On View Magazine - Rob Kaz feature page 6

on
F L O R I D A
VA U G U S T / S E P T E M B E R 2 0 1 2
iew
THE MYSTERIOUS Content of Softness
A T C O R N E L L F I N E A R T S M U S E U M , W I N T E R P A R K
P L U S
UNNATURAL
A T B A S S M U S E U M O F A R T , M I A M I B E A C H
HISTORIES in Africa :
20 Years of Photography by Elizabeth Gilbert
A T T H E C U M M E R M U S E U M O F A R T & G A R D E N S , J A C K S O N V I L L E
FLORAda & Flowing Waters :
The Art of Mark Messersmith,
Margaret Ross Tolbert & Anna Tomczak
A T T H E A P P L E T O N M U S E U M O F A R T , O C A L A
A N D
STRIPPED BARE + Bathed :
The Preservation of Dalí’s Masterworks
A T T H E D A L Í M U S E U M , S T . P E T E R S B U R G

CONTENTS
A u g u s t / S e p t e m b e r 2 0 1 2 V o l . 3 , N o . 3
ON THE COVER :
LISA KELLNER,
ALMOST PERFECT (DETAIL),
2011, SILK, PIGMENT,
PAINT, THREAD, EMBROIDERED
TEXT (“ALMOST PERFECT”),
SURGICAL PINS, 42 x 31 x 6”
RIGHT:
LISA KELLNER, IM PLANT,
2012, SILK, PIGMENT, PAINT,
BLEACH, THREAD, HAND FORMED
AND PAINTED SILK RODS,
VARIABLE, ROUGHLY 12 x 12’ AREA
IMAGES COURTESY
OF THE ARTIST
on
F L O R I D A
VA U G U S T / S E P T E M B E R 2 0 1 2
iew
THE MYSTERIOUS Content of Softness
A T C O R N E L L F I N E A R T S M U S E U M , W I N T E R P A R K
P L U S
UNNATURAL
A T B A S S M U S E U M O F A R T , M I A M I B E A C H
HISTORIES in Africa :
20 Years of Photography by Elizabeth Gilbert
A T T H E C U M M E R M U S E U M O F A R T & G A R D E N S , J A C K S O N V I L L E
FLORAda & Flowing Waters :
The Art of Mark Messersmith,
Margaret Ross Tolbert & Anna Tomczak
A T T H E A P P L E T O N M U S E U M O F A R T , O C A L A
A N D
STRIPPED BARE + Bathed :
The Preservation of Dalí’s Masterworks
A T T H E D A L Í M U S E U M , S T . P E T E R S B U R G
52 Winter Park
THE MYSTERIOUS CONTENT
OF SOFTNESS
Consisting of a diverse range of sculptures, installations and crafts,
The Mysterious Content of Softness, hosted by Cornell Fine Arts Museum at
Rollins College, explores the transformative power of fiber—its
connection to the human body and potential for capturing the fluidity of life.
2 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

Fe a t u r e s c o n t i n u e d . . .
62 Miami Beach
UNNATURAL
A new exhibition at
Bass Museum of Art,
UNNATURAL presents
a fusion of reality,
fantasy and simulation,
while reflecting the
freedom of the imagination
and the wonders
of simulation technology,
which make
the inconceivable conceivable.
72 Jacksonville
HISTORIES IN
AFRICA
The Cummer Museum
of Art & Gardens will
be featuring Elizabeth
Gilbert’s glorious
B&W photographs of
a magnificent and
sometimes harsh landscape
and its peoples.
80 Ocala
FLORAda AND
FLOWING WATERS
Works by Mark Messersmith,
Margaret Ross
Tolbert & Anna Tomczak
portray a lush and
beautiful portrait of
natural Florida in a new
show at the Appleton
Museum of Art.
92 St. Petersburg
STRIPPED BARE +
BATHED
Conservation efforts
are usually off-limits
to the public, which
makes this exhibit a
rare opportunity to
witness the skill and
science involved
in preserving several
great Masterwork
paintings at The Dalí
Museum.
On View Destination: NEW YORK CITY
108 The Museums: An overview of
New York City’s outstanding art venues
120 A Gallery Tour: A fine art gallery listing
TOP (LEFT TO RIGHT):
Boaz Aharonovitch,
Dark Matter, 2010-2012;
Elizabeth Gilbert,
The Circumcisionist (detail);
Mark Messersmith,
Wild As Angels;
A conservator works on
Salvador Dalí’s
The Hallucinogenic Toreador,
photo by Chuck Bendel
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 3

CONTENTS
A u g u s t / S e p t e m b e r 2 0 1 2 V o l u m e 3 , N o . 3
5
COMMENTARY
6
MUSE
Rob Kaz: Friends
and Places —An
On View Interview
with artist, Rob Kaz,
and his imaginative
world of fantasy
and whimsy.
14
CALENDAR
Museum exhibitions
48
GALLERY
A selection of
gallery artists and
exhibitions
PICTURED:
HILLERBRAND+MAGSAMEN,
Diana (detail), 2011,
Archival Pigment Print,
©hillerbrand+magsamen
S p o t l i g h t
100
HILLERBRAND+MAGSAMEN
Dunedin Fine Art Center hosts a presentation of
humorous and provocative imagery by
the collaborative team, Hillerbrand+Magsamen,
that explores the stresses, expectations and
predilections of society and the domestic realm.
Fo c u s
102
MARTIN SCHOELLER
Naples Museum of Art
presents a selection
of arresting, large-format
color images—many
of which are Schoeller’s
most famous celebrity
portraits.
I n s i g h t
104
RANIA MATAR
Matar’s unique exhibit,
at the Southeast Museum
of Photography,
reveals the hopes, dreams
and frustrations of young
women in the setting
of their own rooms.
P r o f i l e
106
TRENT MANNING
Manning’s new show,
at Polk Museum of
Art, is living proof that
one man’s trash is
another man’s treasure.
4 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

on
View
M A G A Z I N E
C O M M E N T A R Y
Nature-
Inspired
Editorial
Publisher & Creative
Director
D i a n e McEnaney
Contributing
Editor
P a u l A t w o o d
Editorial
Assistant
T h e r e s a Mav r o u d i s
Advertising
Marketing & Sales
Director
P a u l McEnaney
Contact
Editorial
editorial@onviewmagazine.com
Advertising
advertising@onviewmagazine.com
On View is published on-line,
six times per year,
by On View Magazine, LLC.
No portion of this
publication may be reproduced
without prior
permission of the publisher.
www.onviewmagazine.com
Nature has long been a source of creative
inspiration. It’s power, mystery and beauty has captivated
the hearts and minds of artists for generations.
Through a diverse range of media, artists continue
to explore, interpret, challenge and celebrate
its wonders, creating narratives and opening dialogs
that allow our minds to examine and question our
beliefs and perceptions of nature, in all its forms, as it
applies to our personal lives and to the world around
us. In The Mysterious Content of Softness, on pg.
52, artists explore the transformative power of fiber,
it’s connection to the human body and potential for
capturing the nature of the flesh and conveying an
affinity for life. UNNATURAL, on pg. 62, presents
a fusion of reality, fantasy and simulation as it questions
conventional means and methods of representing
the natural world, while FLORAda and Flowing
Waters, on pg. 80, elegantly portrays a lush and
beautiful portrait of natural Florida as interpreted by
three of the state’s most prominent artists.
Additional highlights include: Histories in Africa:
20 Years of Photography by Elizabeth Gilbert, on pg.
72, a moving photographic journey into the vanishing
culture of the Maasai warriors of Kenya and Tanzania;
Stripped Bare+Bathed: The Preservation of Dalí’s
Masterworks, on pg. 92, a rare opportunity to witness
the restoration of Dalí’s great Masterworks; and much
more—enjoy!
D i a n e McEnaney
Publisher & Creative Director
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 5

...
MUSE
Rob Kaz:
Friends and Places
AN ON VIEW INTERVIEW...
PO T E N T C O L O R S , E N G A G I N G
atmospheres and a dramatic sense of light are what Central Florida-based artist, Rob
Kaz, hopes will draw viewers into his imaginative world of fantasy and whimsy.
“Quite simply, I want [viewers] to long to be in the painting, to take comfort and
smile with a sense of whimsy, a sentiment in my paintings that can be contributed
to my influential background in professional studio animation and video game art.”
Much of Rob’s work is a mirror of his background in animation. Following
graduation from University of Central Florida, he began working for a number of
small animation studios. At that time, Disney had recently relocated their Floridabased
animation studios to California, which left behind many animators in Central
Florida who chose not to uproot. As a result, he found himself working along-
6 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

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

MUSE
Rob Kaz: Friends and Places
side “quite possibly the most talented artists I’ve ever known, right there in those
small studios,” he recalls. “Their influence was invaluable.” Rob had the opportunity
to work in many areas of film—in particular, the time spent in character creation
and environments heavily influenced his painting style. He approaches each
painting with a conscious sense of balance between earth and water. “I find natural
beauty and a soothing logic in water that meets land, that I hope relates as emotions—even
if not parallel to my own,” he says.
Rob recently inked a deal with Disney Fine Art by Collectors Editions and is now
among a handful of artists who can paint Disney fine art, featuring many favorite
Disney characters. On View recently chatted with Rob about his work...
“I like
art that bring
into a m
Much of Rob’s work is a mirror of his background i
Previous page: Rob Kaz, What’s Up, 28 x 22”, from Friends Along the Way; Beau branches out to reach even more new friends.
8 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2
All images: ©Rob Kaz

MUSE
Rob Kaz: Friends and Places
OV: When did you become interested in art
RK: I’ve been creating art since I was a child. From paper plates to canvas, I’ve
always looked at blank slates and had the drive to create. I guess it runs in the
family—my dad was an art teacher. Though I never took art classes, even from
my dad, I learned about dedication, determination and focus—both in art and
life—from his example.
creating
s the viewer
oment.”
—Rob Kaz
OV: Did you plan to pursue a career in art
RK: I graduated from UCF with a degree in Criminal Justice. While I had a job
lined up in law enforcement following graduation, a hiring freeze put a halt to
n professional studio animation and video game art.
Above: Rob Kaz, Overlook, 12 x 48”, from Friends Along the Way; Beau looks down on a koi who happens to catch him staring.
Art, courtesy of the artist
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 9

MUSE
Rob Kaz: Friends and Places
my plans. As fate would have it, I was hired to begin work in an animation studio
after the owner happened upon a few of my paintings and drawings. I later
went on to become an artist at EA Tiburon (Electronic Arts) where I worked
on video games, including Madden, Tiger Woods and NCAA Football. Shortly
after that, I decided to take a leap of faith, to paint professionally as a fine artist—and
here I am now!
OV: You recently signed with Disney Fine Art by Collectors Editions.
What has this adventure been like for you
RK: I am one of the biggest fans of animation art you’ll meet and being able to
paint Disney is really an honor. I have had the privilege of working with many
Rob Kaz, Bambi, 30 x 40”, from Disney Fine Art by Collectors Editions
10 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

MUSE
Rob Kaz: Friends and Places
Disney artists and they inspired me to make the transition from animation to fine
art. I want artists and fans alike to enjoy how I try to expand on the movies and
add something more, from my perspective.
OV: Where do you typically find inspiration
RK: A lot of things influence my art. Life influences my art. Tropical places I
visit, animals I see while walking my dogs, friends I meet throughout my journeys,
my imagination—all are influences that can be seen in my finished pieces.
In fact, Beau, the frog character found in many of my paintings, is the product
of such influences. After a tiny green frog hopped onto a glass window near my
office, I watched him for a while, imagining where he might have been, where he
Rob Kaz, Atop The Beanstalk, 22 x 28”, from Disney Fine Art by Collectors Editions
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 11

MUSE
Rob Kaz: Friends and Places
was going. I wondered about his encounters with other animals and the curiosity
that landed him on the window. At that moment, Beau was born.
OV: How long does it typically take you to complete a painting
RK: The length of time varies. It’s hard to say exactly how long a painting takes
as I have started and finished some in a matter of hours and others have taken up
to a week or more. I always say that the signature is the hardest part of the process
because I find it difficult to ever really call a painting complete.
OV: What do you hope people may experience when viewing your work
Rob Kaz,Sunset Lagoon, 30 x 40”, from Places I’d Rather Be;
“I came on a place not unlike this while in the Florida Keys. What a nice feeling to spend the evening
watching the sun go down with nothing to do and nowhere to be.” —R. Kaz
12 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

MUSE
Rob Kaz: Friends and Places
RK: I create scenes that are drawn from my imagination. Even if a painting is
based on a real place or subject, I tend to romanticize the landscape, the sky, etc.
I like creating art that brings the viewer into a moment, whether it’s happiness,
curiosity or tranquility. I don’t hide meaning in my paintings. You won’t find
symbolism or deep, poetic thought, but you will find yourself wondering about the
characters, or longing to be on the shore beneath the shade of a palm. I suppose,
for that reason, my paintings tend to fall into one of two categories, “Places I’d
Rather Be” or “Friends Along The Way”—and sometimes both. On View
To view more of Rob’s paintings, visit DisneyFineArt.com and www.robkazart.com.
Rob Kaz, Dinghy, 16x20”, from Places I’d Rather Be;
“I started this painting while on Royal Caribbean’s Oasis of the Seas. The scene was
inspired by a stop at Labadee, Haiti. I can just imagine some couple grabbing this little boat and going
off to some secluded tropical locale.” —R. Kaz
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 13

{ 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 }
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 .
BOCA RATON
Thru 10.07.12
A Little Birdie
Told Me...
Boca Raton
Museum of Art
www.bocamuseum.org
A gallery of birds has
been drawn from the
Museum’s Permanent
Collections, showcasing
American, European,
Native American,
and Pre-Columbian
representations of our
fine feathered friends.
Noted artists featured
include: Max Ernst,
Joan Miró, Philip
Pearlstein, Man Ray,
James Rosenquist and
Ben Shahn.
Thru 10.07.12
Big Art:
Miniature Golf
Boca Raton
Museum of Art
www.bocamuseum.org
Designed by artists
from across the US,
Big Art: Miniature
Golf is a unique exhibition
that explores
the fusion between art,
design and play. Visitors
can see—and play
on—a diverse selection
of artist-created
miniature golf holes
(clubs provided),
ranging from an orbit
around the Sun and
into a black hole, playing
inside an enormous
golf hole cup,
and a surrealist pinball
hole, to the world’s
smallest version of the
world’s largest miniature
golf course. Each
hole offers a one-of-akind
experience for all
visitors, be they golf
lovers, art lovers,
or both.
Thru 10.14.12
Glass Act: The
Contemporary
Art Glass Movement
Turns 50
Boca Raton
Museum of Art
Image from Big Art: Miniature Golf at Boca Raton Museum of Art: Erika Nelson (Lucas, Kansas), The World’s Smallest Version of the World’s Largest Miniature
Golf Course, 2012, concrete, AstroTurf, landscaping, 3-1/3 x 8-1/4 x 3-1/4’
14 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 o f 3 4 }
B o c a R a t o n c o n t i n u e d . . .
www.bocamuseum.org
Celebrating the 50th
anniversary of the
Studio Glass Movement
in America, this
display showcases art
glass representative
of the full breadth of
this defining period in
contemporary glassmaking,
and focuses
on unique objects that
explore ideas by leading
glass artists such
as Dale Chihuly, Dan
Dailey, Michael
Glancy, Harvey Littleton,
Concetta Mason,
William Morris, Jay
Musler, Toots Zynsky
and others.
09.11.12-01.20.13
Highlighting textile
masterpieces from
the collection of the
American Folk Art
Museum in NYC, this
exhibition includes
bedcovers that have
rarely been on view
and important cornerstones
of the Folk Art
Museum’s comprehensive
quilt holdings.
The exhibition also
marks the first opportunity
for viewers to
see the 9/11 National
Tribute Quilt outside of
the American Folk Art
Museum. In recognition
of the quilt’s inclusion
in the exhibit and
to commemorate the
day, the Museum will
offer complimentary
admission on September
11th.
BRADENTON
Thru 08.26.12
Preserving
Eden: Clyde
Butcher’s Florida
Photographs
South Florida
Museum
www.southflorida
museum.org
Using black & white
film as his medium,
Clyde Butcher creates
images that look beyond
the obvious and
attract the viewer
with the drama of light
and shadow, engaging
not just our eyes,
but our emotions —
and hopefully, as he
says—our hearts.
Politics Not as
Usual: Quilts
with Something
CORAL GABLES
to Say
Thru 10.21.12
Boca Raton
Introspection
Museum of Art
and Awakening:
www.bocamuseum.org
Japanese Art
Image from Politics Not as Usual: Quilts with Something to Say at Boca Raton Museum of Art: National Tribute Quilt (detail); organized and assembled by
the Steel Quilters, Pittsburgh, 2002; cotton and mixed media, 8 x 30’, American Folk Art Museum, gift of the Steel Quilters: Kathy S. Crawford,
Amber M. Dalley, Jian X. Li and Dorothy L. Simback, with the help of countless others in tribute to the victims of the September 11, 2001, attack on
America, 2002.14.1, image courtesy of American Folk Art Museum, New York City
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 15

