa Haffaf

THEO WUJCIK IS MASTERFUL at combining fragmented imag-es of contemporary popular cul-ture to create powerful works that convey a range of themes, iconography and experiences.

“Always looking to broaden my range in dealing with both subject and content, I enlist an array of conceptual styles, which remain in a state of flux,” says Wujcik. “The dialogue of inter-est today may be superseded by a more pressing issue tomorrow, and I’m very keen on following this non scripted procedure.”

While he does not embrace or reject any particular academical-ly approved style, Wujcik has worked essentially under the umbrella of Pop Art—appro-priating images from popular culture to create his own unique and dynamic visual narratives.

Born in 1936 in Detroit, MI, Wujcik began his art career in 1958 at Detroit’s Center for Creative Studies. He complet-ed his post-graduate work in li-thography at the University of New Mexico in Albuquerque in 1967, attaining the status of master printer.


RETROSPECTIVE{ T H E O W U J C I K }

E x h i b i t i o n

Theo Wujcik: A Ten Year Retrospective, 2001-2011*

On view January 13th-February 25th at the Bob Rauschenberg Gallery, Ft. Myers

www.rauschenberggallery.com

From 1968-1980, Wujcik worked exclusively with in-taglio, lithography and silver-point drawing. He made his first mark in the art world with a series of prints and drawings that portrayed artists who inter-ested him—James Rosenquist, Roy Lichtenstein, David Hock-ney and Robert Rauschenberg, among others.

In 1970, Wujcik accepted the posi-tion of Shop Man-ager at Graphic-studio, a research-based atelier on the campus of the University of South Florida. In 1972, he was appointed to a full-time teaching position in the uni-versity’s Fine Arts Department, a post he held un-til his retirement as Professor Emeritus, in 2003.

Theo Wujcik is the recipient of two National Endowment for the Arts Fellowships, a Lou-is Comfort Tiffany Foundation Award, University of South Florida Research and Creative

Scholarship Grant, Florida Di-vision of Cultural Affairs Indi-vidual Artist Fellowship and a Fellowship Award from the Na-tional Academy of Design, NY.

His works have been includ-ed in exhibitions at the De-troit Institute of Arts, MI, and New York’s Whitney Muse-um of American Art, Museum

of Modern Art and Brooklyn Museum of Art. In 2000, a 30 year retrospective of Wujcik’s works, dating from 1970 to 2000, was co-curat-ed by James Rosen-quist and Marga-ret Miller, and pre-miered at the Gulf Coast Museum of Art in Largo, FL.

One of Florida’s pre-eminent artists, Wujcik lives and works in the heart of Tam-pa’s historic Ybor City, where his urban life and studio work is seamlessly interwoven. He con-tinues to paint full-time, pursu-ing his lifelong investigation of popular culture in remarkable and visually poetic ways. On View

opposite:

Asians in my Soup, 2009,

Acrylic on canvas, 92.5 x 67.5”

above (top to bottom):

1.Honey Pot, 2009,

acrylic on canvas, 102 x 78”

2. Cross Cultural, 2009,

acrylic on canvas, 92 x 75”

left: theo wujcik

images courtesy of the artist,

photography by Joe Traina

* theo wujcik: a ten year

retrospective, 2001-2011 is

curated by barbara hill

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

THEO WUJCIK creates powerful

images INSPIRED BY

POP CULTURE.

BEAUTY BUSINESS MAKESits debut during Art Basel Mi-ami Beach 2011 with art and sculptures by Vienna-based art-ist, Erwin Wurm. Drawing on history, humor and philoso-phy, Wurm creates light-heart-ed works which, at times, con-vey serious messages. “If you approach things with a sense of humor, people immediately as-sume you’re not to be taken seri-ously,” explained Wurm. “But I think truths about society and hu-man existence can be approached in different ways. You don’t al-ways have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”

A sculptural piece from Wurm’s Drinking Sculpture se-ries asks the audience to partici-pate in the work, which they hap-pily do—it’s a bar! Viewers can open drawers and interact with it. Wurm also incorporates no-tions of warmth, security, fash-ion and the human form in a se-ries of sweater sculptures, which transform our awareness of the forms into the present moment, free from historical referenc-es. Additionally, a new series of


FOCUS{ E R W I N W U R M }

E x h i b i t i o n

Erwin Wurm: Beauty Business*

On view December 1st through March 4th, 2012 at the Bass Museum of Art, Miami Beach

www.bassmuseum.org

‘hoodie’ works pushes our per-ception of the human form.