C A L E N D A R { P g. 3 o f 3 4 }
C o r a l G a b l e s c o n t i n u e d . . .
of the Edo and
Meiji Periods,
1615-1912
Lowe Art
Museum,
University of
Miami
www.lowemuseum.org
Featured are early
examples of the various
painting schools,
woodblock prints and
porcelains from the
17th to early 20th
century, which address
a variety of
themes, including the
influence of China
and Korea on Japan
during this crucial
timeframe; the Japanese
life-style and
belief structure; and
the impact of the
West.
Thru 09.23.12
Saintly Blessings
from Mexico:
A Gift of
Mexican
Retablos from
Joseph and
Janet Shein
Lowe Art
Museum,
University of
Miami
www.lowemuseum.org
Painted devotional
images of saints,
called retablos, used
primarily by Mexican
peoples as objects
of veneration and to
seek favors, are
on exhibit for the
first time.
CORAL
SPRINGS
Thru 08.18.12
Ann Deon,
Jack Newman,
Isabel Perez and
Deborah Gregg
Coral Springs
Museum of Art
www.csmart.org
Paintings, sculptures
and mixed-media
works by artists:
Anne Deon —A Retrospective:
Selections
from Three Decades
of Work; Deborah
Gregg—Inscriptive
Manifestations: The
Inner Voice; Jack
Newman—The United
Tastes of America; and
Isabel Perez Salazar—
Mixing Nature; will
be on display in four
distinctive special presentations.
(See Jack
Newman: The United
Tastes of America
in the June/July 2012
issue on pg. 100.)
DAYTONA
BEACH
Thru 11.4.12
Artists, Art and
Architecture:
Discovering
the Past from
the MOAS
Collections
Museum of Arts
& Sciences
www.moas.org
Watercolors, drawings
and oils by 18th
Image from Jack Newman: The United Tastes of America at Coral Springs Museum of Art: Jack Newman, 22 Across, 42 x 49”
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C A L E N D A R { P g. 4 o f 3 4 }
D a y t o n a B e a c h c o n t i n u e d . . .
and 19th century
artists Piranesi, David
Roberts and Panini
are highlighted in this
exhibit through images
filled with both
academic excellence
and beauty.
Thru 09.09.12
Empire and
Empathy:
Vintage
Photographs
of Russia
Museum of Arts
& Sciences
www.moas.org
Old Moscow photographs
were shot
in 1909 by Amateur
photographer,
Murray Howe, on a
hand-held Graflex
camera—at that time
considered a stateof-the-art
device.
The results are extraordinary
in both
quality and interest,
revealing rare
glimpses of everyday
life, including street
vendors, pedestrians
and aristocrats, in a
world soon to be lost
forever in the drama
of WWI and the Bolshevik
Revolution.
Thru 09.09.12
The Tsars’
Cabinet:
Two Hundred
Years of Russian
Decorative
Arts Under the
Romanovs
Museum of Arts
& Sciences
www.moas.org
The Tsars’ Cabinet
illustrates two hundred
years of decorative
arts of Russia
from the time of
Peter the Great in
the early 18th century,
to that of Nicholas
II in the early 20th
century. Many of
the pieces in the
exhibition were designed
for the use of
the tsars or other Romanovs,
while others
are indicative of
the styles that were
prominent during
their reigns.
09.28.12-01.06.13
Victorian
International
Museum of Arts
& Sciences
www.moas.org
Victorian International
focuses on art
and decorative arts
produced on both
sides of the Atlantic
in the Victorian age
(1840s–early 20th
century). The exhibition
includes fine furnishings,
paintings,
sculpture, Tiffany
and cut glass, ceramics,
embroidery and
other textiles, sculpture,
and metalwork
that individually and
collectively define
the merits and usage
of Victoriana.
Image from Empire and Empathy: Vintage Photographs of Russia at the Museum of Arts & Sciences, Daytona Beach: Murray Howe, Moscow Cucumber
Street Vendor (detail), 1909
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C A L E N D A R { P g. 5 o f 3 4 }
D a y t o n a B e a c h c o n t i n u e d . . .
09.14-12.14.12
Women Artists
Florida
www.floridamuseumfor
Panoramics
Southeast
Museum of
Photography
www.smponline.org
This exhibition of
more than 200 vintage
panoramic photographs
and original
vintage postcards,
draws out the fascinating
history of this
unique style of photography
from Florida’s
“golden years” in
the early 20th century.
09.14-12.14.12
Rania Matar:
A Girl and
Her Room
Southeast
and subtle power.
Focusing on contemporary
young women
from vastly differing
cultures in the US and
Lebanon, her project,
A Girl and Her Room,
reveals the complex
lives of her subjects in
the unique setting of
the girls’ own rooms.
(See story on pg. 104.)
Women Artists
www.floridamuseumfor
womenartists.org
A fiber show featuring
the dynamic textile
work of nine exceptional
Florida artists
will be on exhibit, giving
viewers an opportunity
to discover the
wide variety and deep
placement of textiles
in the art world.
womenartists.org
Following the success
of Witness to
Creativity II, which
took place in July of
2011, the Museum
once again opened
its doors to the public
while a group
of artists prepared
their works. Viewers
enjoyed a rare opportunity
to engage
the artists about their
projects, work methods
and messages.
This dialog between
the artists and viewers
is part of the resulting
art installations making
up this exhibition.
Museum of
Photography
DeLAND
Thru 08.18.12
Thru 11.25.12
From the
www.smponline.org
Rania Matar has produced
an exhibition
and a book of unique
08.24-11.10.12
Art in Stitches
Florida
Museum for
Witness to
Creativity III
Florida
Museum for
Outside In:
Purvis Young
Museum of
Florida Art
Image from Rania Matar: A Girl and Her Room at the Southeast Museum of Photography, Daytona Beach: Rania Matar, Shannon, Boston, MA, 2010, pigment
inkjet print, 20 x 30”
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C A L E N D A R { P g. 6 o f 3 4 }
D e L a n d c o n t i n u e d . . .
www.museumoffloridaart.org
The visual iconography
of Purvis Young,
a prolific, self-taught,
“Outsider” artist,
transforms our throwaway
society items
into compelling
artwork that reveals
inner-city realities
and the struggles of
African-Americans.
Thru 11.25.12
Related
explanation for the destruction.
Jim Jipson’s
art offers metaphors
for how we think, feel
and experience life.
Viewers are invited to
explore his texts and
imagery, which is generally
metaphysical
or symbolic. Which
plane of experience
is more dominant is
the revelation of this
exercise.
Thru 11.25.12
Survival Series:
Barbara Neijna
Museum of
Florida Art
www.museumoffloridaart.org
The body of work
created by Barbara
Neijna during the past
several years reflects
her meditation on the
condition of water—
the fluid of life. The
photographs shown in
this exhibit are from
an ongoing series
titled Survival Kits.
These works bring her
closer to the life-anddeath
forces of nature
that both frighten and
inspire her.
Alternatives:
KYLE and
Jim Jipson
DELRAY BEACH
Museum of
Thru 09.16.12
Florida Art
Ghosts, Goblins,
www.museumoffloridaart.org
Using painting and
mixed media, KYLE’s
current body of work
explores the deconstruction
and devastation
of natural
disasters and global
catastrophes, attempting
to find a systemic
and Gods: The
Supernatural in
Japanese Art
Morikami
Museum
and Japanese
Gardens
www.morikami.org
Ghosts, Goblins and
Gods comprises an
Image from Ghosts, Goblins, and Gods: The Supernatural in Japanese Art at Morikami Museum and Japanese Gardens, Delray Beach: Bairinsai Setsuzan
(fl. 19th century), Courtesan Plucking Daruma’s Beard, painting mounted as a hanging scroll, ink and colors on paper, late Edo Period, mid-19th century,
Clark Center for Japanese Art & Culture
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 19

C A L E N D A R { P g. 7 o f 3 4 }
D e l r a y B e a c h c o n t i n u e d . . .
array of paintings,
colorful woodblock
prints, sculptures,
masks and other
objects depicting a
host of legendary
ghosts, gods
and other-worldly
beings.
ly explores perceptions
of emotions, family,
consumerism and media,
within a uniquely
American subjectivity.
(See story on pg. 100.)
09.07-12.21.12
InterGALACTIC
Dunedin Fine
Thru 09.15.12
Art Center
Wood Be
Kindred Spirits:
The Kokeshi
Dolls of
Bob Brokop
Morikami
Museum
and Japanese
Gardens
www.morikami.org
Wood Be Kindred
Spirits features
one of the largest
and never before
seen collections of
kokeshi in the US.
Kokeshi, simple
wooden cylindershaped
forms with
round heads, debuted
in the mid-19th century.
Their whimsical
and kindhearted faces
bring joy and comfort
to all those who
come into contact
with them.
DUNEDIN
09.07-10.14.12
BEAM Me Up
Dunedin Fine
Art Center
www.dfac.org
Houston-based video
and photographic
team, Hillerbrand+
Magsamen, share
contemporary interpretations
of parenthood
and family life in a
humorous and provocative
presentation that
playfully and poetical-
www.dfac.org
Contemporary
artists go interplanetary—extraterrestrials,
black holes,
lunar landscapes—
BEYOND the sky’s
the limit!
09.07-10.14.12
My Favorite
Martian
Dunedin Fine
Art Center
www.dfac.org
“Self-portrait as
Alien” is the theme of
this DFAC members
show. Antennas, UP!
Image from BEAM Me Up at Dunedin Fine Art Center: Hillerbrand+Magsamen, Miranda, 2011, archival pigment print, 24 x 30”,
©Hillerbrand+Magsamen
20 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 8 o f 3 4 }
FORT
LAUDERDALE
Thru 09.2012
Associations
& Inspiration:
The CoBrA
Movement and
the Arts of
Africa and New
Guinea
Museum of Art /
Fort Lauderdale,
Nova Southeastern
University
www.moafl.org
This lively and
thought-provoking
installation juxtaposes
paintings,
sculpture and works
on paper by artists
of the CoBrA
movement with
masks, totems and
carvings created
on the South Pacific
island of New
Guinea and on the
continent of Africa.
Thru 01.06.13
Shark
Museum of Art /
Fort Lauderdale,
Nova Southeastern
University
www.moafl.org
In addition to drawings
of all the known
varieties of sharks
in the world, this
exhibition contains
photographs, sculptures
and video as
well as a section
devoted to the sensational
impact of the
1975 Steven Spielberg
film, Jaws.
GAINESVILLE
Thru 03.10.13
Anne Noggle:
Reality and
the Blind Eye
of Truth
Harn Museum
of Art
www.harn.ufl.edu
This installation displays
a selection of
photographs by Anne
Noggle, who became
a professional photographer
at age 40,
after serving as one of
the Women Airforce
Service Pilots (WASP)
and as a captain in the
US Air Force during
WWII. Noggle’s
work explores female
vitality, aging and
beauty with an honest,
respectful and sometimes
humorous view.
Thru 09.09.12
Deep Roots,
Bold Visions:
Self-Taught
Artists of
Alachua County
Harn Museum
of Art
www.harn.ufl.edu
Deep Roots, Bold
Visions presents paintings,
sculptures and
a variety of mixedmedia
works by
self-taught artists who
work outside mainstream
art traditions.
Thru 02.03.13
Souvenirs of
Modern Asia:
Image from Anne Noggle: Reality and the Blind Eye of Truth at Harn Museum of Art, Gainesville: Anne Noggle, Reminiscence: Portrait with My Sister, 1980,
gift of Anne Noggle Foundation, 2010.91.69
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 21

C A L E N D A R { P g. 9 o f 3 4 }
G a i n e s v i l l e c o n t i n u e d . . .
The Prints of
Paul Jacoulet
Harn Museum
of Art
www.harn.ufl.edu
Souvenirs of Modern
Asia features a
remarkable set of 55
woodcuts by French
artist, Paul Jacoulet
(1896-1960), who
lived and worked in
Japan most of his life.
These colorful and
masterfully printed
woodcuts were inspired
by Jacoulet’s
extensive travels in
China, Japan, Korea
and the South Pacific,
and demonstrate a
synthesis of traditional
Japanese printing
techniques with
modern European
aesthetics.
Thru 11.04.12
Verdant Earth
and Teeming
Seas: The
Natural World
in Ancient
American Art
Harn Museum
of Art
www.harn.ufl.edu
This exhibition highlights
the Museum’s
collection of ceramic
figures and vessels,
stone sculptures and
jade ornaments from
Ancient America—
primarily Meso-America,
Central America
and the Andes.
HOLLYWOOD
09.07-10.21.12
Alex Trimino:
Luminous
Art and
Culture Center
of Hollywood
www.artandculturecenter.org
Luminous is an installation
by Miamibased
artist, Alex
Trimino, consisting
of illuminated totem
poles that are
covered in crochet,
knitting and found
objects. In employing
such items, Trimino
reveals similarities
between modern,
hi-tech materials
(micro-controlled
neon lights) and colloquial,
lo-tech crafts
(crochet, knitting and
weavings.) Old
methods and new
technologies commingle
in ways that
explore our connection
to reality today.
09.07-10.21.12
Justin H. Long:
Bow Movement
Art and
Culture Center
of Hollywood
www.artandculturecenter.org
Image from Alex Trimino: Luminous at the Art and Culture Center of Hollywood: Alex Trimino, Luminous, (installation view), 2012, mixed media:
neon lights, plexiglass, knittings, fibers, found objects, 133 x 96 x 84”, courtesy of the artist and Art and Culture Center of Hollywood,
photography by Liam Crotty
22 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 1 0 o f 3 4 }
H o l l y w o o d c o n t i n u e d . . .
Miami-based artist,
Justin H. Long, explores
his passion for
the ocean and sailboat
racing with a mixedmedia
gallery installation
that includes
a 60-foot-long boat
hull. With a subversive
whimsy that is at the
core of his work, Long
breaks new ground in
his first exhibition in
Broward County by
claiming sailing as an
artistic medium, not
only a sport.
that takes place as an
adolescent or young
adult. Nozick presents
life as a walkabout in
which we continually
explore the unknown
in order to discover
one’s self in relationship
to the universe.
Thru 08.19.12
Nathan Sawaya:
The Art
of the Brick
Art and
Culture Center
of Hollywood
www.artandculturecenter.org
The Art and Culture
Center of Hollywood
presents its third
exhibition of the
work of New Yorkbased
artist, Nathan
Sawaya, whose work
transforms LEGO ®
bricks into whimsical
and awe-inspiring
creations. In the 2012
exhibition of The Art
of The Brick, Sawaya
reveals a selection
of many new works,
most of which have
not been seen at the
Center. (See story in
the June/July 2012 issue
on pg. 42.)
JACKSONVILLE
08.12-10.07.12
Rendering Italy
Museum of
Contemporary
Art Jacksonville
09.07-10.21.12
Lori Nozick:
Walkabout
Art and
Culture Center
of Hollywood
www.artandculturecenter.org
Walkabout is a sitespecific
installation focusing
on the concept
of a passage, a journey
through the wilderness
www.mocajacksonville.org
Through paintings,
photography, collage
and video, eight UNF
faculty members from
the Department of
Art and Design reflect
contemporary responses
to the enduring beauty,
majestic history
and rich cultural fabric
of Italy.
Image from Nathan Sawaya: The Art of the Brick at the Art and Culture Center of Hollywood: Nathan Sawaya, Peaces, image courtesy of brickartist.com
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 23

C A L E N D A R { P g. 1 1 o f 3 4 }
J a c k s o n v i l l e c o n t i n u e d . . .
Thru 10.28.12
Project Atrium:
Tristin Lowe
Museum of
Contemporary
Art Jacksonville
and the artistic and
cultural milestones
that continue to
shape the scope of
creative expression
to this day.
www.mocajacksonville.org
MOCA has launched
its second season of
Project Atrium with the
cosmic work of Philadelphia
artist, Tristin
Lowe. Filling the
expanse of the Haskell
Atrium Gallery are his
large-scale reproduction
of the moon, constructed
from a 12-foot tall
inflatable, covered in
crater-pocked felt, and
orbiting satellite and
neon comets. Lowe is a
multi-disciplinary artist
whose practice delves
into the crude and rude,
absurd and abject,
pushing low-brow,
low-tech methods and
materials toward unexpected
ends.
Thru 08.26.12
ReFocus:
Art of the ’70s
Museum of
Contemporary
Art Jacksonville
www.mocajacksonville.org
MOCA examines the
“Me Decade” that
gave rise to photorealism,
Earthworks,
and conceptual art,
and expanded the
boundaries of abstract
painting, video,
performance and
installation art in the
second of a 3-part
series examining
contemporary art
in the 1960s,’70s
and ’80s.
09.15.12-01.06.13
ReFocus:
Art of the ’80s
Museum of
Contemporary
Art Jacksonville
www.mocajacksonville.org
In the final installment
of three projects
chronicling contemporary
art, ReFocus:
Art of the ’80s provides
an opportunity
to learn more about
this important decade
Thru 08.12.12
The Joys of
Collecting:
Selections
from the Eisen
Collection
Museum of
Contemporary
Art Jacksonville
www.mocajacksonville.org
The subject matter
of the Eisen Collection
is delightfully
varied—ranging from
the whimsical to the
fantastic. Many of
the artists’ names
represented are well
known to the museum-going
public:
Andy Warhol, Roy
Lichtenstein, Robert
Rauschenberg, James
Image from Project Atrium: Tristin Lowe at the Museum of Contemporary Art Jacksonville: Tristin Lowe, Comet: God Particle, 2011, neon, glass, aluminum;
fabricated with (Uncle) Dean Lowe at Neon Works, Hamilton, MA; photo by Claire Iltis, courtesy of Fleisher/Ollman Gallery
24 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 1 2 o f 3 4 }
J a c k s o n v i l l e c o n t i n u e d . . .
Rosenquist, Robert
Motherwell, Richard
Diebenkorn, Jean
Dubuffet and Lucien
Freud—all united by
being highly characteristic
of their styles
and movements,
which range from
Pop Art to Art Brut
to abstract and figural
expressionism.
Thru 08.09.12
Beyond Ukiyo-e:
Japanese
Woodblock
Prints and Their
Influence on
Western Art
The Cummer
Museum of Art
& Gardens
www.cummer.org
The Cummer Museum
of Art & Gardens
presents a collection
of 19th century
Japanese woodblock
prints that showcases
this uniquely
expressive art form
and provides an
extensive view of the
styles and themes
encompassed by this
genre as well as an
understanding of
19th century Japanese
culture.
09.13.12-01.27.13
Histories in
Africa: 20 Years
of Photography
by Elizabeth
Gilbert
The Cummer
Museum of Art
& Gardens
www.cummer.org
American photojournalist,
Elizabeth
Gilbert, has lived and
worked in Africa for
20 years, traveling
from Kenya to Congo,
throughout the
Great Rift Valley,
and reporting civil
wars in Rwanda,
Somalia and Sudan.
The gelatin silver
prints on exhibit pull
the viewer into an
intimate world
of African ritual and
tell the story of a
continent’s journey
through change.
(See story on pg. 72.)
Thru 11.11.12
Leonard
Baskin: Works
on Paper
The Cummer
Museum of Art
& Gardens
www.cummer.org
This exhibition of
dynamic works on
paper, selected from
the Museum’s holdings
as well as the
private collection
of Cindy and Dan
Edelman, highlights
images of humanity.
The poignancy
of Baskin’s artistic
legacy is the common
consciousness
of humankind.
Image from Histories in Africa: 20 Years of Photography by Elizabeth Gilbert at the Cummer Museum of Art & Gardens, Jacksonville: Elizabeth Gilbert,
Yao Dancers of Malawi (detail), ©Elizabeth Gilbert
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 25

C A L E N D A R { P g. 1 3 o f 3 4 }
J a c k s o n v i l l e c o n t i n u e d . . .
Thru 09.16.12
Theo Wujcik
Miradas:
and Kirk ke
Ancient Roots
Wang
in Modern
Polk Museum
Mexican Art:
of Art
Works from the
Bank of America
Collection
The Cummer
Museum of Art
& Gardens
www.cummer.org
This exhibition examines
and celebrates
works by artists on
both sides of the border—American
and
Mexican-American—
to reveal a variety
of cultural aspects
as they emerged in
the years after the
Mexican Revolution
(1910–1920) to the
present day. Included
are works by some
of the best-known
Mexican artists—
Diego Rivera, Rufino
Tamayo, Gabriel
Orozco, Manuel
Alvarez Bravo, David
Alfaro Siqueiros and
Gunther Gerzso.
LAKELAND
08.25-12.01.12
David Maxim
Polk Museum
of Art
www.polkmuseumofart.org
The elements of
power and drama in
David Maxim’s works
are undeniable—tornadoes,
masculine
welders and warriors—even
Maxim’s
abstract pieces seem
to evoke aggression.
And yet, despite all
of their strength,
each subject reveals
an equal measure of
vulnerability.
Thru 10.13.12
Invisible
Elephant:
www.polkmuseumofart.org
The central concept
for this exhibition of
contemporary artworks
is an ancient
parable telling of
six blind men who
encountered a large
elephant, and how
each defined what
they encountered,
based on their individual
perspectives.
The underlying message
of this parable
is the diversity of
interpretation. For
Invisible Elephant,
Wujcik and Wang
have produced new
works based on their
different perspectives
in relation to
the other’s cultural
background.
Image from Invisible Elephant: Theo Wujcik and Kirk ke Wang at Polk Museum of Art: Courtesy of Polk Museum of Art
26 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 1 4 o f 3 4 }
L a k e l a n d c o n t i n u e d . . .
09.08-11.11.12
Miscellaneous:
New Works by
Trent Manning
Polk Museum
of Art
www.polkmuseumofart.org
Trent Manning pairs
lighthearted elements
such as alphabet
blocks, rocking horses
and wagons with
grimacing characters,
boasting large bald
heads, empty eyes
and prominent beaklike
noses. Assembling
his sculptures
from discarded metal,
old tools and wire, he
transforms junk into
eclectic masterpieces.
(See story on pg. 106.)
Thru 09.02.12
Outsider vs Folk
Polk Museum
of Art
www.polkmuseumofart.org
Art brut (or ‘raw art’)
labeled the growing
interest in art produced
by artists living
beyond the realm of
popular culture. In
1972, the term “outsider
art” became the
official English translation
of art brut.
This exhibition uses
pieces from the Museum’s
Permanent
Collection to initiate
a conversation about
the contemporary
state of art brut.
Thru 08.18.12
3-D
Polk Museum
of Art
www.polkmuseumofart.org
3-D showcases sculptures
in all shapes
and sizes from the
Museum’s Collection.
MAITLAND
Thru 09.19.12
A Day in the
Life of the
Research Studio
Art & History
Museums,
Maitland
www.artandhistory.org
André Smith (1880–
1959) founded the
Research Studio
(now called the
A&H’s Maitland Art
Center) in 1937. He
invited artists to live
and create within
its walls. During its
heyday (1938–1957),
nearly 70 artists
participated in this
great experiment,
including Milton
Avery, Doris Lee,
Ralston Crawford,
and more. What was
their day-to-day
life like Using
artworks and newlyfound
color photography
as documentation,
this exhibition
recreates the atmosphere
of that classic
period.
Image from Miscellaneous: New Works by Trent Manning 
at the Polk Museum of Art: Trent Manning, Keepsake, courtesy of the artist
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 27

C A L E N D A R { P g. 1 5 o f 3 4 }
M a i t l a n d c o n t i n u e d . . .
Opening 09.28.12
The Power
of Two
Art & History
Museums,
Maitland
www.artandhistory.org
This group exhibition
highlights some
of Central Florida’s
most renown visual
artist couples. Explore
what it is like
to have two creative
minds living and
working together.
On select weekends
during the exhibit,
artists will be working
in Gallery 4.
MELBOURNE
Thru 09.09.12
Cuban
Daydreams:
Dionel Delgado
Gonzalez
Foosaner Art
Museum
www.foosanerartmuseum.org
Havana artist, Dionel
Delgado Gonzalez,
showcases his largescale
paintings of
magazine covers.
Reminiscent of Norman
Rockwell’s style,
the subjects depict
everyday life in Cuba.
Living in Habana
Vieja (Old Havana),
his inspiration comes
from the characters
that inhabit the surrounding
streets near
his studio.
09.15.12-01.06.13
Ernst Oppler:
German
Impressionist
Foosaner Art
Museum
www.foosanerartmuseum.org
Ernst Oppler (1867-
1929) painted
landscapes, interior
views and portraits.
He became one of
the most important
chroniclers of the
history of ballet in
Germany. He also
chronicled the social
life of the city of
Berlin through
his drawings and
etchings.
Thru 09.09.12
Shared Vision:
Photographs of
Baracoa, Cuba
Foosaner Art
Museum
www.foosanerartmuseum.org
The concept of
Shared Vision was
developed to explore
the simple, remote
culture of Baracoa.
James Quine and
Theresa Segal, both
Image from Cuban Daydreams: Dionel Delgado Gonzalez at Foosaner Art Museum: Dionel Delgado, Untitled (And the Sea was Parted into Two...),
2012, oil on canvas, 78.5 x 59”, private collection of Norman Bardavid
28 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 1 6 o f 3 4 }
M e l b o u r n e c o n t i n u e d . . .
St. Augustine photographers,
traveled
to Baracoa in 2003.
Two Cuban photographers,
Lissette
Solórzano and José
Martí, joined them
from Havana to photograph
this eclectic
Cuban city.
MIAMI
08.11-09.23.12
By Hand
ArtCenter/
South Florida
www.artcentersf.org
This show brings together
a range of artists
working in multiple
disciplines. Each
artist creates with
an intense and timeconsuming
method
of production that
is obvious in the final
product, yet the
works are held together
conceptually
by their ability to intimately
engage viewers.
What is visible
in this painstaking
work is not just labor,
but the joy of making.
From books and
prints, to painting and
installation, each artist
initiates a dialogue
with their work that
brings viewers in to
touch, read, examine
and soak up details.
09.29-11.11.12
101 Dresses
ArtCenter/
South Florida
www.artcentersf.org
This solo exhibition
celebrates Adriana
Carvalho’s work
at the culmination
of her residency
at the ArtCenter.
Thru 08.12.12
Charles
Ledray:
Bass Museum
of Art
Bass Museum
of Art
www.bassmuseum.org
Charles Ledray’s
work is a poetry of
material, scale and
cultural resonance,
rich with history and
emotion. Well known
for his exquisitely
crafted objects, working
in a range of materials
from fabric to
human bone, Ledray’s
work touches on loss,
pathos and absence.
This exhibition is focused
on creating a
unique dialogue between
four individual,
powerful works.
(See story in the April/
May 2012 issue on
pg. 104.)
Thru 08.12.12
Erasey Page
Bass Museum
of Art
www.bassmuseum.org
Erasey Page is a
newly commissioned
Image from Charles Ledray: Bass Museum of Art at Bass Museum of Art, Miami Beach: Charles Ledray, Mens Suits (installation view), 2009, mixed media,
photo: John Kennard
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 29

C A L E N D A R { P g. 1 7 o f 3 4 }
M i a m i c o n t i n u e d . . .
web-based project
that Jillian Mayer
produced in collaboration
with computer
programmer, designer
and creative technologist,
Eric Schoenborn.
The interactive
website encourages
visitors to live an internet-free
and happy
life by simply deleting
the World Wide
Web, page by page,
questioning our increasingly
virtual
lives (via social media,
etc.) to playfully
imagine a world without
the Internet.
09.09-11.04.12
UNNATURAL
Bass Museum
of Art
www.bassmuseum.org
UNNATURAL presents
conceptions of nature
through a variety
of strategies that reflect
advances in technology
in the 21st century.
The works reflect a cultivated,
synthetic, manipulated
nature, which
includes allusions to
science as manifestations
of a reality oscillating
between the real
and imaginary. (See
story on pg. 62.)
Thru 10.14.12
Mel Finkelstein:
Picturing the
Man Behind the
Camera
Jewish Museum
of Florida
www.jewishmuseum.com
Finkelstein’s ability to
“play the hunch” resulted
in his capturing
special moments that
tell a story. This collection
of photos from
the 1950s to the ’80s,
focuses on iconic symbols
from our cultural
past, giving a sense
of this larger-than-life
man and his world of
time, place and celebrity.
The exhibit is full
of candid images of
well-known personalities
such as Frank
Sinatra, Humphrey
Bogart, Lauren Bacall,
Jacqueline Kennedy
Onassis, The Beatles,
John Travolta, Kim
Novak, Marilyn Monroe,
Sylvester Stallone
and Presidents
Kennedy, Truman and
Eisenhower.
Thru 09.30.12
Once Upon a
Time in Lithuania
and
the Florida
Connnection
Jewish Museum
of Florida
www.jewishmuseum.com
This exhibition of
paintings and prints
by English artist,
Naomi Alexander,
records the last remnants
of Jewish heritage
to be found in the
country of Lithuania.
Alexander traveled
the country to create
artwork depicting
Image from UNNATURAL at Bass Museum of Art, Miami Beach: Richard Mosse, Herd at Dusk, 2011, digital C-print, 72 x 90”, courtesy of the artist and
Jack Shainman Gallery, NY
30 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 1 8 o f 3 4 }
M i a m i c o n t i n u e d . . .
her impressions of
the people and their
communities. The
Museum makes a
Florida connection
using photographs and
artifacts from Floridian
Jews whose origins
are from Lithuania.
Thru 08.26.12
Kimsooja: A
Needle Woman
Miami Art
Museum
www.miamiartmuseum.org
A Needle Woman
presents a multi-channel
video installation
by Korean artist,
Kimsooja. This epic
work consists of eight
synchronized videos
projected at large
scale, each depicting
a bustling area of a
major metropolitan
center—Cairo, Delhi,
Lagos, London, Mexico
City, New York,
Shanghai and Tokyo.
In each projection,
the artist exemplifies
the perennial struggle
to preserve a place
for the individual
within contemporary
society, while poetically
embodying the
experience of being
engulfed within a
foreign culture.
09.07-11.04.12
Rashid Johnson:
Message
to Our Folks
Miami Art
Museum
www.miamiartmuseum.org
In New York–based
artist Rashid Johnson’s
first major museum
solo exhibition,
he explores the complexities
and contradictions
of black identity
in a practice that is
rooted in his individual
experience. Incorporating
commonplace
objects from his childhood
in a process he
describes as “hijacking
the domestic,”
the artist transforms
everyday materials
into conceptually
loaded and visually
compelling works.
Thru 09.02.12
Transcultural
Pilgrim: Three
Decades of Work
by José Bedia
Miami Art
Museum
www.miamiartmuseum.org
This major career retrospective
of the work
of José Bedia includes
works on paper and
canvas and two largescale
installations.
Bedia’s personal border
crossings (social,
racial and religious)
reflect his exploration
of historical and contemporary
encounters
between cultures and
countries.
Thru 09.02.12
Ed Ruscha:
On the Road
Museum of
Contemporary
Art, North Miami
www.mocanomi.org
Image from Kimsooja: A Needle Woman at Miami Art Museum: Kimsooja, A Needle Woman (Cairo, Delhi, Lagos, London, Mexico City, New York, Shanghai,
Tokyo), 1999-2001, eight-channel video installation, silent, duration: 6:33 minute loop, courtesy of the artist
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 31

C A L E N D A R { P g. 1 9 o f 3 4 }
M i a m i c o n t i n u e d . . .
Ed Ruscha is known
for his use of language
to document and comment
on the shifting
character of American
culture. Drawing
inspiration from the
classic American novel,
On the Road, by Jack
Kerouac—in his own
limited art book version
of the novel—he
has created a new body
of paintings, drawings
and photographs.
Thru 09.02.12
Ragnar
Kjartansson:
Song
eos reflect the artist’s
interest in music, theater
and the personae
of its performers, often
coupled with extreme
environments.
Hurricane Andrew is
presented, 20 years
after the devastating
storm hit South
Florida.
visible world. She
identifies and isolates
textures, forms or
patterns, either natural
or manmade, then
repeats them to create
flowing compositions.
As a result of their
repetitive markings,
her works become
as much about the
process of their own
making as about any
outside source.
09.12-10.21.12
Out of the
Ordinary
Geometry by
Lydia Azout
Museum of
Thru 09.02.12
The Patricia
Contemporary
08.20-09.02.12
Lynne Golob
& Phillip Frost
Art, North Miami
Hurricane
Gelfman: Scapes
Art Museum
www.mocanomi.org
Part of MOCA’s
Knight Exhibition
Series, Song presents
video works by Icelandic
artist, Ragnar
Kjartansson. The vid-
Andrew
Exhibition
The Patricia
& Phillip Frost
Art Museum
http://thefrost.fiu.edu
A remembrance of
The Patricia
& Phillip Frost
Art Museum
http://thefrost.fiu.edu
Gelfman makes
abstract paintings
that are rooted in the
http://thefrost.fiu.edu
This survey of
works includes largescale,
site-specific,
multi-media sculpture
constructed of steel
and projections.
Image from Lynne Golob Gelfman: Scapes at The Patricia & Phillip Frost Art Museum, Miami: Lynne Golob Gelfman, Dune 17, 2011, acrylic on panel,
48 x 48”, courtesy of the artist, photo: Richard Fendleman
32 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 0 o f 3 4 }
M i a m i c o n t i n u e d . . .
Thru 09.30.12
Shared Threads:
Maria Lino’s
Portrait of a
Shipibo Healer
The Patricia
& Phillip Frost
Art Museum
http://thefrost.fiu.edu
Shared Threads is
a collaborative experience
where two
artists from vastly
different cultures
and artistic traditions
came together in
the Amazon region,
in Pucallpa, Peru.
The results are an
extraordinary multimedia
integration
of tradition, design
and technique in a
soulful exchange of
knowledge.
the Permanent
Collection
The Patricia
& Phillip Frost
Art Museum
http://thefrost.fiu.edu
These works, which
can be complex,
mysterious, irreverent
or fun, challenge
the visitor to reconsider
their perceptions
of what art is, to
stimulate a response
and question meanings.
The exhibition
includes work by
Enrico Baj, Sandra
Bermudez, Ana
Albertina Delgado,
Guerra de la Paz,
Graham Hudson,
Sibel Kocabasi, Kate
Kretz, Pepe Mar, Leonel
Matheu, Jillian
Mayer, Freddy Reitz,
Bert Rodriguez and
Alexandra Trimino.
Thru 09.09.12
Graphic
Intervention:
25 Years of
International
AIDS Awareness
Posters 1985–2010
The Wolfsonian–
Florida
International
University
www.wolfsonian.org
This exhibition features
a selection of 152
posters, which presents
an insightful overview
of diverse visual strategies,
employed by
many different countries,
in response to the
HIV/AIDS epidemic
as a public health
emergency.
NAPLES
08.27-10.05.12
The Fifth Annual
Non-Juried All
Artist Member
Show of Shows
Exhibition
Naples Art
Association at
The von Liebig
Art Center
Thru 10.21.12
This and That:
Unconventional
Selections from
www.naplesart.org
This annual showcase
features artwork in all
media by Naples Art
Association members.
Image from This and That: Unconventional Selections from the Permanent Collection at The Patricia & Phillip Frost Art Museum, Miami: Guerra de la Paz,Trio,
2003, textile, recycled clothing, dimensions variable, gift of the artists, FIU 2005.002 a,b,c
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 33

C A L E N D A R { P g. 2 1 o f 3 4 }
N a p l e s c o n t i n u e d . . .
09.22.12-01.20.13
Fletcher Benton:
The Artist’s
Studio
Naples Museum
of Art
www.thephil.org
This experiential and
interactive exhibition
explores the unique
attitudes and methods
that Benton, a worldrenowned
kinetic and
constructivist sculptor,
applies to his work.
The exhibition recreates
Benton’s studio,
with the images,
textures and inspirations
that constitute his
working environment.
The exhibition will
also include several
outdoor sculptures.
09.22.12-01.20.13
and 05.04-07.07.13
Leaders
in American
Modernism
Naples Museum
of Art
www.thephil.org
An exciting new selection
of works from the
Museum’s American
Modernism Collection
are on display,
representing all of the
important movements
in American art during
the first half of the
20th century.
09.22-12.09.12
Martin
Schoeller:
Close Up
Naples Museum
of Art
www.thephil.org
German-born photographer
Martin
Schoeller’s remarkable,
larger-than-life
photographs strip the
façades from some
of the most recognizable
faces of our
time. Schoeller’s
Close Up invites the
viewer to consider
the depths of the
human face and to
discover his subjects’
vulnerabilities. The
artist’s hyper-close
portraits push this
form of intimacy to
unprecedented levels,
encouraging us
to see the familiar in
an unfamiliar way.
The exhibition features
photographs
of famous actors,
singers, athletes and
politicians along with
ordinary people living
private lives. (See
story on pg. 102.)
09.22-12.30.12
Modern Mexican
Masters
Naples Museum
of Art
Image from Martin Schoeller: Close Up at Naples Museum of Art: Martin Schoeller, Jack Nicholson, 2002, type C color print, 61-1/16 x 49-9/16”,
© Martin Schoeller
34 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 2 o f 3 4 }
N a p l e s c o n t i n u e d . . .
www.thephil.org
The colors, vibrancy,
beauty and mystery
of Mexico are reflected
in this exciting new
installation, which
includes works by
Diego Rivera, Rufino
Tamayo and others.
09.22-12.30.12
Out of This
World: Extraordinary
Costumes
from Film and
Television
busters and others.
The exhibition examines
how costume
design incorporates
color, style, scale,
materials, historical
traditions and cultural
cues to help audiences
engage with the characters
being portrayed.
Costume highlights include
the hat worn by
Margaret Hamilton as
the Wicked Witch of
the West in The Wizard
of Oz (1939), the
leather jacket worn by
Arnold Schwarzenegger
in The Terminator
(1984) and much more.
OCALA
Thru 08.12.12
A Salute to the
Art of George
Hanover
Appleton
Museum of Art
www.appletonmuseum.org
On exhibit is a retrospective
of artwork
by Ocala-based artist,
George Hanover.
Showcased are a variety
of paintings and
sculptures in a variety
of media.
09.16-11.04.12
FLORAda
and Flowing
Waters:
The Art of Mark
Messersmith,
Margaret Ross
Tolbert and
Anna Tomczak
Naples Museum
Appleton
of Art
Museum of Art
www.thephil.org
Just in time for Halloween,
Out of This
World features more
than 30 costumes and
related items from
your favorite science
fiction films and television
shows, including
Batman, Star Trek,
Blade Runner, The
Terminator, Ghost-
www.appletonmuseum.org
Presented are lush and
beautiful portraits of
natural Florida as interpreted
by three of the
state’s most prominent
artists. Messersmith’s
opulent, hyper-colorful
paintings of Florida’s
tropical flora and
fauna comes together
with Ross Tolbert’s
Image from FLORAda and Flowing Waters: The Art of Mark Messersmith, Margaret Ross Tolbert and Anna Tomczak at the Appleton Museum of Art:
Margaret Ross Tolbertt, Cypress, courtesy of the artist
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 35