Born in 1954, Wurm trained in Vienna in the 1970s—the hey-day of conceptual art. He is prob-ably best known for his ongoing series of One Minute Sculptures, in which, with the help of an ev-eryday object and drawn instruc-tions, members of the public turn themselves into tem-porary sculptures.

Wurm considers the search for space, potential form and volume the basic principles of sculp-ture, around which his work revolves. Beauty Business is the artist’s first co-hesive focus on the home or dwelling. In his art, Wurm con-sistently realizes architecture’s highest aim as he creates works whose extraordinary power lies not only in how deeply they make us feel, but also in how they let us see the complexity of our feelings in meaningful environ-ments, which help us to dwell. Wurm defines a dwelling as an

in-between space where one may hesitate between worlds. The activity of dwelling is a con-templative lingering—a way of remaining in a space or location that is responsive to the nature of that particular place, open to whatever happens to trigger one’s imagination, through association, fantasies, daydreams, de-

sires or memories.Wurm’s multi-

disciplinary works have been shown at the Moscow Bien-nial (2009); Ullens Center of Contem-porary Art, Beijing, China (2010); Kun-stmuseum Bonn (2010); Museum of Modern Art, NY (2010); and 54th Venice Biennale,

Italy (2011). His works are also held in collections of the Guggenheim Museum, NY; the Walker Art Center, Minneapo-lis, MN; Museum Ludwig, Co-logne, Germany; Musée d’Art Contemporain de Lyon, France; and Centre Pompidou, Paris, among others. On View

opposite page:

Untitled, 2011, wood, metal, glass

Above:

Architecture I (&) Architecture II,

2011, fabric, wood

below:

House I (&) House II, 2011, bronze

IMAGES COURTESY THE ARTIST,

BASS MUSEUM OF ART AND

LEHMANN MAUPIN GALLERY, NY;

Photography by German Guevara

for E11EVEN productions

left: ERWIN WURM

*produced in collaboration with

Dallas Contemporary, Texas, and

curated by Peter Doroshenko, Direc-

tor/Dallas Contemporary, Texas.

F O C U S

“You DON’T ALWAYS have to BE deadly SERIOUS.”

—erwin wurm

IN 2000, GUERRA DE LA PAZ began to take notice of anony-mously littered garments that were being held captive by the barbed wire that topped end-less miles of industrial fences throughout Miami’s urban land-scape. “The wind breathes life into the entangled clothes that metaphorically struggle to free themselves from the clutches of their captors,” explained the art-ist. “As time lapses, rain weighs with burden and weakens while the sun rots and bleaches out their identity, fabric shreds and slowly decomposes—a painful analogy of tortured flesh.”

Guerra de la Paz’s first en-counter with one of these scenar-ios produced an ongoing series of works and the foundation for the exhibition Barbed—a tribute to man’s insatiable and resilient quest for freedom. The center-piece of this thought-provoking exhibition is a single installation titled Unidentified—2011, which speaks to controlled attempts to physically and psychologically manipulate the masses through deceptive and abusive tactics. Notions of oppression are de-


PROFILE{ G U E R R A D E L A P A Z }

E x h i b i t i o n

BarbedOn view through December 31st at

Praxis International Art, Wynwood Art District www.praxis-art.com

fined within mounds of cloth-ing, compressed, confined and contained within a chain-linked cubicle, crowned by barbed and razor wire. At a time of global change, political, economic and ecological turmoil, Unidentified serves as an acknowledgement and reminder that history often repeats itself.

Guerra de la Paz is the composite name that repre-sents the creative efforts of Cuban born Miami-based artists, Alain Guer-ra and Neraldo de la Paz, who have been producing collabor-atively since 1996. Their work is based on a combination of traditional disci-plines, experimentation with di-mension and the use of uncon-ventional materials.