C A L E N D A R { P g. 2 3 o f 3 4 }
O c a l a c o n t i n u e d . . .
abstract expressionist
interpretations of
our freshwater springs
and Tomczak’s nostalgic
large-format
photographic prints
of antiques and native
plants. (See story on
pg. 80.)
09.08-10.21.12
Pure
Photography:
Pictorial
and Modern
Photographs
from the Syracuse
University
Art Collection
Appleton
Museum of Art
www.appletonmuseum.org
On exhibit are 30
works by some of the
best photographers
starting in the early
1900s. Included are
works by Eugene Atget,
Berenice Abbott,
Imogen Cunningham,
Gordon Parks,
and Edward Weston.
Among the iconic
images in the show
are Edward Steichen’s
1928 portrait of Greta
Garbo and Alfred
Stieglitz’s famous The
Steerage from 1907.
ORLANDO
Thru 09.09.12
FloridaScapes:
I-4—The Exits
Less Traveled
Orange County
Regional History
Center
www.thehistorycenter.org
Documenting the
cities and neighborhoods
along Interstate
4 through
photography, Sherri
Bunye, Crealdé
Studio Artist, hopes
her images inspire
others to take an exit
less traveled and
discover the unexpected
beauty and
charm she captures.
Thru 09.02.12
Daniel Kariko:
Substitute
Cartography
Orlando
Museum of Art
www.omart.org
Substitute Cartography
attempts to forge a
dialogue between the
man-affected landscape
and the idealized
presentation of a
landscape created for
purposes of habitation,
or simply, entertainment.
Photographed
in various locations
and seemingly unconnected,
these images
range from humorous
to ironic—some present
strictly fake-as-real
landscapes, and others
discuss the consumption
of the world that
surrounds us.
Thru 10.28.12
From Alice to
Zeus: The Art of
John Rocco
Orlando
Museum of Art
Image from FloridaScapes: I-4—The Exits Less Traveled at Orange County Regional History Center, Orlando: Sherri Bunye, Door, Window, Meter
36 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 4 o f 3 4 }
O r l a n d o c o n t i n u e d . . .
www.omart.org
John Rocco has written
and illustrated numerous
award-winning
children’s books,
including Wolf! Wolf!,
Moonpowder, and Fu
Finds the Way. He
has also illustrated
the covers for Rick
Riordan’s bestselling
youth literature series,
Percy Jackson and the
Olympians. Rocco’s
exhibition at OMA
features approximately
60 preparatory and
finished drawings,
providing examples
of how an illustration
evolves, from earliest
sketches to the finished
work. (See story in the
June/July 2012 issue
on pg. 104.)
Thru 10.28.12
Southernmost
Art and Literary
Portraits:
Photographs of
50 Internationally
Noted Artists
and Writers
in Florida by
Jimm Roberts
Orlando
Museum of Art
www.omart.org
With the rich tones of
traditional black and
white photography,
Jimm Roberts captures
his subjects in a
variety of poses from
formal to candid in
the surroundings of
their Florida homes
and studios. The
exhibition includes
80 photographs and a
selection of original
notes and letters by
the artists and writers.
Thru 08.12.12
IMPRINTS:
20 Years of
Flying Horse
Editions
The Mennello
Museum of
American Art
www.mennellomuseum.com
This interactive exhibition
is a celebration
of fine art book
printing. It highlights
the limited-edition
art objects and fine
art books printed by
Flying Horse Editions,
located at the
University of Central
Florida’s Center for
Emerging Media in
downtown Orlando.
08.31-11.25.12
2012 Annual
Florida Watercolor
Society
Exhibition
The Mennello
Museum of
American Art
www.mennellomuseum.com
Hosted by The
Mennello Museum
of American Art,
The 2012 Annual
Florida Watercolor
Society Exhibition
is recognized as
one of the top
watermedia exhibits
Image from the 2012 Annual Florida Watercolor Society Exhibition at The Mennello Museum of American Art, Orlando: Barbara Vey, All Tucked In
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 37

C A L E N D A R { P g. 2 5 o f 3 4 }
O r l a n d o c o n t i n u e d . . .
in the US. The exhibit
will showcase 100 of
the best works by artists
from Florida and
around the country.
08.17-09.22.12
The Experience
Collection
Pensacola
Museum of Art
www.pensacola
ORMOND
BEACH
09.01-10.14.12
Materialscape
Ormond Memorial
Art Museum
& Gardens
www.ormondartmuseum.org
Materialscape
presents an industrial
view of nature,
featuring sculptural
works by Seth
Fairweather and
Richard Herzog.
Thru 08.19.12
The Dog Days
of Summer
Ormond Memorial
Art Museum
& Gardens
www.ormondartmuseum.org
Ormond Memorial Art
Museum & Gardens
presents a multi-artist,
mixed-media tribute to
“man’s best friend.”
PENSACOLA
Thru 09.01.12
Surfing Florida:
A Photographic
History
Pensacola
Museum of Art
www.pensacola
museumofart.org
More than 25 professional
surf photographers
have contributed
their images for this
exhibition, which
presents the history of
Florida, surfing and
surf culture.
museumofart.org
In 2007, Florida
Craftsmen initiated the
Experience Collection,
a fine craft collection
of work accessible to
a diversity of senses.
The goal is to inform,
educate and engage all
audiences. The collection
consists of 17
works of art which are
designed to be viewed,
touched and in some
cases, strummed.
PONTE VEDRA
BEACH
09.07-10.20.12
S. Barre Barrett
& Khamil Ojoyo
The Cultural
Center
Image from The Dog Days of Summer at Ormond Memorial Art Museum & Gardens, Ormond Beach: Susan Long, All Ears, pastel
38 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 6 o f 3 4 }
Po n t e Ve d r a B e a c h c o n t i n u e d . . .
www.ccpvb.org
Barrett’s watercolor
and acrylic paintings
explore repetitive
patterns and relationships
between colors
and shapes and their
connections to the
natural world, while
mixed-media wood
sculptures by Khamil
Ojoyo evoke vibrant
expressions of African
art.
SARASOTA
Thru 10.28.12
DECO JAPAN:
Shaping Art
and Culture,
1920-1945
The John and
Mable Ringling
Museum of Art
www.ringling.org
The nearly 200 works
on display, highlight
the Levenson collection—the
world’s
premier collection of
Japanese art in the
Deco style. Included
are spectacular examples
of metalwork, ceramics,
lacquer, glass,
wood furniture, jewelry,
textiles, graphic
design on paper,
painting and woodblock
prints, ranging
from fine art objects
made to impress the
public at national art
exhibitions, to goods
mass-produced for the
modern home. (See
story in the June/July
2012 issue on pg. 92.)
Thru 09.01.12
Thru 10.21.12
SoMMA (Society
From the Vaults:
of Mixed media
John Ringling’s
Artists)
Asian and
The Cultural
Cypriot Art
Center
The John and
www.ccpvb.org
This exhibition
features innovative
works by artists
working in all forms
of mixed media,
including collage, assemblage
and experimental
artwork.
Mable Ringling
Museum of Art
www.ringling.org
Some of the objects in
this exhibit have not
been on display for 30
years and others have
never before been
shown to the public.
Image from DECO JAPAN: Shaping Art and Culture, 1920-1945 at The John and Mable Ringling Museum of Art, Sarasota: Ginga no uta (Song of the Milky
Way), Theme song of the movie “Ginga no uta,” by Shôchiku Cinema, unidentified artist, 1931, courtesy of the Levenson Collection
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 39

C A L E N D A R { P g. 2 7 o f 3 4 }
S a r a s o t a c o n t i n u e d . . .
Important in their own
right, they were also
essential as a means
for John Ringling to
expand the Museum’s
potential to feature the
roots and flourishes of
the world of art.
Thru 10.14.12
Sanford Biggers:
Museum of
Fine Arts,
St. Petersburg
www.fine-arts.org
This exhibition explores
contradictions
between idealistic
images and life in
the Union of Soviet
Socialist Republics
(USSR).
Codex
The John and
Thru 09.09.12
Mable Ringling
Museum of Art
www.ringling.org
As part of his
Constellation Series,
the works featured in
this exhibit consist
of quilts that depict
“constellations”
inspired by Harriet
Tubman and other
Underground Railroad
conductors, whose use
of the stars to navigate
from slavery to freedom
in the 19th century,
is a vibrant part
of North American
history.
ST. PETERSBURG
Thru 10.14.12
Global+Local:
Studio and
Contemporary
Glass on Florida’s
West Coast
Museum of
Fine Arts,
St. Petersburg
www.fine-arts.org
Marking the 50th
Anniversary of the
Studio Glass Movement,
Global+Local
reveals the range
and richness of the
area’s best glass
from internationally
renowned artists.
Thru 08.19.12
Picturing a
New Society:
Photographs
from the Soviet
Union 1920s–
1980s
Dalí’s Grotesque
Carnival
The Dalí
Museum
www.thedali.org
Dalí’s Grotesque
Carnival features four
suites of Dalí’s ambitious
engagement in
printmaking, which
explores complex and
baroque themes of festival
and celebration.
Most of the works in
this selection of etchings
and lithographs
have never before
Image from Global + Local: Studio and Contemporary Glass on Florida’s West Coast at the Museum of Fine Arts, St. Petersburg: William Morris, Artifact:
Tooth (1995), blown glass, collection of William R. and Hazel Hough, ©William Morris
40 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 2 8 o f 3 4 }
S t . Pe t e r s b u r g c o n t i n u e d . . .
been on display at the
museum.
Thru 09.09.12
Stripped Bare
and Bathed:
The Preservation
of Dalí’s
Masterworks
The Dalí
Museum
www.thedali.org
A behind-the-scenes
glimpse at the dramatic
preservation of four
of the Museum’s eight
Masterworks—Galacidalacidesoxiribunucleicacid,
1963; The
Ecumenical Council,
1960; The Discovery
of America by Christopher
Columbus, 1959;
and The Hallucinogenic
Toreador, 1970—
this exhibition presents
a video documentary
of the painstaking
process from start to
finish, projected in the
Hough Family wing.
(See story on pg. 92.)
TALLAHASSEE
08.27-11.11.12
Masters Artists
of the Bahamas
Museum of Fine
Arts, Florida
State University
www.fine-arts.org
An exhibition touring
from the Waterloo
Centre for the Arts in
Iowa, Master Artists
of the Bahamas
presents works from
eleven Bahamian artists
acting as ambassadors
for a broader
generative movement.
The works represent
the diversity
of form and content
of Bahamian art.
TAMPA
08.23-11.11.12
Portraits of
Power:
Photography
by Platon
Florida Museum
of Photographic
Arts
www.fmopa.org
For any museumgoer
contemplating Platon’s
poster-size faces,
there is an unequal
balance of power.
With these giant faces,
every pore is exaggerated,
every presence is
overpowering , every
pose—artificial or
natural—is amplified.
In many cases, a man’s
inner character is
stripped naked—even
as he frantically tries to
cover up.
Thru 08.19.12
The Secret
Paris of the
1930s: Vintage
Photographs
by Brassaï
Florida Museum
of Photographic
Arts
www.fmopa.org
Alone, or in the company
of friends, Hungarian
photographer,
Image from Stripped Bare and Bathed: The Preservation of Dalí’s Masterworks at The Dalí Museum, St. Petersburg: Photography by Chuck Bendel, courtesy
of The Dalí Museum, St. Petersburg
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 41

C A L E N D A R { P g. 2 9 o f 3 4 }
T a m p a c o n t i n u e d . . .
sculptor and filmmaker,
Brassaï, discovered
and recorded
the forbidden Paris
of the 1930s—the
sordid yet fascinating
moments where high
society mingled with
the underworld. The
Secret Paris of the
‘30s is one of the most
remarkable photographic
memories
ever published.
These unique pictures
are accompanied by
an immensely interesting
text in which
Brassaï reminisces
and describes the extraordinary
conditions
under which he took
his photographs. (See
story in the June/July
2012 issue on pg. 66.)
Thru 09.16.12
A Hundred
Years—A Hundred
Chairs:
Masterworks
from the Vitra
Design Museum
Tampa
Museum of Art
www.tampamuseum.org
This show offers a
view of the different
periods of furniture
design of the past
century and is certain
to appeal to all lovers
of great design.
08.04-09.16.12
Art of the Poison
Pens: A Century
of American
Political Cartoons
Tampa
Museum of Art
www.tampamuseum.org
This thought-provoking
exhibition
presents 59 editorial
cartoons lampooning
more than 100 years
of political discussion
from both sides
of the fence, drawn
exclusively from The
Mahan Collection of
American Humor and
Cartoon Art, Special
& Digital Collections,
and University
of South Florida
Tampa Library.
Thru 09.09.12
Masterworks
of 20th Century
Sculpture
from the Martin
Z. Margulies
Collection
Tampa
Museum of Art
www.tampamuseum.org
Masterworks chronicles
important developments
in sculpture
in the second half of
the 20th century. In
addition to sculptures
by such 20th century
luminaries as Joan
Miro, Willem de
Kooning and Louise
Nevelson, the exhibition
also includes
works by Isamu Noguchi,
Manuel Neri,
George Segal and
Deborah Butterfield.
An abiding fascination
with the figure
unites all the works
in the show.
Image from Masterworks of 20th Century Sculpture from the Martin Z. Margulies Collection at Tampa Museum of Art: George Segal, Three People on 4 Benches,
1980, bronze and steel, Martin Z. Margulies Collection, ©The George and Helen Segal Foundation/Licensed by VAGA, New York, NY
42 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 3 0 o f 3 4 }
T a m p a c o n t i n u e d . . .
Thru 09.23.12
Object Image/
Erik Levine/
Sculpture & Video
Tampa
Museum of Art
www.tampamuseum.org
New York-based
sculptor, Erik Levine,
is known for his
use of humble plywood
in massive
installations. In 2011,
the Museum acquired
one of his large-scale
sculptures, ironically
titled Hand-Held
(1997), for its Permanent
Collection.
This exhibition marks
the debut of this new
acquisition and also
includes two recent
video works.
Thru 09.23.12
Sculptors on
Paper: Selections
from the BNY
Mellon Collection
Tampa
Museum of Art
www.tampamuseum.org
This collection of
drawings, collages and
mixed-media works
represents a survey of
two-dimensional work
by some of the most
celebrated sculptors,
installation artists and
video artists of the 20th
and 21st centuries.
08.20-12.14.12
The Andy
Warhol Legacy
Project
University of
South Florida
Contemporary
Art Museum
www.ira.usf.edu
The Andy Warhol
Legacy Project is an
exhibition of Polaroids
and silver gelatin
prints USF Contemporary
Art Museum
received as a gift from
The Andy Warhol
Foundation for the
Visual Arts in 2008.
08.20-12.14.12
The Importance
of Being
Photographed
University of
South Florida
Contemporary
Art Museum
www.ira.usf.edu
Taking its cue from a
gift from The Andy
Warhol Foundation for
the Arts, this exhibition
features a select
grouping of contemporary
photographers
who create situations
where the subject
Image from The Andy Warhol Legacy Project at the University of South Florida Contemporary Art Museum, Tampa: Andy Warhol, Unidentified Woman #23
(Blonde Hair and Dog), 1986, Collection University of South Florida
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 43

C A L E N D A R { P g. 3 1 o f 3 4 }
T a m p a c o n t i n u e d . . .
and the photographer
engage in a dialogue
about the nature of
being photographed—
addressing issues of
class, sexuality, sensuality,
shame, despair,
and privacy.
VERO BEACH
Thru 10.14.12
Form, Color,
Light: Cast Glass
by Rick Beck
Vero Beach
Museum of Art
www.verobeachmuseum.org
Rick Beck takes everyday
shapes and
transforms them into
sculptures in glass, revealing
their unexpected
beauty. Form, Color,
Light includes a
range of work, from
large floor pieces to
small pedestal sculptures
in translucent
colors. (See story in
the June/July 2012
issue on pg. 106.)
09.15.12-01.06.13
Landscape
Paintings of
Adam Straus
Vero Beach
Museum of Art
www.verobeachmuseum.org
Adam Straus, a native
Floridian who studied
painting at Florida
State University,
has been creating
“beautiful and disturbing”
landscape paintings
for more than 25
years. The landscape
paintings selected for
Straus’s Vero Beach
exhibition often have a
mysterious quality that
allows viewers plenty
of room for interpretation.
09.09.12-01.02.13
Pop Art Revisited:
A 21st Century
Perspective
Vero Beach
Museum of Art
www.verobeachmuseum.org
Pop Art Revisited: A
21st Century Perspective
is the inaugural exhibition
in the Museum’s
new Titelman
Gallery. The works of
art selected for the
exhibit are important
examples of the Pop
Art movement. The exhibition
also sheds light
on the original social
context surrounding
the creation of these art
objects.
WEST PALM
BEACH
Thru 09.02.12
American
Masters at
the Norton:
Clyfford Still
and Joan
Mitchell
Norton
Museum of Art
www.norton.org
Three exceptional
canvases by Joan
Mitchell and Clyfford
Still, each a master
of late 20th century
Image from Form, Color, Light: Cast Glass by Rick Beck at Vero Beach Museum of Art: Rick Beck, Winged Figure, 2008, cast glass, 72-1/2 x 42 x 12”,
collection of the artist, photo: David H. Ramsey
44 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 3 2 o f 3 4 }
We s t Pa l m B e a c h c o n t i n u e d . . .
American painting,
are on view.
Thru 01.27.13
Clear Water
and Blue Hills:
Stories in
Chinese Art
Norton
Museum of Art
www.norton.org
This exhibition
features works of art
depicting tales from
Chinese history and
literature.
ous live performances
are featured in this
exhibit. Images and
essays from photographers
Jeff Dunas, David
Sheinbaum, Henry
Hornstein, Moby and
others, illuminate the
worlds of country music,
hip-hop, rock ‘n’
roll and the blues.
Thru 10.07.12
Crying Seasaw
Tear Between
New Video
www.norton.org
Four works by three
artists are featured in
this installation, including
Tear, by Jaye
Rhee, a dramatic study
of physical struggle;
and Crying, a classic
animated sculpture by
Tony Oursler.
Thru 09.02.12
Elegant
Enigmas:
The Art of
Edward Gorey
www.norton.org
Edward Gorey’s stories
and illustrations carry
an Edwardian sophistication,
while still able
to impart the whimsy
of an invented world
that was all his own.
The exhibition features
more than 170 works
by the master artist and
author, drawn from
The Edward Gorey
Charitable Trust. (See
story in the June/July
2012 issue on pg. 6.)
Norton
Norton
Thru 09.30.12
Museum of Art
Museum of Art
08.03-10.14.12
Clubs, Joints
Watercolors
and Honky-Tonks
from the
Norton
Collection
Museum of Art
Norton
www.norton.org
Extended bodies of
work by photographers
who have immersed
themselves in
the places, spaces and
energy of concerts,
shows and spontane-
Museum of Art
www.norton.org
Watercolors from the
Museum Collection,
include works by Paul
Signac, John Marin,
Charles Demuth and
George Grosz.
Image from Elegant Enigmas: The Art of Edward Gorey at the Norton Museum of Art, West Palm Beach: Edward Gorey, After it had passed, Lord
Wherewithal was found crushed beneath a statue blown down from the parapet. From The Secrets: Volume One, The Other Statue, 1968, pen and ink,
4-1/2 x 5-1/2”, The Edward Gorey Charitable Trust, ©2010 The Edward Gorey Charitable Trust
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 45