Access to an overabundance of discarded clothing opened the door for the artists to work pri-marily with garments as visual metaphors in their work. “The relics that once defined an indi-

vidual’s personality now are only residues of the essence they once represented, histories in dregs of scent, silent witnesses to lives that move swiftly between mass consumption and disposability.”

Guerra de la Paz’s installa-tions have gained internation-al recognition with shows at Saatchi Gallery, London; Fon-

dation Francès, Paris; Miami Art Museum; Art Mu-seum of the Amer-icas, Washington DC; Americas So-ciety, NY; Chica-go Cultural Center; Southeast Center for Contemporary Art, Winston, Sa-lem, NC; Art and Culture Center of Hollywood, FL;

and Intersection: Intimacy and Spectacle / 12TH Prague Qua-drennial of Performance, De-sign and Space, Czech Republic.

While Guerra and de la Paz continue to evolve and travel the world, Little Haiti, with its vibrant culture, remains their creative home. On View

opposite page (top to bottom):

1. Unidentified (detail), 2011, found

garments, chain-link fence, barbed

wire and razor wire, 10 x 10 x 10’

2. 7, from Barbed series, 2010, C-Print

on archival acrylic glass, 30 x 40”

Above (top to bottom):





left: NERALDO DE LA PAZ (LEFT) AND

alain Guerra, photo: Douglas Voisin

images courtesy of the artist and

praxis international art

P R O F I L E

GUERRA and DE LA PAZ have been producing collaboratively SINCE 1996.

F O R O V E R 3 0 Y E A R S , Tommy Simpson’s artwork has transcended craftsmanship, fine art and whimsy. Exhibit-ed by major museums through-out the country, Simpson is a trail blazer in the field of stu-dio furniture. While his high-ly personalized style is firmly rooted in his exemplary skill as a furniture maker, studio fur-niture describes just one facet of his vast repertoire. Sculpture, furniture, paintings, ceramics, jewelry, prints, rugs and quilts are among his many creations—each a reflection of personal and cultural references. “The ulti-mate goal,” he says, “is to bring the artwork to life, so that the viewer can identify the human spirit behind the work, and ex-perience its poetry.”

Simpson received his MFA from Cranbrook Academy of Art in Michigan in 1964, and had his very first exhibition in New York City that same year. Drawing on childhood memories formed in an idyllic Midwestern home and neigh-borhood, populated with gen-erations of doting relatives,


CRAFT

E x h i b i t i o n

The Art of Tommy Simpson On view January 28th through

February 27th at the Naples Art Association at The von Liebig Art Center

www.naplesart.org

{ T O M M Y S I M P S O N }

Simpson’s work reflects the imaginings and joys of a care-free life growing up during the 1940s and ’50s.

Simpson is best known for his mixed-media sculptures made from carved, laminated or wheel-turned wood combined with found objects and vivid hand-brushed colors. He creates some of his sculp-ture for pure aes-thetic appreciation, while other works serve a dual purpose as both art and func-tional objects for the home. His function-al sculptures include tables, chairs, lamps, beds, cabinets and ladders. Whimsical and complex, each piece tells a story.

Simpson is the recipient of numerous awards, including a NEA Grant from the National Endowment for the Arts, Wash-ington, DC; a Fellow Award from the American Craft Council in New York; Master Craftsman Award from the Society of Con-necticut Crafts; and an Award of

Distinction from the Furniture Society, Asheville, NC. He has exhibited at the Museum of Arts & Design, New York; DeCor-dova Museum, Lincoln, MA; and The Wadsworth Athenae-um, Hartford, CT; and has par-ticipated in solo exhibitions at Gallery NAGA, Boston, MA; Leo Kaplan Modern, New York;

Lowe Art Gallery, Syracuse, NY; Full-er Museum, Brock-ton, MA; and Light-house Center for the Arts, Tequesta, FL.