C A L E N D A R { P g. 3 3 o f 3 4 }
WINTER PARK
Thru 09.02.12
A Room of
One’s Own
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
This exhibition features
paintings by
Grandma Moses
and Jennie Augusta
Brownscombe;
prints by Georgia
O’Keeffe, Faith
Ringgold and Nancy
Graves; and threedimensional
work by
Anna H. Huntington
and Jennifer Bartlett.
Thru 09.02.12
Best Impressions:
Modern &
Contemporary
Prints from
the Collection
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
Best Impressions
provides an overview
of many post-war
aesthetic styles,
including Photorealism,
Op Art, and the
Expressionism of the
1980s. The prints
on view demonstrate
the strength of the
Museum’s modern
and contemporary
print holdings. Included
are works by
Chuck Close, Judy
Pfaff, Richard Anuszkiewicz
and Jacob
Lawrence.
Thru 09.02.12
British and
Modern
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
Paintings and drawings
by Vanessa Bell, Duncan
Grant, and others
working in the UK in
the early 20th century,
are on display.
09.15-12.30.12
The Mysterious
Content of
Softness
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
Bringing together 11
national and international
artists in various
stages of their
careers, The Mysterious
Content of
Softness explores the
transformative power
of fiber and its connection
to the human
body. Whether employing
time-honored
techniques such as
knitting, crochet,
embroidery and loom
weaving, or foraying
into new uses of
traditional textiles,
these artists explore
the physical, psychological
and cultural
associations of fiber
to the body. (See
story on pg. 52.)
Thru 12.30.12
The Prints
of Gustave
Image from The Mysterious Content of Softness at Cornell Fine Arts Museum at Rollins College, Winter Park: Nathan Vincent, Locker Room, 2010,
crocheted yarn, foam, wire, and polyester stuffing, courtesy of the artist. Yarn donated by Lion Brand Yarn. Photography by Steven Miller
46 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

C A L E N D A R { P g. 3 4 o f 3 4 }
W i n t e r Pa r k c o n t i n u e d . . .
Baumann
Cornell Fine
Arts Museum at
Rollins College
cfam.rollins.edu
This exhibition
centers around Baumann’s
mastery of
the woodcut printmaking
process and
includes images of
New Mexico and
a series of seldom
seen prints depicting
the rugged coast
and mammoth trees
of Northern California.
(See story in the
June/July 2012 issue
on pg. 78.)
Thru 09.23.12
A Parisian
Affair: The Art
of André Renoux
The Albin
Polasek Museum
& Sculpture
Gardens
André Renoux
(1939 -2002) captured
the charm of Paris
by documenting the
intimate landmarks
of daily Parisian
life and its environs,
preserving the
details of its soul.
(See story in the
June/July 2012 issue
on pg. 54.)
Thru 10.07.12
At Home with
Roseville Pottery
The Charles
Hosmer Morse
Museum of
American Art
www.morsemuseum.org
Roseville Pottery
Company (1890–
1954) of Ohio was
one of the country’s
most prolific and longlived
art potteries. In
this exhibit, the Morse
presents new acquisitions
of Roseville ceramic
objects, which
represent the rich
colors and beloved
patterns that made the
pottery so popular in
its era and contribute
to its collectability
today.
Thru 02.03.2013
Watercolors
by Otto Heinigke—
A Glass Artist’s
Palette
The Charles
Hosmer Morse
Museum of
American Art
www.morsemuseum.org
A selection of watercolors
by Otto
Heinigke (1850–1915),
a principal in the
prominent Brooklyn
stained-glass firm,
Heinigke and Bowen,
includes scenes ranging
from Middle
Atlantic farms and
forests, to ocean and
river shorelines.
www.polasek.org
On View
Image from A Parisian Affair: The Art of André Renoux at The Albin Polasek Museum & Sculpture Gardens, Winter Park: André Renoux, Café de Flore à Paris,
1998, oil, 17-1/2 x 17-1/4”
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 47

N E W S M Y R N A B E A C H
Gallery:
Arts on Douglas
Fine Art and
Collectibles
http://artsondouglas.net
Artist:
TIM LUDWIG
“I AM FORTUNATE TO
get up everyday and
have the opportunity
to express myself
through an artistic
process...I hope to
stimulate your mind
and senses through
[my] ceramic vessels
...and evoke thoughts
that will enhance
your life.”—T. Ludwig
gallery
G a l l e r y A r t i s t s & E x h i b i t s
M I A M I
Gallery: Etra Fine Art
www.etrafineart.com
Artist: David T. Kessler
USING A PERFECTED TECHNIQUE IN THE PHOTO-REALIST
tradition he developed over the past 25 years, David Kessler has created a
series of spectacular waterscape paintings that incorporate realistic imagery
painted over a surface of abraded and polished aluminum.
From left: Tim Ludwig, Boat with Tulip, courtesy of the artist and Arts on Douglas Fine Art and Collectibles;
David T. Kessler, Twilight Splendor, airbrush on aluminum, 44 x 64”, courtesy of the artist and Etra Fine Art
48 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

G A L L E R Y { P g. 2 o f 4 }
P A L M B E A C H
Gallery:
Holden Luntz Gallery
www.holdenluntz.com
P A L M B E A C H G A R D E N S
Gallery:
Studio E Gallery
www.studioegallery.com
Artist:
Lynn Goldsmith
GOLDSMITH’S PHOTOGRAPHS
are hybrids of fantasy and reality,
offering greater investigation than
found in a typical portrait. They
are commentaries about living
in a consumer-based world that
defines us by our possessions.
Artist:
BRIAN RUSSELL
C O R A L G A B L E S
Gallery:
ArtSpace/Virginia
Miller Galleries
www.virginiamiller.com
Artist:
Ramiro Pareja
Herrera
HERRERA HAS EXHIBITED
in dozens of solo exhibitions
in Peru, Germany and Spain, and has participated in group shows
in Europe, South America, Canada and the US. A poet as well as a
painter, his words embellish the borders of his canvases.
“I WANT PEOPLE TO USE
my sculpture as an
excuse to mentally shift
to another level of consciousness,
above the
daily hubbub, even for a
moment, and to reconnect
with themselves via
that primal, emotional,
cortex-controlled spasm
of an encounter with an
unexpected oasis in a
visual desert.”—B. Russell
Clockwise from top left: Lynn Goldsmith, Dancing Marionettes, c. 2003, archival pigment photograph, signed and # 2/6 on mount verso,
61 x 46”, courtesy of the artist and Holden Luntz Gallery; Brian Russell, Hemisphere Willowfly, mixed media, 14 x 13 x 11”, courtesy of the artist
and Studio E Gallery; Ramiro Pareja Herrera,
Vision Barroca III, 2007, acrylic on canvas, 36-1/4 x 36-1/4”, courtesy of the artist and ArtSpace/
Virginia Miller Galleries
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 49

G A L L E R Y { P g. 3 o f 4 }
S A R A S O T A
Gallery:
State of the Arts
Gallery
www.sarasotafineart.com
Artist:
A. DASHA REICH
C O R A L G A B L E S
Gallery: The Americas Collection
www.americascollection.com
DASHA’S LUMINOUS
paintings are about the
expressiveness of color.
She creates the illusion
of glass by floating pigments,
stains and metallic
foils between layers
of epoxy resin. You can
see river currents, spiraling
galaxies, river stones
and flora silhouettes in
her vibrant montages.
Artist: Jean Jacques Ribi
“I HAVE NAMED MY TECHNIQUE ‘PHOTOPAINT’ BECAUSE
I feel like a classical painter using a traditional color palette. My personal
palette consists of a wide range of photographs from which different elements
are taken to make them act as ‘photocolors’ to create ‘photopaintings.’
Photocolors have a more complex set of rules. They create infinite
possibilities in the use of materials, dimensions, patterns and chromatic
scales. It is a synesthesia I developed in response to my color-blindness.
RealArt (Art of Reality) consists of taking different snapshots of reality
and transforming their meaning by changing their initial context. This
brings to life an alternate environment governed by different laws where
nothing is truly created nor destroyed but totally transformed.” —J. J. Ribi
From left: A. Dasha Reich, Clear Multi-Dots, assemblage/wall sculpture, courtesy of the artist and State of the Arts Gallery;
Jean Jacques Ribi, Evolution in Spring, 1/5, Photopaint, 37 x 59-1/2”, courtesy of the artist and The Americas Collection
50 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

G A L L E R Y { P g. 4 o f 4 }
J A C K S O N V I L L E B E A C H
Gallery:
J. Johnson
Gallery
www.jjohnsongallery.com
M I A M I
Gallery:
Seth Jason Beitler
Fine Arts
www.sethjason.com
Artist:
Lisa Hoke
H O K E T R A N S F O R M S
“the debris of everyday
life” into art, constructing
complex, colorful compositions
from familiar objects. “I use objects that are inexpensive, accessible,
and profoundly available,” says the artist.
Artist:
WILLIAM
HILLMAN
HILLMAN HAS EXPERI-
mented throughout
his career, moving
M I A M I
Gallery: Zadok Gallery
www.zadokgallery.com
Artist:
Alexandra Pacula
“MY WORK INVESTIGATES
a world of visual intoxication; it
captures moments of enchantment,
which are associated with
urban nightlife...In my oil paintings,
I aim to capture various
atmospheres that occur in such
environments.”—A. Pacula
from painting to montage
to computerdigitized
photographic
images. His innovative
photographs explore
light and space, and
range from being almost
completely abstract to
wholly recognizable.
Clockwise from top: Lisa Hoke, Red Blaze, 2011, cardboard, glue and rivets, 51 x 58 x 12”, courtesy of the artist and J. Johnson Gallery;
William Hillman, Epiphany Series, 2006, cibachrome photograph, 20 x 30”, courtesy of the artist and Seth Jason Beitler Fine Arts;
Alexandra Pacula, Blissful Recollection, 2010, oil on canvas, 72 x 56”, courtesy of the artist and Zadok Gallery
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 51

T H E M Y S T E R I O U S C O
O n v i e w 09.15-12.30.12 a t C O R N E L L F I N E
c f a m . ro

Below and inset:
Lisa Kellner, Almost Perfect,
2011, silk, pigment,
paint, thread, embroidered text
(“Almost Perfect”),
surgical pins, 42 x 31 x 6”,
courtesy of the artist
In Lisa Kellner’s work, each bulbous silk
organza shape is hand-formed by stretching
fabric around an object and treating
this surface through a lengthy process in
which pigment, ink, acrylic and bleach are
applied until the intended painterly
effect is achieved. Once the original object
is removed, what is left is a translucent,
apparently fragile, yet deceptively
strong skin, maintaining the shape of an
organ-like form or cell structure. Inspired by
microscopic images of disease and
yet prompting feelings of fragile beauty,
Kellner’s silk sculptures strive to
capture life’s duality of beauty and decay.
N T E N T O F S O F T N E S S
A R T S M U S E U M a t R o l l i n s C o l l e g e , Wi n t e r P a r k
l l i n s . e d u
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 53

Right: Miriam Schapiro,
Grandma Bolero, 1980, fabric
and mixed media collage,
16 x 20”, courtesy of Flomenhaft
Gallery, New York
A leader in two art movements:
the “Feminist Art Movement” and
“Pattern and Decoration,”
Miriam Schapiro transforms
such commonplace
elements as lace, fabric scraps,
buttons, rickrack, sequins,
and tea towels into sophisticated
compositions she calls
“Femmages,” that speak to women’s
experiences.

THE MYSTERIOUS CONTENT OF SOFTNESS,
hosted by the Cornell Fine Arts Museum at Rollins College
in Winter Park, explores the transformative power of
fiber and its connection to the human body.
Consisting of sculptures, installations, and crafts, “the
artists were selected for their emotional response to, and
understanding of fiber’s potential for capturing the fluidity
of life,” says Stefano Catalani, curator of the exhibition,
which comes from the Bellevue Arts Museum in Washington.
Exploiting the durability and fragility of the medium,
a number of artists address issues of gender identity, “by
repositioning and humorously challenging the expectations
from a medium so stereotypically feminine,” adds Catalani.
Whether employing time-honored techniques such as
knitting, crochet, embroidery and loom weaving, or foraying
into new uses of traditional textiles, these artists explore
the physical, psychological and cultural associations of
fiber to the body. The intrinsic qualities of fiber: its softness,
sagginess and fragility, its ability to drape, protect and
clothe, as well as to fabricate and express identity, make it
possible for the textile medium to incomparably capture the
nature of flesh and convey an affinity for life.
Featured artists in The Mysterious Content of Softness
include: Diem Chau, Lauren DiCioccio, Angela Ellsworth,
James Gobel, Angela Hennessy, Rock Hushka, Lisa Kellner,
Miller & Shellabarger, L.J. Roberts, Jeremy Sanders,
and Nathan Vincent.
The sampling of works on the following pages illustrates
the diverse range of talent among the artists represented.
The Mysterious
Content of Softness
Above and opposite:
L. J. Roberts, We Couldn’t Get In.
We Couldn’t Get Out., (details),
2006–2007, hand-woven wire, crank-knit
yarn, steel poles, assorted hardware,
courtesy of the artist, photo: Team Photogenic
L. J. Roberts’ current work
merges craft with objects of violence and
control to examine large structures of
power and how they might be interrupted
by ways of making that are often
labeled as gendered, amateur, and low.
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 55

The Mysterious
Content of Softness
Nathan Vincent,
Locker Room, 2010,
crocheted yarn, foam, wire
and polyester stuffing,
courtesy of the artist;
yarn donated by Lion Brand Yarn.
Photographs by Steven Miller
This exhibition se
highlight the almost unique
to merge art wit
56 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

eks specifically to
quality of fiber and textiles
h everyday life.
Above:
Locker Room (detail)
Nathan Vincent’s work explores gender permissions
and the challenges that arise from straying from the
prescribed norms. It questions the qualities of
gender by considering what constitutes masculine and
feminine. It critiques stereotypical gender mediums
by creating “masculine objects” using “feminine
processes,” such as crochet, sewing, and appliqué.

Angela Ellsworth is an interdisciplinary
artist whose startling performance
pieces and objects often draw on
her own background as a descendant
of Mormon pioneers. Ellsworth’s
Seer Bonnets series focuses on the
relationships of sister-wives and
on polygamy’s legal prohibition as a result
of its perceived immorality, finding
a parallel between this cultural history
and the artist’s own identity as a lesbian
woman. The bonnets’ iridescent exteriors,
formed entirely by the pearl-tips of
tens of thousands of corsage pins, belie
their dangerous needle-point interiors.
58 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

The Mysterious
Content of Softness
Left and opposite:
Angela Ellsworth,
Seer Bonnet XIX (Flora Ann)
(detail and installation view,)
2011, 1 bonnet,
24,182 pearl corsage pins,
fabric, steel, wood,
60 x 13 x 16”, base: 25 x 40 x 4”,
images courtesy
of Lisa Sette Gallery

The Mysterious
Content of Softness
Above:
Diem Chau, Empty Hand,
2010, porcelain plate,
organza & thread,
6 x 4-1/2 x 3/4”,
photo courtesy of the artist
60 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

Diem Chau, Bound,
2010, porcelain plate,
organza, cotton fabric & thread,
6-1/2 x 9 x 3/4”,
photo courtesy of the artist
A Vietnam native, Diem Chau
and her family came to the
US as refugees in 1986. Working
from photos, the artist
embroiders silhouettes and
portraits onto silk organza,
delicately stretched over the
rims of porcelain plates,
saucers and cups, which have
been found in thrift stores
or gifted by friends. The images,
floating in the hazy, milky
gauziness of the organza, suggest
a form of storytelling in
which the hairstyle and attire of
some of the figures reveal
identity issues at work.
The intrinsic fragility of the taut
translucent silk celebrates
ultimately, the preciousness of
fleeting existence.
On View

UNNAT
09.09.12–
a
BAS
MUSEU
AR
M I A M I
w w w . b a s s m

URAL
11.04.12
t
S
M of
T,
B E A C H
u s e u m . o r g
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 63

UNNATURAL
T
Previous pages:
Tomer Sapir, slide from
Research for the
Full Crypto-Taxidermical Index,
2010-2012, computer PPT,
continuous loop, courtesy of the artist
and Chelouche Gallery for
Contemporary Art, Tel Aviv; additional
photography by Elad Sarig
and Hilit Kadouri
Opposite:
Boaz Aharonovitch, Dark Matter,
2010-2012, four archival
pigment prints, 48 x 48” each,
courtesy of the artist and
Dan Gallery for Contemporary Art,
Tel Aviv
The concept of nature has acquired
a new relevance in the
hyper-technological age, leading
many artists to reflect on
artificial environments where
one is unable to trust what is
real and what is not. A significant
number of artists today,
challenge the gap between traditional
perceptions of “nature”
and “culture.” In many
cases, they introduce new understandings
of the sublime
that replace its Romantic and
the related sense of awe with
a diverse range of critical, political
and poetic approaches.
The new exhibition, UN-
NATURAL, presented by the
Bass Museum of Art in Miami
Beach and curated by
Tami Katz-Freiman, presents
Right:
Sigalit Landau, still from DeadSee,
2005, digital HD video, silent,
11:39 minutes, courtesy of the artist

scientific, romantic, conceptual,
poetic, sensual and ecological
conceptions of nature
through a variety of strategies
that reflect advances in technology
in the 21st century. The
works in the exhibition question
conventional means and
methods of representing the
natural world and metaphorically
embody both the paradoxical
longing to fuse with
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 65

UNNATURAL
Opposite:
Richard Mosse, Herd at Dusk,
2011, digital c-print,
72 x 90”, courtesy of the artist and
Jack Shainman Gallery, NY
Below:
Jennifer Steinkamp, still from
Daisy Chain (twist), 2004,
video installation, continuous loop
Lindemann Collection,
Miami Beach
nature and the threat embedded
in such fusion. The works
included in UNNATURAL thus
reflect a cultivated, synthetic,
manipulated nature, which includes
allusions to science as
manifestations of a reality oscillating
between the real and
imaginary.
The artists selected for UN-
NATURAL come from diverse
cultural backgrounds and
work in a wide range of media,
including video, photography,
sculpture and installation.
These artists seem to be
stretching the limits of time
and place, while collecting and
assembling imagery from different
sources to create a new,
artificial form of nature. The
majority of the artists in this
show are Israeli-born, which
charges the exhibition with a
political accent that relates to
66 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

Nature, territories and landscape
in critical ways. In the
contemporary Israeli context,
it is impossible to disassociate
the landscape from its political
resonances and from the multiple
narratives that surround
it. Landscape imagery and representations
of nature in contemporary
Israeli art are rarely
naive, and certainly not romantic.
They are scorched by
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 67

UNNATURAL
Right:
Uri Shapira, still from Six Days Dark
Bobo Timelapse, 2011,
stop-motion video, sound, 5 minutes,
courtesy of the artist
Below:
Wendy Wischer, installation view
of Puddled II, 2012,
projected video on acrylic, 53 x 25”,
courtesy of the artist
and Julian Navarro Projects, NY
the fire of conflict and marked
by the fervor of internal controversy.
UNNATURAL represents
the far-fetched fusion of reality,
fantasy and simulation.
At the same time, it reflects
the freedom of the imagination
and the wonders of simulation
technology, which make
the inconceivable conceivable.
It reveals how the unmediat-
68 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

ed sense of awe and wonder
provoked by nature has been
replaced by the work of art,
which enables us to marvel at
the act of representation and to
re-imagine nature, while celebrating
the wonders of the human
imagination.
The location of this project
in Miami Beach—a subtropical,
botanically lush barrier
island that was built on a
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 69

UNNATURAL
UNNATURAL reflects the freedom
of the imagination and the wonders
of simulation technology, which make
the inconceivable conceivable.
Opposite:
Ori Gersht, still from Falling Bird,
2008, digital HD film, sound, 5:53 minutes,
courtesy of the artist and
Noga Gallery of Contemporary Art, Tel Aviv
Below:
Meirav Heiman & Yossi Ben Shoshan,
Sperm Whale, 2009, four-channel HD video
installation, sound, 216-1/2 x 521-5/8
x 194-7/8”, courtesy of the artists;
Thanks: The Petach Tikva Museum of Art, Israel;
Nadav Smulian & the Israeli Fund
for Video Art and Experimental Cinema
filled coral reef—where even
the beach sand was artificially
imported—further strengthens
the tangible relationship
between the “natural” and the
“unnatural.”
Artists represented include:
Boaz Aharonovitch, Aziz +
Cucher, Céleste Boursier-
Mougenot and Ariane Michel,
Einat Arif-Galanti, Blane De
St Croix, Rose-Lynn Fisher,
Ori Gersht, Meirav Heiman
and Yossi Ben Shoshan, Hilja
Keading, Freddy Shachar
Kislev, Sigalit Landau, Dana
Levy, Tobias Madison, Richard
Mosse, Gilad Ratman, Samantha
Salzinger, Tomer Sapir,
Yehudit Sasportas, Michal
Shamir, Uri Shapira, Jennifer
Steinkamp, Gal Weinstein,
Wendy Wischer, and Guy Zagursky.
On View
70 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

HISTORIES
2 0 Y E A R S o f P H O T O G R A P H
O n v i e w 09.13.12-12.30.12 a t t h e C U M
J a c k s o n v i l l e •

Yao Dancers of Malawi
All images
©Elizabeth Gilbert
in AFRICA:
Y b y E L I Z A B E T H G I L B E R T
M E R M U S E U M o f A R T & G A R D E N S ,
w w w. c u m m e r. o rg
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 73

Brotherhood of the Maz

A
HISTORIES IN AFRICA:
20 Years of Photography by Elizabeth Gilbert
A M E R I C A N P H O T O J O U R N A L I S T ,
Elizabeth Gilbert, has lived and worked in
Africa since 1991, traveling from Kenya to
the Congo, throughout the Great Rift Valley,
and reporting on civil wars in Rwanda,
Somalia and Sudan. She is the author of two
photographic books on vanishing African culture: Broken Spears and Tribes of
the Great Rift Valley. Her glorious black-and-white photography, accompanied
by her thoughtful, engaging text, offers sweeping views of a magnificent and
sometimes harsh landscape and its peoples. Thought-provoking and remarkable,
her work is a time capsule, perhaps even the last record, of age-old traditions and
a way of life that will almost certainly soon vanish from our planet.
Histories in Africa: 20
Years of Photography by Elizabeth
Gilbert, at the Cummer
Museum of Art & Gardens in
Jacksonville, presents a midlife
retrospective as diverse
as Africa itself, depicting a
traditional world seemingly
suspended in time, as well as
its modern urban parallel. The
gelatin silver prints on exhibit
pull the viewer into an intimate
world of African ritual and tell
the story of a continent’s journey
through change.
When Gilbert first came into
contact with the Maasai, over
ten years ago, their images
were everywhere in Africa.
Pictures of warriors were
printed on postcards, T-shirts,
safari advertisements and hotel
logos—but in reality, their traditional
life was disappearing.
So Gilbert set out on a fouryear
journey to photograph
what was left of traditional
Maasailand.
Her book, Broken Spears:
A Maasai Journey, is the stun-
Above:
Samburu Initiate Wearing Trophy Birds
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 75

HISTORIES IN AFRICA:
20 Years of Photography by Elizabeth Gilbert
Right:
Holding the Bull
Opposite:
Sekenani Warrior
Above:
Leaping Warriors
ning result of this remarkable
journey. Over 120 images
capture the rituals, secret ceremonies
and landscapes of the
Maasai, documenting the life
of this extraordinary tribe.
Gilbert’s intimate relationship
with the Maasai allowed
her to photograph centuries-old
Maasai ceremonies, including
male and female circumcisions,
weddings and perhaps the
most dangerous of all Maasai
rituals—a lion hunt. A moving
photographic journey into the
vanishing culture of the Maasai
warriors of Kenya and Tanzania,
Broken Spears is a haunting
testament to a rapidly disappearing
way of life.
Gilbert’s second book, Tribes
of the Great Rift Valley, is a celebration
of the traditional peoples
who occupy the lands of
the Great Rift Valley, from the
Gulf of Aden off the coast of
Eritrea, across the Ethiopian
highlands, and down to the
great lakes and plains of Kenya,
Tanzania and Malawi. Here are
the proud, majestic warriors of
the Maasai and Samburu, the
Mursi with their jutting lipplates,
the guinea-fowl-painted
faces of the Karo, the bull
jumpers of the Hamar, and the
honey seekers of the forests,
the Batwa, among many other
76 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

The Circumcisionist

HISTORIES IN AFRICA:
20 Years of Photography by Elizabeth Gilbert
tribes. Sadly, nearly all of these
communities face extinction in
the near future due to Western
influence.
“The loss of African tradition
in the last century and the
change I witnessed during my
own travels slowly redefined
my role as a photographer,”
said Gilbert. “I no longer saw
myself as an invisible recorder,
but as a collaborator with the
people whom I photographed.
I was a stranger, yet they had
allowed me to document their
most private rituals and ceremonies.
This permission in itself
was their own acknowledgement
that a way of life was disappearing.
Influenced by this, I
began to create a more idealized
portrayal of what I believed was
a vanishing world.”
Peter Beard, author of The
End of the Game, said of Gilbert’s
work: “Across Kenya
and Tanzania, from Serengeti to
Kilamanjaro and beyond, Elizabeth
Gilbert has heroically and
artistically photographed the last
moments of tribal Africa with
the Maasai, those herdsmen,
lion hunters, warriors and aristocrats
of the bush. The pages
“ The loss of African tradition in the last
century and the change I witnessed
during my own travels slowly redefined my
role as a photographer.” —E. Gilbert
of this book are already history
in a compromised, ravaged, denatured
content. Luckily, Gilbert
has photographed what is
left—everything that is authentic
and valuable in Africa.”
Gilbert’s pictures have
appeared in Time, Newsweek,
Men’s Journal, Life and The
New York Times, as well as
numerous major European publications.
Her photographs of
the Maasai have been awarded
prizes for portrait and reportage
by the Society of Publication
Designers. On View
Above:
Elizabeth Gilbert, courtesy of the artist
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 79

THE AR
&
FLORAda
FL
Mark
MESSERSMITH
Margare
TOLB
On view 09.16-11.04.12 at the APP
w w w. a p p l e t o

OWING WATERS :
T OF
t Ross
ERT
&
Anna
TOMCZAK
LETON MUSEUM of ART, Ocala
n m u s e u m . o r g
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 81

FLORAda & FLOWING WATERS:
The Art of Mark Messersmith, Margaret Ross Tolbert
& Anna Tomczak
82 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

FFLORAda
& FLOWING WATERS, presented by the Appleton
Museum of Art in Ocala, represents a lush and beautiful portrait
of natural Florida, as interpreted by three of the state’s most
prominent artists—Mark Messersmith, Margaret Ross Tolbert
and Anna Tomczak. The theme of Florida’s unique natural environment
has not just occasionally occupied these artists’ highly
productive careers—it is central to their work.
“Messersmith’s opulent, hyper-colorful paintings of our
state’s tropical flora and fauna comes together with Ross Tolbert’s
abstract expressionist interpretations of our famous springs
and Tomczak’s nostalgic large-format photographic prints of
Mark Messersmith, Wild As Angels, oil on canvas with carved wooden top parts and mixed media
predella box on bottom, courtesy Ogden Museum of Southern Art
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 83

FLORAda & FLOWING WATERS:
The Art of Mark Messersmith, Margaret Ross Tolbert
& Anna Tomczak
84 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

antiques and our native plants,” says Ruth Grim, the Appleton’s
Curator of Exhibitions, “...and in the case of Anna Tomczak,” she
adds, “this will be an opportunity to see a truly extinct art form, as
Tomczak will no longer be able to create her large-format Polaroid
prints, since Polaroid has gone out of business.”
Grim hopes visitors to this special presentation will not only
take away an appreciation of the work of these talented individuals,
but will also heed their call to cherish and safeguard the
unique natural beauty we are so lucky to have here in Florida.
Themed events accompany the exhibition, including a photography
workshop by Anna Tomczak. For event details, visit
www.appletonmuseum.org.
THE ARTISTS...
Mark Messersmith
Tallahassee, FL
Margaret Ross Tolbert
Gainesville, FL
Anna Tomczak
Lake Helen, FL
Opposite: Anna Tomczak, Lusitano, courtesy of the artist
Above: Images courtesy of the artists
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 85

Mark
MESSERSMITH
WHEN MARK MESSERSMITH FIRST
moved to Tallahassee, FL, he was immediately
struck by the wildness of the surrounding
landscape—a wildness gone
from much of America. In his paintings,
he explores the tension between this
wild, living place and ever-increasing
human expansion.
“Since moving to the Southeastern US
in 1985, I have been fascinated with the
uniqueness of the region’s environment
and the beauty of its lands and animals,”
the artist said. “While both the land
and animals are vulnerable, they share
a strong determination for survival and
can still offer potential dangers for the
unwary visitor.”
Drawing on inspirations ranging from
the Pre-Raphaelites, Martin Johnson
Heade, Southern folk art and medieval
manuscripts, his paintings are dense,
radiant and sculptural depictions of the
flora and fauna of northern Florida,
struggling to survive.
“The fading landscape I paint, is at
least for awhile, out there someplace,
somewhere just beyond the urban sprawl,
shopping malls and trailer parks,” he
explained. “It is still a land of myths
and facts, inhabited by powerful birds,
vigilant panthers, weary gators, blackwater
swamps, old cypress trees, back
road citrus stands and careening logging
trucks.” Messersmith sees his work as “a
beautiful warning of a time and a place,
midways between hope and despair.”
Messersmith received his MFA in
1980 from Indiana University. He joined
the Florida State University art department’s
painting faculty in 1985, where
he teaches drawing and painting. Over
the years he has won numerous state,
national and international art honors,
including a Ford Fellowship, four Individual
Artist Fellowship Awards from
the Florida Department of State, and a
2006 Joan Mitchell Foundation Painting
Award.
Mark Messersmith, From a Dark Twilight, oil on canvas with carved wooden top parts and mixed media
predellas boxes on bottom, courtesy of Ogden Museum of Southern Art
86 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

FLORAda & FLOWING WATERS:
The Art of Mark Messersmith, Margaret Ross Tolbert
& Anna Tomczak
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 87

Margaret
ROSS TOLBERT
OVER THE LAST 20 YEARS, Gainesville
artist, Margaret Ross Tolbert, has
executed a series of paintings, drawings
and lithographs from studios in the US,
France and Turkey. Her commissions
include projects for a series of paintings
with residencies in Turkey, Azerbaijan
and Oman.
In recent years, Tolbert has developed
two distinctive bodies of work:
the Springs of North Florida, which
explores the depth and beauty of Florida’s
springs; and Doors, inspired by
travels to many of the most beautiful and
exotic buildings in the world. The two
subjects are united through the artist’s
powerful use of color in her brilliant,
large-scale oil paintings. The cool blues
and greens of the springs appear as lush
as the golden hues of the doors.
The Springs of North Florida, whose
paradisiacal presence provides a sense
of ideal destination and the exotic in the
here-and-now, counterpoints the sense of
passage, time and journey implicit in the
Doors paintings. The colors and light are
unique and remarkable. Tolbert works
on-site to capture these elements before
transferring them to her large canvases.
“The paradisiacal Springs of North
Florida are my paintings’ subject and
metaphor,” says Tolbert. “The springs
paintings begin on-site at the water’s
edge, and often in the water. I swim in
the springs, I sketch underwater; I am
inspired to write when I am beside them.”
Tolbert’s paintings have been exhibited
in numerous solo and group shows
throughout the southern US and abroad.
She is the recipient of a Visual Arts Fellowship
from the State of Florida. Her
work also encompasses performance and
writing. Tolbert has published two books:
GEZI, which includes sketches and narratives
from her travels in Eastern Turkey;
and AQUIFERious, which includes
detailed chronicles of the rarely-seen life
forms inhabiting the depths of the springs.
Margaret Ross Tolbert, Entering Spring,
courtesy of the artist
88 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

FLORAda & FLOWING WATERS:
The Art of Mark Messersmith, Margaret Ross Tolbert
& Anna Tomczak
“The springs paintings begin on-site at the
water’s edge, and often in the water.
I swim in the springs, I sketch underwater;
I am inspired to write when
I am beside them.” —M. R. Tolbert
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 89

Anna
TOMCZAK
ANNA TOMCZAK’S IMAGES EXPLORE
a rich visual playground of found
objects, associative images and botanicals—all
woven in an intricate web of
visual metaphor.
For over 15 years, Tomczak has utilized
the 20x24 camera to make hauntingly
beautiful constructions. Drawing
on a large personal collection of unique
and eccentric artifacts, she creates an
assemblage that only exists long enough
to be recorded on large-format Polaroid
film. These timeless compositions are
heightened by her use of the Polacolor
Image Transfer technique. This process
interrupts the normal peel-apart development
by separating the negative from the
positive film earlier than intended and
placing it in contact with wet watercolor
paper. This technique mutes the color
and softens the image, producing a more
dreamlike and antique sensibility.
“For many years, I have collected
iconic treasures—some are derived
from old manuscripts and others are
from searching through antique markets
or collections,” says Tomczak. “Each
one of these figures holds a different
meaning, symbolic reference or spiritual
influence for both myself as the artist,
and the viewer/interpreter.”
Anna’s large-format, dye-infusion
transfer photographs are widely exhibited
and are in museum, university, private
and corporate collections, including
the Norton Museum of Art, West Palm
Beach; Polk Museum of Art, Lakeland;
Orlando Museum of Art; Brooklyn
Museum of Art, NY; Harn Museum of
Art, Gainesville; Sony Latin-America;
McGraw-Hill, NYC; R.J. Reynolds; the
Mayo Clinic; and IBM.
Anna teaches workshops in Florida
and various university, museum and
studio classrooms throughout the US,
Italy and Spain. The recently published
book, Sanctuary, features a collection
of Tomczak’s stunning images.
Anna Tomczak, Devil’s Backbone II,
courtesy of the artist
90 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

FLORAda & FLOWING WATERS:
The Art of Mark Messersmith, Margaret Ross Tolbert
& Anna Tomczak
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 55 91

STRIPPED BA
The Preservatio
92 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

RE + BATHED:
n of Dalí’s Masterworks
On view through September 9th at
The Dalí Museum, St. Petersburg
w w w . t h e d a l i . o r g
Conservation image photos
by Chuck Bendel,
courtesy of The Dalí Museum,
St. Petersburg

S
Stripped
Bare + Bathed:
The Preservation
of Dalí’s Masterworks
SALVADOR DALÍ IS
considered one of the most
famous and controversial
artists of the 20th Century—his
artwork is unforgettable
and immensely
popular. The Dalí Museum
in St. Petersburg, holds the
largest collection of Dalí
art outside Spain, with more than 2,100 works, including
96 oil paintings that richly present his entire career.
More than 15 years ago, all of the oil paintings in
the Museum’s Permanent Collection were assessed,
and a program was established for conservation treatment
according to the
assessment rating. In
the fall of 2011, The
Dalí launched a conservation
campaign
called “Keepers of the
Masterworks.” At that
time, Museum curators
determined that four of
the Museum’s Master-
Above: A painstaking process,
conservators carefully
remove decades of dust
and grime from The Discovery
of America.
Left: Salvador Dalí, The Discovery
of America, 1959, oil on canvas
All images copyright: In the USA:
©Salvador Dalí Museum, Inc.,
St. Petersburg, FL, 2012;
Worldwide rights: ©Salvador Dalí,
Fundación Gala-Salvador Dalí
(Artists Rights Society), 2012

work paintings were in greatest
need of restoration and
repair, and the Museum made
a plea to its loyal patrons to
assist in the effort to preserve
and maintain these priceless
Masterworks. Since then,
many works have been treated,
but other paintings still
require major or minor conservation
work.
In June of 2012, a team of
nine conservators cleaned and
restored four of the Museum’s
eight Masterworks: The Discovery
of America (1959), The
Ecumenical Council (1960);
Galacidalacidesoxiribunucleicacid
(1963) and The Hallucinogenic
Toreador (1970). A
live video feed recorded and
broadcasted the work during
a two-week live phase.
Currently on view in the
Hough Family wing, the
exhibition, Stipped Bare +
Bathed: The Preservation of
Dalí’s Masterworks, presents
a video documentary of the
conservation process from
start to finish, providing visitors
with a behind-the-scenes
glimpse of the dramatic and
painstaking work of conservators,
including detailed commentary
and close-up views
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 95