Simpson’s work is represented in the collections of the Museum of Fine Arts, Boston; the Museum of Arts and Design, NY; the New Brit-

ain Museum of American Art, New Britain, CT; and Mat-tatuck Museum, Waterbury, CT. He has authored sever-al books, including Hand and Home (1994) and Two Looks to Home (1999). Tommy Simpson lives and works in New Mil-ford, CT. On View

opposite page:

TREE OF LIFE, 2011,

mixed woods chair, 45 x 35 x 21”

above (top to bottom):

1. BRUNO’S BED, 2011,

painted wood twin bed, 64 x 44 x 80”

2. SMITTEN MITTEN, circa 1995,

painted and carved wood cabinet,

72.5 x 31 x 20”

left: Tommy Simpson

Photography by Douglas Foulke,

ALL IMAGES COURTESY OF THE ARTIST

C R A F T

Tommy Simpson’s ARTWORK

transcends crafts-manship, fine art AND WHIMSY.


Will Ryman: Desublimation of

the Rose

at Fairchild Tropical Botanic Garden,

Coral Gableswww.fairchildgarden.org

12.01.11-05.31.12

VonD E S T I N A T I O N

iewFairchild Tropical Botanic Garden

presents the unveiling of new, large- scale works by American artist,

Will Ryman, as part of its highly acclaimed, annual visual art program—

a celebration of art and culture.

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WILL RYMAN IS RENOWNED for his large- scale, figura-tive sculptures based on urban scenes and oversized flora. For this exhibition at Fairch-ild Tropical Botanic Garden, Ryman unveils a series of new works—his largest outdoor exhibition to date—consist-ing of three new monochrome rose sculptures in blue, yellow and red, each ranging from five to 30 feet in height. The sculptures, entitled Encore, Origin and Icon, respectively, are composed of painted stain-

O N V I E W D E S T I N AT I O N :FA I R C H I L D

TROPICAL BOTANIC GARDEN, C O R A L G A B L E S

E X H I B I T I O N :

Will Ryman:Desublimation of

the RoseOn view 12.01.11-05.31.12

W

110 O n V i e w M a g a z i n e . c O M

less steel, stainless steel mesh, fiberglass resin and nidacore.

“I wanted to take an organ-ic subject and change it into something that was obviously man- made,” said Ryman. “It’s a comment on the commercial-ization of a natural object for consumption, which is some-thing I wanted to explore with

this new monochrome series.”Additionally, Ryman has

created several oversized pet-als that delicately float on the serene ponds and sit on the grassy areas, as if they had just fallen from the sky. Visitors can lounge on the oversized petals placed around the garden—a reflection of Ryman’s flair for

Left: Ladybug (detail), courtesy of the artist and Paul Kasmin Gallery

Previous pages and below: Renderings of Icon (with Petals), 2011, at Fairchild Tropical Botanic Garden, ©WR Studio Inc./ photo by Kirkland Hyman, courtesy Fairchild Tropical Botanic Garden

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the dramatic and absurdly wonderful. On a whimsical note, he has also placed sever-al brass ants and bees high up in a number of trees, appearing as keen observers of the sculp-tures below.

“Will’s work is a revelation. Roses symbolize pure beauty and elegance, therefore, the combination of the art’s sym-bolism, the beauty of the roses, and the stunning natural setting of Fairchild’s garden, form an artistic trifecta,” said Nannette Zapata, Fairchild’s Chief Oper-ating Officer and Art Curator.

Ryman’s sculptures recently adorned the malls of Park Ave-nue in Manhattan in the exhibi-tion, The Roses, which opened in January 2011. Additional exhibitions of his work have included Tangled Up in You: Connecting, Coexisting, and Conceiving Identity (2008), at 21c Museum Foundation,



E X H I B I T I O N :

Will Ryman:Desublimation of

the Rose

Left: Will Ryman, photo by Pippa Jane Wielgos

Above: Rendering of Encore (2011) at Fairchild Tropical Botanic Garden, ©WR Studio Inc./photo by Kirkland Hyman, courtesy Fairchild Tropical Botanic Garden

Right: Bee (detail), cour-tesy Paul Kasmin Gallery


Louisville, Kentucky; Contem-porary Figurative Sculpture (2010), at Herbert F. Johnson Museum of Art, Cornell Uni-versity, New York; Sculpture: Selections from the collection of Martin Z. Margulies (2007), at Margulies Warehouse, Miami; Greater New York 2005, at P.S. 1 Contemporary Art Center, New York; Invitational Exhi-

bition of Visual Arts (2007), at The American Academy of Arts and Letters, New York; Recon-figuring the Body in American Art, 1820- 2009 (2009), at The National Academy of Design, New York; and The Shape of Things to Come (2009), at The Saatchi Gallery, London. He is currently represented by the Paul Kasmin Gallery.