Stripped Bare + Bathed:
The Preservation
of Dalí’s Masterworks
Right:
Conservators work on
The Hallucinogenic Toreador as
a live video feed records
and broadcasts their progress
during a two-week live
phase of the conservation project.
Above:
Salvador Dalí,
The Hallucinogenic Toreador,
1970, oil on canvas
of the action.
The $100,000 project was
funded in part by a grant from
the National Endowment for
the Arts and was further supported
by a group of private
donors—the Keepers of the
Masterworks—who gave generously
to assist with this vital
restoration project.
Preservation is a continuous,
labor-intensive process,
involving the care of works
of art in all media—oils,
works on paper, and objects.
Works on display in museums
are subjected to a variety of
damaging pollutants—from
our breath and sweat, to dirt
and grime—all of these factors
and more, contribute to
art’s slow deterioration. How
to protect precious artwork,
while making it accessible
to vast numbers of people,
remains a constant dilemma
for museums. Stripped Bare
+ Bathed is the realization of
an essential part of The Dalí’s
mission: to present and preserve
these priceless works
for future generations.
Conservationist, Rustin
Levenson, President and
Founder of Rustin Levenson
Art Conservation Associates,
96 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

along with her team of conservators,
spent 8-10 hours
a day during the eleven day
project, lifting decades of
dust, dirt and grime from the
canvases and making whatever
repairs necessary to restore
the works.
Levenson has worked at
Harvard University’s Fogg
Museum, the National Gallery
of Canada and the Metropolitan
Museum of Art. She now has
her own company with studios
in New York and Miami, and a
client list filled with museums
and private collectors.
Levenson and her team
spent weeks assessing damage,
testing each of the works
using ultraviolet light and
loupes (magnifying devices
similar to what jewelers use).
With a variety of cleaning solvents,
they gently dabbed at
each canvas with cotton swabs
to determine which cleaning
solutions worked best, removing
only dirt—never paint.
Each painting was then divided
into sections with hanging
strings and each team member
worked, inch by inch, slowly
swabbing each section.
“It’s more complicated than
it looks,” Levenson says. “It’s
Above: Inch by inch, Galacidalacidesoxiribunucleicacid
is slowly restored.
Below: Salvador Dalí,
Galacidalacidesoxiribunucleicacid,
1963, oil on canvas

Below:
The Ecumenical Council,
divided into sections with hanging strings,
is gently swabbed.
part art history, part science.
No one should ever try to clean
art at home. The worst damage
I have seen was by untrained
restorers.”
On the first day of the project,
Levenson and her team
started with two of the paintings,
Discovery of America
and Ecumenical Council.
Council took the most time,
according to Levenson. It had
been restretched several times
before it came into the Dalí’s
collection, meaning the canvas
was removed from its
wood frame and reattached.
During the course of the last
restretching, the canvas was
not put on straight, leaving
uneven lines of canvas visible
on the vertical sides of the
painting. In addition, the fabric
was riddled with uneven
holes from old nails. The
painting also had a small hole
in the canvas, incurred during
its journey to or from Australia
for a special exhibition,
requiring retouching with
paint. If paint is applied to any
work, it must be used according
to the universal conservation
dictum: “Do nothing that
can’t be undone.” In the case
of this painting, which has a
protective varnish, the paint
was applied over the varnish
and can be easily removed in
the future.
Discovery of America had
a mold problem, the result of
a leaky roof in the Museum’s
former location. The mold was
discovered during a hurricane
98 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

Stripped Bare + Bathed:
The Preservation
of Dalí’s Masterworks
Left:
Salvador Dalí, The Ecumenical Council,
1960, oil on canvas
Below:
Rustin Levenson, President
and Founder of Rustin Levenson
Art Conservation Associates,
at work on The Ecumenical Council.
evacuation. The painting had to
be cleaned and treated. When
treating the mold, conservators
wore protective masks. “We
used organic sponges and ethanol
solution, which made us
all feel better,” said Levenson,
referring to the mold.
Conservation efforts are
usually off-limits to the public,
which makes this a rare opportunity
to witness the skill and
science involved in preserving
great artworks. “There is a
mystery to conservation,” said
Hank Hine, Director of the
Museum, “the chemicals, the
arcane technology. But most
of it is very hands-on and we
wanted to demystify and dramatize
the technique.”
The long-term payoff is
knowing that Dalí’s most
important paintings are in the
best condition possible and
offering visitors an opportunity
to see his works in a new
light. On View

SPOTLIGHT
{ H I L L E R B R A N D + M A G S A M E N }
E x h i b i t i o n
BEAM Me Up
On view September 7th–October 14th at
Dunedin Fine Art Center
www.dfac.org
LIKE MOST PARENTS TODAY,
artists Stephan Hillerbrand and
Mary Magsamen are experiencing
the day-to-day pressures
that exist in the domestic sphere
of family life. Unlike most parents,
they’ve channeled their
circumstances into their work.
The results will be on view at
Dunedin Fine Art Center in the
new show, BEAM Me Up.
“Under the title, BEAM Me
Up, we recognize, through the
artists’ eyes, the other-worldly
realms of parenthood, relationships,
the modern world, or Life,
as we do not know it—until we
are knee-deep in it’s laundry, or
lost in its ethers,” says DFAC
Curator, Catherine Bergmann.
This humorous and provocative
presentation includes a
photographic series by the collaborative
team, Hillerbrand+
Magsamen, that interstices between
art and the contemporary
American family by playfully
and poetically exploring perceptions
of emotions, family, consumerism
and media, within a
uniquely American subjectivity.
Hillerbrand+Magsamen use
their immediate environment
100 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

F O C U S
and conditions to depict and distort
space and time and reflect our
everyday visual vocabulary and
human experiences. The suburban
environment they inhabit
functions as a base from which
to leap into bigger ideas and visually
rich, engaging imagery.
Portraits of each member
of the Hillerbrand/Magsamen
family—the parents
and their two grade
school-age kids—
are featured in an array
of domestic situations,
playing on
gender and family
stereotypes. Each
portrait is a symbolic
representation of
the stresses, expectations
and predilections
that exist in society
and the domestic realm.
Domestic imprisonment and the
confines of motherhood, the suffocation
of the household and
all it’s stuff, suburban artificiality,
banality and monotony are a
few common themes.
Hillerbrand and Magsamen
received MFAs from Cranbrook
Academy of Art. Their work has
Hillerbrand
and Magsamen
CHANNEL
their LIFE INTO
their WORK.
been included in film festivals,
galleries and museums internationally,
including Ann Arbor
Film Festival, Boston Underground
Film Festival, Center
for Photography at Woodstock,
Houston Center for Photography
and Dallas Contemporary. They
have been awarded residencies
at Lawndale Art Center, Houston,
TX; the Lower
Manhattan Cultural
Council, NY;
and Experimental
Television Center,
Owego, NY; as well
as grants from Austin
Film Society’s
Texas Filmmakers’
Production Fund,
Ohio Arts Council,
Houston Arts Alliance,
and a Carol
Crow Fellowship from the
Houston Center for Photography.
The artists live and work
in Houston, TX, where Mary
Magsamen is the curator for the
mirco-cinema, The Aurora Picture
Show, and Stephan Hillerbrand
teaches in the University
of Houston Digital Media Program.
On View
opposite page:
1. Diana, 2011,
Archival Pigment Print, 24 x 30”
Above
(top to bottom):
1. Miranda, 2011,
Archival Pigment Print, 24 x 30”
2. Sisyphus, 2011,
Archival Pigment Print, 24 x 30”
left:
DIY Love Seat, 2011, HD Video
images ©hillerbrand+magsamen;
Hillerbrand+Magsamen are
represented by Darke Gallery in
Houston, TX, and Camara Oscura
Galleria de Art in Madrid, Spain

FOCUS
{ M A R T I N S C H O E L L E R }
E x h i b i t i o n
Martin Schoeller: Close Up
On view September 22nd–December 9th at
Naples Museum of Art
www.thephil.org
FOR MORE THAN A DECADE,
Martin Schoeller has been
making close-up portraits of
the most recognizable faces
of our time, as well as of ordinary
people living private lives.
Martin Schoeller: Close Up,
hosted by Naples Museum of
Art, presents a selection of
arresting large-format color
images—many of which are
Schoeller’s most famous celebrity
portraits.
A native of Germany, Schoeller’s
career evolved from unassuming
beginnings. After high
school, a friend urged him to
apply to photography school. Of
800 applicants, he was one of
just 40 students accepted. After
graduation, Schoeller moved to
New York City to pursue a photography
career. From 1993 to
1996, he worked as an assistant
to renowned portrait photographer,
Annie Leibovitz, and in
1999, he was named one of three
contracted photographers at The
New Yorker magazine. While he
continues to shoot for The New
Yorker and other major publications,
he has also pursued his
own photographic interests.
102 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

F O C U S
CLOSE-UP
PORTRAITS are
Martin Schoeller’s
SIGNATURE
STYLE.
Large, close-up portraits are
Schoeller’s signature style. Over
the years, he has photographed
many celebrities and politicians
in this intimate format. “It’s a reflection
maybe of my personality
that I feel comfortable being
close to somebody,” he said. For
Schoeller, it’s not about making
people look good or look bad. “I
just think I’m trying
to take real portraits,
what portraits
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 tricks—
just straight up honest portraits.”
Using a medium format camera
that takes roll film, Schoeller
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,” he 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
secondary.”
Schoeller’s work
has appeared in
Rolling Stone, GQ,
Esquire, Vogue, Interview,
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
NY, Ace Gallery in Los Angeles
and Camera Work in Germany.
His portraits are exhibited and
collected internationally, appearing
in solo exhibitions as well as
the permanent collections of the
National Portrait Gallery in London
and the Smithsonian Institution
in Washington, DC. On View
opposite page:
1. Henry Kissinger, 2007,
Type C color print, 42-7/16 x 34-9/16”
Above
(top to bottom):
1. George Clooney, 2007,
Type C color print, 61-1/16 x 49-9/16”
2. Jack Nicholson, 2002,
Type C color print, 61-1/16 x 49-9/16”
all images ©Martin Schoeller
left: martin schoeller,
courtesy of the artist
MARTIN SCHOELLER: CLOSE UP IS
ORGANIZED & CIRCULATED
BY CURATORIAL ASSISTANCE TRAVELING
EXHIBITIONS, PASADENA, CA

INSIGHT
{ R A N I A M A T A R }
E x h i b i t i o n
A Girl and Her Room
On view September 14th–December 14th at the
Southeast Museum of Photography
www.smponline.org
R A N I A M ATA R H A S P R O -
duced an exhibition of unique
and subtle power. Focusing on
contemporary young women
from vastly differing cultures in
the US and Lebanon, A Girl and
Her Room, reveals a dizzying
array of personalities, dreams,
hopes, wishes and frustrations
in settings that are clearly expressions
of the girls’ individual
identities—their own rooms.
“As a mother of teenage
daughters, I watch their passage
from girlhood into adulthood,
fascinated with the transformation
taking place, the adult
personality shaping up, and a
self-consciousness now replacing
the carefree world they had
known and lived in so far,” said
Matar. “I started photographing
them and their girlfriends,
and quickly realized that they
were very aware of each other’s
presence, and that their being
in a group affected very much
whom they were portraying to
the world. From there emerged
the idea of photographing each
girl by herself.” When Matar
asked the girls to choose where
they wanted to be photographed,
104 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

I N S I G H T
Rania Matar’s
IMAGES are
revealing portraits
OF FEMALE
ADOLESCENCE.
a number of them chose their
bedrooms. “I realized that was
the nexus of a project,” she said.
“The room was a metaphor, an
extension of the girl, but also
the girl seemed to be part of the
room, to fit in, just like everything
else in the room.”
Matar eventually moved
away from photographing girls
she knew well and
expanded the project
to include girls
from the two worlds
she herself experienced
as a teen and
a young 20-yearold—the
US and
the Middle East.
She spent time developing
comfortable
relationships
with her subjects
and soon, the photography sessions
became beautiful and intimate
collaborations.
“The beauty and strength, the
aspirations and dreams of these
young women are deeply moving.
I have tried to be the invisible
mirror of those qualities
here. Their frankness and generosity
in sharing them was a privilege
that they have extended to
the viewers of this exhibition.
My deepest hope for this project
is that we help them achieve
the fullness of their promise.”
Born and raised in Lebanon,
Matar moved to the US in 1984.
She trained and worked as an architect
before studying photography
at New England School of
Photography and
Maine Photographic
Workshops.
She is the recipient
of numerous
awards and fellowships.
Her images
are in the collections
of museums
throughout the US
and abroad. She
has also authored
two books: Ordinary
Lives (2009) and A Girl
and Her Room (2012).
Matar currently works fulltime
as a photographer and
teaches photography at the Massachusetts
College of Art and
Design. She also devotes time
to teach photography to teenage
girls in Lebanon’s refugee
camps. On View
opposite page
(top to bottom):
1. Shannon, Boston, MA,
2010, Pigment Inkjet Print,
20 x 30”
2. Christilla, Rabieh, Lebanon,
2010, Pigment Inkjet Print,
20 x 30”
Above
(top to bottom):
1. Anna, Winchester, MA,
2009, Pigment Inkjet Print,
20 x 30”
2. Danielle, Boston, MA,
2010, Pigment Inkjet Print,
20 x 30”
all images ©Rania Matar
left:
Rania Matar, courtesy
of the artist

PROFILE
{ T R E N T M A N N I N G }
E x h i b i t i o n
Miscellaneous:
New Works by Trent Manning
On view September 8th–November 11th
at Polk Museum of Art, Lakeland
www.polkmuseumofart.org
By Sandra Dimsdale Horan
TRENT MANNING IS LIVING
proof that one man’s trash is another
man’s treasure. His mixedmedia
works incorporate discarded
pieces of metal, screws,
wooden handles, old tools and
wire, combined with woodworking,
painting and sculpting.
“I try to create a rebirth of
interest in these miscellaneous
items that they didn’t have in
their previous roles,” says Manning.
“The search for new material
is a major step in the creative
process. Since I never know
what I might find next, I never
know what my next piece will be.
Constantly changing materials
provides a natural evolution in
my work, letting me explore new
techniques and grow as an artist
with every piece I create.”
The 38-year-old artist from
Winter Haven describes his work
as a reflection of his personality:
“a somewhat disillusioned cynic,
with an odd sense of humor,
who still clings tightly to his inner
child.” Inspired by children’s
toys and cartoons, many of his
pieces are whimsical in nature,
106 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

P R O F I L E
but they are also an expression
of the world today, and often
contain dark or macabre undertones.
“It’s this mix of light and
dark that have become a signature
theme in my work,” he says.
As a child, Manning’s mom
would constantly find him hiding
under the covers, drawing
pictures when he
was supposed to be
asleep. While he was
hooked on art early
on, it took years
before he realized
his work was good
enough to sell. With
some persuading, he
FOR Trent
MANNING, one
man’s TRASH
IS another man’s
TREASURE.
eventually agreed
to start showing his
work. Things “really
clicked” when
he submitted a piece
for a “found object
show” at a local gallery. “I knew
I had found my niche,” says Manning.
“Now it’s about more than I
can keep up with, which is a really
fortunate problem to have.” He
spends about 10 hours a day, six
days a week, in the studio. His
commitment has paid off with
several prestigious awards, including
Best of Show at Gasparilla
Festival of the Arts, and first
place in sculpture at Beaux Arts
in Coral Gables.
For his exhibition at Polk Museum
of Art, Manning will feature
almost exclusively new work,
since he has no inventory. Visitors
to the show can expect to find
“childlike” themes.
“There’s a nice balance
of good and
evil, though. It’s not
all sugary clouds,”
he insists.
Manning recently
joined Arts Ensemble
in Winter
Haven, where artists
are invited to use
free studio space in
exchange for donating
time to an outreach
program that
works with everyone from teen
artists to Alzheimer’s patients.
He is currently mentoring “a talented
graffiti artist,” who wants
to make a living as an artist. “I’m
trying to help him understand
he’s not going to do that spraypainting
a building—unless he
sells the building.” On View
opposite
(left to right):
1. Dunce Cap
2. She’s Got Her Father’s Eyes
above
(top to bottom):
1. Keepsake
2. High Chair
left: trent manning
images courtesy
of the artist

V
on iew
D E S T I N A T I O N
New York City
The museums. . .
AMERICA’S CULTURAL CAPITAL,“The Big Apple”, is iconic,
diverse and ever-changing. The city is home to the best and the
brightest the world has to offer. From the newest culinary creations,
to trendsetting fashion, to glittering Broadway shows,
The Big Apple lives up to its reputation. New Yorkers and visitors
alike, enjoy a cultural experience second to none—and no
visit to New York City would be complete without taking in
the exciting exhibitions and collections available at the city’s
myriad of fine art venues.
Join us as we take a brief tour of the premier fine art museums
located throughout this wonderful metropolis, including:
American Folk Art Museum, Cooper-Hewitt National Museum
of Design, International Center of Photography, Museum of
Arts and Design, New Museum of Contemporary Art, Solomon
R. Guggenheim Museum, The Frick
Collection, The Metropolitan Museum
of Art, The Museum of Modern
Art and Whitney Museum of American
Art—“Taxi!” On View
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 109

ew York City New York
O N V I E W D E S T I N A T I O N :
N E W Y O R K C I T Y
American
Folk Art Museum
T
THE AMERICAN FOLK ART
Museum is the premier institution
devoted to the aesthetic
appreciation of traditional folk
art and creative expressions of
contemporary self-taught artists.
The Museum preserves,
conserves and interprets a
comprehensive collection
of the highest quality, with
objects dating from the 18th
century to the present.
The Museum’s collection
was launched in 1962 and in the
45+ years since, has continued
Info
AMERICAN
FOLK ART MUSEUM
www.folkartmuseum.org
2 Lincoln Square
(Columbus Ave. at 66th St.)
New York, NY
212.595.9533
to grow and evolve to include
works by US and international
self-taught artists, demonstrating
an exciting new collecting
initiative. The visual connections
between American artists
and their European counterparts
are compelling and speak
eloquently of common creative
ground shared by all artists
unindoctrinated in either fine
art canons or mainstream art
trends. On View
CLOCKWISE FROM TOP:
1. SPENCERIAN BIRDS,
1850-1900, STUDENTS OF
MISS LILLIAN HAMM
(DATES UNKNOWN), UNITED
STATES, WATERCOLOR AND
INK ON PAPER, 19-1/2 x 18-1/4”,
GIFT OF CYRIL IRWIN NELSON
IN MEMORY OF HIS
GRANDPARENTS, GUERDON
STEARNS AND ELINOR IRWIN
HOLDEN, AND IN HONOR
OF HIS PARENTS, CYRIL ARTHUR
AND ELISE MACY NELSON,
1983-29-4
2. FEDERAL SIDEBOARD TABLE,
ARTIST UNIDENTIFIED,
NEW ENGLAND, 1810-1830,
PAINT ON WOOD WITH BRASS
KNOB, 34-7/8 x 26 x 20”,
EVA AND MORRIS FELD FOLK ART
ACQUISITION FUND, 1981.12.6
3. SEATED CAT, ARTIST
UNIDENTIFIED, EASTERN UNITED
STATES, 1850-1900,
PAINT ON PLASTER OF PARIS,
15-5/8 x 8-1/4 x 10-1/8”,
GIFT OF EFFIE THIXTON ARTHUR,
1963.3.1
ALL PHOTOS BY JOHN PARNELL,
NEW YORK; COURTESY AMERICAN
FOLK ART MUSEUM
110 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