Left: Will Ryman, photo by Pippa Jane Wielgos

Above: Rendering of Encore (2011) at Fairchild Tropical Botanic Garden, ©WR Studio Inc./photo by Kirkland Hyman, courtesy Fairchild Tropical Botanic Garden

Right: Bee (detail), cour-tesy Paul Kasmin Gallery

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ONE OF THE WORLD’S PRE-eminent botanic gardens, Fairchild Tropical Botanic Garden, in Coral Gables, fea-tures extensive collections of rare tropical plants, includ-ing palms, cycads, flower-ing trees, tropical fruit trees, vines and succulents. The 83-acre garden is among the region’s most popular visi-tor attractions, offering tours along with a variety of pro-grams in environmental edu-cation, conservation and hor-ticulture.

Behind the seemingly nat-ural beauty of Fairchild lies a carefully orchestrated blend of art and science. Docu-mented botanical specimens



The Garden

O

Glade Lake, photo by Lorena Alban

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provide valuable resources in science and education, while horticultural displays and the classic landscape design by William Lyman Phillips—a key member of Central Park’s Frederick Olmstead architectural group—offer visitors an unforgettable aes-thetic experience.

This is truly a unique and magical place where one can walk garden paths surrounded by the wonders and beauty of nature, view impressive art, talk to experts in horticulture, conservation and science, and also take classes on everything from photography to grafting.

The Garden includes many collections and displays such as the Tropical Flower Gar-den, Spiny Forest of Madagas-car, Rainforest, Vine Pergola, Victoria Amazonica Pool, Butterfly Garden, Palmetum, Tropical Fruit Pavilion, Con-servatory, Bailey Palm Glade, Jewels of the Caribbean and the Keys Coastal Habitat—all



The Garden


Clockwise from top left: 1. Victoria amazonica (detail),2. Lin Lougheed Spiny Forest of Madagascar3. Ficus benjamina4. Jade Vine (detail)

of these are brought together in a unified design that flows from one area to another.

In addition to showcas-ing tremendous art exhibi-tions and concerts, Fairchild also hosts several delightfully tempting festivals through-out the year, including the International Mango Festival in July and the International Chocolate Festival in Janu-ary—each featuring lectures, talks and classes given by local and global experts.

Fairchild Tropical Botanic Garden gets its name from one of the most famous plant explorers in history, David Fairchild (1869-1954). Fairchild was known for trav-eling the world in search of useful plants, but he was also

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an educator and a renowned scientist. At the age of 22, he created the Section of For-eign Seed and Plant Intro-duction of the United States Department of Agriculture, and for the next 37 years, he traveled the world in search of plants of potential use to the American people. Fairch-ild visited every continent in the world (except Antarctica) and brought back hundreds of important plants, including mangos, alfalfa, nectarines, dates, cotton, bamboos and



The Garden

Left: Ampitheater

Below: Royal Palm Lake

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FA I R C H I L D TROPICAL BOTANIC GARDEN,

C O R A L G A B L E S

The Garden


the flowering cherry trees that grace Washington DC.

Fairchild retired to Miami in 1935 and joined a group of passionate plant collec-tors and growers, including retired accountant, Col. Rob-ert H. Montgomery; environ-mentalist, Marjory Stoneman Douglas; County Commis-sioner, Charles Crandon; and landscape architect, William Lyman Phillips. This core group worked tirelessly to bring the idea of a one-of-a-kind botanic garden to life and, in 1938, Fairchild Tropi-cal Botanic Garden opened its 83 acres to the public for the first time.

We invite you to enjoy the wonder that is Fairchild Tropi-cal Botanic Garden. With its beautiful paths, vistas and out-standing exhibits, the garden provides every visitor with an unforgettable experience. For additional information visit: www.fairchildgarden.org On View

The Main LawnAll images courtesy of Fairchild Tropical Botanic Garden

american evolution/ martin schoeller: barbara sorensen:

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