O N V I E W D E S T I N A T I O N :
T
T H E C O O P E R - H E W I T T ,
National Design Museum is
the only museum in the nation
devoted exclusively to historic
and contemporary design.
The Museum was founded
in 1897 by Amy, Eleanor, and
Sarah Hewitt—granddaughters
of industrialist Peter Cooper—as
part of The Cooper
Union for the Advancement of
Science and Art. A branch of
the Smithsonian since 1967,
Cooper-Hewitt is housed in the
landmark Andrew Carnegie
Info
N E W Y O R K C I T Y
Cooper-Hewitt,
National Design
Museum
COOPER-HEWITT,
NATIONAL DESIGN
MUSEUM
www.cooperhewitt.org
2 East 91st Street
New York, NY
212.849.8400
Mansion on Fifth Avenue. The
campus also features two historic
townhouses and a unique
terrace and garden.
Cooper-Hewitt’s collection
encompasses product design
and decorative arts; drawings,
prints and graphic design; textiles;
and wallcoverings.
While currently undergoing
a renovation, Cooper-Hewitt’s
schedule of exhibitions, programs
and events are being
staged at various off-site locations
in NYC. For details, visit
www.cooperhewitt.org. On View
CLOCKWISE FROM TOP:
1. Massive Paisley, detail, Designed
by Maharam Design
Studio, Produced by Maharam,
New York, NY, 2007, Woven
polyester and cotton, Gift of
Maharam, Photo: Matt Flynn
2. Handbag watch: Case designed
by Simon DeVaulchier
(1893–1971) and George W. Blow
(1897–1960), DeVaulchier
and Blow, Manufactured by
Westclox, Us, 1933, Bakelite,
metal, glass, paper, Gift
of Max Pine and Lois Mander,
Photo: Andrew Garn
3. Book: page from New Illustration
of the Sexual System of
Carolus Von Linnaeus, Written
and illustrated by Robert
John Thornton (ca. 1768–1837),
London, England, ca. 1807,
Hand-colored engraving,
Cooper-Hewitt, Smithsonian
Institution Libraries,
Photo: Matt Flynn
images courtesy of the museum
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 111
ew York City New York

ew York City New York
O N V I E W D E S T I N A T I O N :
L
LOCATED IN THE HEART
of New York City, the ICP
is a world-class museum and
school, dedicated to exploring
the possibilities of the photographic
medium through
dynamic exhibitions and educational
programs.
ICP presents a wide range
of historical and contemporary
photographs in its acclaimed
exhibitions and houses a collection
of more than 100,000
original prints that span the
history of the photographic
Info
N E W Y O R K C I T Y
International
Center of
Photography
INTERNATIONAL
CENTER OF
PHOTOGRAPHY
www.icp.org
1133 Ave. of the Americas
New York, NY
212.857.0000
medium, from daguerreotypes
to gelatin silver and digital
chromogenic prints.
The collection is strongest
in its holdings of American
and European documentary
photography of the 1930s to
the 1990s and is comprised
of large bodies of work by
W. Eugene Smith, Henri
Cartier-Bresson, Farm Security
Administration photographers,
Alfred Eisenstadt,
Lisette Model, Gordon Parks,
James VanDerZee and Garry
Winogrand. On View
CLOCKWISE FROM TOP:
1. LAURIE SIMMONS, WOMAN/
RED COUCH/NEWSPAPER,
1978, ©LAURIE SIMMONS,
GIFT OF ANNE AND JOEL
EHRENKRANZ, 2010, 2010.23.7
2. WEEGEE,
SIMPLY ADD
BOILING WATER, DECEMBER 19,
1943, ©WEEGEE / INTERNATIONAL
CENTER OF PHOTOGRAPHY /
GETTY IMAGES, 150.1982
3. DAVID SEIDNER, BERNADETTE
JURKOWSKI, CA. 1995,
©INTERNATIONAL CENTER
OF PHOTOGRAPHY,
DAVID SEIDNER ARCHIVE,
2007.65.1
ALL IMAGES COURTESY OF
THE INTERNATIONAL CENTER
OF PHOTOGRAPHY
112 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

O N V I E W D E S T I N A T I O N :
T
T H E M U S E U M O F A R T S
and Design–formerly the
American Craft Museum–has
served as the country’s premier
institution dedicated to
the collection and exhibition of
contemporary objects created
in media such as clay, glass,
wood, metal and fiber.
MAD collects, displays and
interprets objects that document
contemporary and historic
innovation in craft, art
and design. In its exhibitions
and educational programs, the
Info
N E W Y O R K C I T Y
Museum of
Arts and Design
MUSEUM OF
ARTS AND DESIGN
www.madmuseum.org
2 Columbus Circle
New York, NY
212.299.7777
Museum celebrates the creative
process through which materials
are crafted into works that
enhance contemporary life.
In 2008, the Museum moved
into its new home at 2 Columbus
Circle. Working in collaboration
with architect Brad
Cloepfil, of Allied Works
Architecture, MAD has developed
a building design that will
enable the institution to meet
the growing public demand for
its exhibitions and display its
rapidly expanding Permanent
Collection. On View
CLOCKWISE FROM TOP:
1. JOHN ERIC BYERS, HAT BOX
(CHEST OF DRAWERS),1998,
WOOD, PAINT, MAHOGANY, SUGAR
PINE, FOUND BRASS SCREWS;
CARVED, ROUTED, PAINTED,
65 x 18 3/4 x 18 3/4, GIFT OF THE
ARTIST AND TERCERA GALLERY,
1998, PHOTO: EVA HEYD
2. MUSEUM OF ARTS AND DESIGN
EXTERIOR, PHOTO: HÉLÈNE BINET
3. HIROSHI SUZUKI, DUAL
RIVULET VII, 2005, FINE SILVER
999, BRITANNIA STANDARD
SILVER 958; HAMMER-RAISED,
DOUBLE SKINNED, 8 1/4 x 14 3/4 x
14 3/4”, MUSEUM PURCHASE
WITH FUNDS PROVIDED BY
NANETTE L. LAITMAN, THE WIND-
GATE CHARITABLE FOUNDATION,
& THE COLLECTIONS COMMITTEE,
2005, PHOTO: MAGGIE NIMKIN
IMAGES COURTESY OF
MUSEUM OF ARTS AND DESIGN
O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2 113
ew York City New York

ew York City New York
O N V I E W D E S T I N A T I O N :
N E W Y O R K C I T Y
New Museum of
Contemporary Art
T
T H E N E W M U S E U M O F
Contemporary Art is a leading
destination for new art and
new ideas. It is Manhattan’s
only dedicated contemporary
art museum and it is respected
internationally for the adventurousness
and global scope of
its curatorial program.
Conceived as a sculptural
stack of rectilinear boxes
dynamically shifted off-axis
around a central steel core, the
New Museum’s innovative
structure has a variety of open,
Info
NEW MUSEUM OF
CONTEMPORARY ART
www.newmuseum.org
235 Bowery
New York, NY
212.219.1222
fluid and light-filled spaces,
with skylights created by the
setbacks between floors. The
exterior is clad in a seamless,
anodized aluminum mesh,
dressing the whole building
in a delicate, softly shimmering
skin. The elegantly rough
structure suits both the New
Museum’s character as well
as its neighborhood. The edifice
appears as a shimmering
beacon, visually mutable
and dynamic, animated by the
changing light of the day—a
perfect metaphor for the everchanging
nature of contemporary
art. On View
CLOCKWISE FROM TOP:
1. THE PARADE:
NATHALIE DJURBERG
WITH MUSIC
BY HANS BERG, 2012,
EXHIBITION VIEW:
NEW MUSEUM,
PHOTO: BENOIT PAILLEY
2. ROSEMARIE TROCKEL,
BOTANICAL SLIDE SHOW,
2011–2012, SLIDE PROJECTION,
COURTESY SPRÜTH MAGERS,
BERLIN/LONDON,
©ROSEMARIE TROCKEL /
VG BILD-KUNST BONN, 2011
3. MUSEUM EXTERIOR,
PHOTOGRAPH
BY DEAN KAUFMAN
IMAGES COURTESY OF
NEW MUSEUM OF
CONTEMPORARY ART
114 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

O N V I E W D E S T I N A T I O N :
Info
N E W Y O R K C I T Y
Solomon R.
Guggenheim
Museum
SOLOMON R.
GUGGENHEIM MUSEUM
www.guggenheim.org
1071 Fifth Avenue
New York, NY
212.423.3500
C
COMPLETED IN 1959, the
Guggenheim’s Frank Lloyd
Wright–designed museum
is among the 20th century’s
most important architectural
landmarks. The museum’s
great rotunda has been the site
of many celebrated special
exhibitions, while its smaller
galleries are devoted to the
Guggenheim’s renowned collection
of over 7,000 works,
ranging from Impressionism
through contemporary art.
Visitors can experience special
exhibitions, lectures, performances
and film screenings,
and daily tours of the galleries,
led by experienced docents.
The story of the Guggenheim
collection is essentially
the story of several very different
private collections that
have been brought together.
Augmented through numerous
acquisitions under the
leadership of the Foundation’s
directors, curators and
international partners, these
collections form a unique,
shared global collection that
reflects the rich trajectory of
art from the mid-19th century
through the present. On View
CLOCKWISE FROM TOP:
1. CAMILLE PISSARRO, THE
HERMITAGE AT PONTOISE, 1867,
OIL ON CANVAS, 59 5/8 x 79”,
SOLOMON R. GUGGENHEIM
MUSEUM, THANNHAUSER
COLLECTION, GIFT, JUSTIN K.
THANNHAUSER, 1978
2. EDOUARD MANET, BEFORE
THE MIRROR, 1876, OIL
ON CANVAS, 36 1/4 x 28 1/8”,
SOLOMON R. GUGGENHEIM
MUSEUM, THANNHAUSER
COLLECTION, GIFT, JUSTIN K.
THANNHAUSER, 1978
3. MUSEUM INTERIOR, PHOTO:
DAVID M. HEALD, ©SRGF, NY
IMAGES COURTESY OF THE
SOLOMON R. GUGGENHEIM MUSEUM
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O N V I E W D E S T I N A T I O N :
A
A V I S I T T O T H E F R I C K
Collection evokes the splendor
and tranquillity of a time
gone by, and at the same time,
testifies to how great art collections
can still inspire viewers
today.
Housed in the New York
mansion built by Henry Clay
Frick (1849-1919), one of
America’s most successful
coke and steel industrialists,
are some of the best-known
paintings by the greatest European
artists, major works of
Info
N E W Y O R K C I T Y
The Frick
Collection
THE FRICK
COLLECTION
www.frick.org
1 East 70th Street
New York, NY
212.288.0700
sculpture (among them one
of the finest groups of small
bronzes in the world), superb
18th century French furniture
and porcelains, Limoges
enamels, Oriental rugs, and
other works of remarkable
quality, displayed in a serene
and intimate setting.
Each of the seventeen galleries
offers a unique presentation
of art arranged, for the most
part, without regard to period or
national origin, in the same spirit
as Mr. Frick enjoyed the art
he loved before he bequeathed
it to the public. On View
CLOCKWISE FROM TOP:
1. THE FRAGONARD ROOM
OF THE FRICK COLLECTION,
WITH ITS FAMOUS SERIES
OF PANELS PAINTED FOR
MADAME DU BARRY;
PHOTO: MICHAEL BODYCOMB
2. THE LIVING HALL OF
THE FRICK COLLECTION,
FEATURING FURNITURE BY
BOULLE AND PAINTINGS
BY EL GRECO, HOLBEIN,
TITIAN, AND BELLINI;
PHOTO: MICHAEL BODYCOMB
3. johannes VERMEER,
MISTRESS AND MAID,
CA. 1665-1670, OIL ON CANVAS,
THE FRICK COLLECTION;
PHOTO: MICHAEL BODYCOMB
IMAGES COURTESY OF
THE FRICK COLLECTION
116 O n V i e w M a g a z i n e . c o m • A u g u s t / S e p t e m b e r 2 0 1 2

O N V I E W D E S T I N A T I O N :
T
“ T H E M E T ” is one of the
world’s largest and finest art
museums. Nearly five million
people visit each year to experience
its notable special exhibitions
and Permanent Collections,
which include more than
two million works of art spanning
five thousand years of
world culture, from prehistory
to the present and from every
part of the globe.
Founded in 1870, “The Met”
is located on the eastern edge
of Central Park, along what
Info
N E W Y O R K C I T Y
The Metropolitan
Museum of Art
THE METROPOLITAN
MUSEUM OF ART
www.metmuseum.org
1000 5th Avenue
New York, NY
212.535.7710
is known as “Museum Mile.”
A roof garden offers views of
Central Park and the Manhattan
skyline, and features an annual
summertime single artist sculpture
exhibition. A much smaller
second location in upper
Manhattan, at “The Cloisters”,
houses a remarkable collection
of medieval art. On View
CLOCKWISE FROM TOP:
1. Claude Monet (1840–1926),
Garden at Sainte-Adresse,
1867, oil on canvas,
38 5/8 x 51 1/8”, purchase,
special contributions
and funds given or
bequeathed by friends of
the Museum, 1967
2. Fernando Botero
(born 1932), Dancing in
Colombia, 1980, oil on
canvas, 74 x 91”,
anonymous gift, 1983
3. John Singer Sargent
(1856–1925), Madame X
(Madame Pierre Gautreau),
1883–84, oil on canvas,
82 1/8 x 43 1/4”, Arthur
Hoppock Hearn Fund, 1916
IMAGES COURTESY OF
THE METROPOLITAN MUSEUM
OF ART
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O N V I E W D E S T I N A T I O N :
T
T H E R I C H A N D V A R I E D
collection of The Museum of
Modern Art constitutes one of
the most comprehensive and
panoramic views into modern
art. From an initial gift of
eight prints and one drawing,
MoMA’s collection has grown
to include over 150,000 paintings,
sculptures, drawings,
prints, photographs, architectural
models and drawings, and
design objects.
The Museum maintains an
active schedule of modern and
Info
N E W Y O R K C I T Y
The Museum of
Modern Art
THE MUSEUM OF
MODERN ART
www.moma.org
11 West 53rd Street
New York, NY
212.708.9400
contemporary art exhibitions
addressing a wide range of subject
matter, mediums and time
periods, highlighting significant
recent developments in the visual
arts and new interpretations
of major artists and art historical
movements. Works of art from
its collection are presented in
rotating installations so that the
public may regularly expect to
find new works on display.
Visitors also enjoy access to
a bookstore offering an assortment
of publications and reproductions,
and a design store featuring
objects related to modern
and contemporary art and
design. On View
CLOCKWISE FROM TOP:
1. SALVADOR DALÍ
(1904-1989), THE PERSISTENCE
OF MEMORY, 1931, OIL ON
CANVAS, 9 1/2 x 13”,
GIVEN ANONYMOUSLY,
©2010 SALVADOR DALÍ,
GALA-SALVADOR DALÍ
FOUNDATION/ARTISTS
RIGHTS SOCIETY (ARS), NY
2. KAZIMIR MALEVICH
(1878-1935), WOMAN WITH
PAILS: DYNAMIC ARRANGEMENT,
1912-13, OIL ON CANVAS,
31 5/8 x 31 5/8”, 1935
ACQUISITION CONFIRMED IN
1999 BY AGREEMENT WITH
THE ESTATE OF KAZIMIR
MALEVICH & MADE POSSIBLE
WITH FUNDS FROM
THE MRS. JOHN HAY WHITNEY
BEQUEST (BY EXCHANGE)
IMAGES COURTESY OF
THE MUSEUM OF MODERN ART
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O N V I E W D E S T I N A T I O N :
T
T H E W H I T N E Y M U S E U M
of American Art presents a
full range of 20th century and
contemporary American art,
with a special focus on works
by living artists. The Whitney’s
Permanent Collection—
arguably the finest holding of
20th century American art in
the world—is comprised of
approximately 19,000 paintings,
sculptures, prints, drawings
and photographs, representing
more than 2,600 artists
including: Thomas Hart
Info
N E W Y O R K C I T Y
Whitney Museum
of American Art
WHITNEY MUSEUM
OF AMERICAN ART
http://whitney.org
945 Madison Avenue
New York, NY
212.570.3600
Benton, Edward Hopper,
Roy Lichtenstein, Georgia
O’Keeffe and Andy Warhol.
The Museum presents acclaimed
exhibitions ranging
from historical surveys and indepth
retrospectives, to group
shows introducing emerging
artists to a larger public.
The Biennial, an invitational
show of work produced in
the preceding two years, is
the only continuous series of
exhibitions in the US to survey
recent developments in
American art. On View
CLOCKWISE FROM TOP:
1. EDWARD HOPPER (1882-1967),
EARLY SUNDAY MORNING, 1930,
OIL ON CANVAS, OVERALL: 35-3/16
x 60-1/4”, FRAMED: 68-1/2 x 43”,
WHITNEY MUSEUM OF AMERICAN
ART, NY; PURCHASE, WITH FUNDS
FROM GERTRUDE VANDERBILT
WHITNEY, 31.426, ©WHITNEY
MUSEUM OF AMERICAN ART, NY
2. RICHARD DIEBENKORN, GIRL
LOOKING AT LANDSCAPE, 1957, OIL
ON CANVAS, 59 x 60-3/8”, WHITNEY
MUSEUM OF AMERICAN ART, NY;
GIFT OF MR. AND MRS. ALAN H.
TEMPLE, 61.49, ©THE RICHARD
DIEBENKORN FOUNDATION
3. WHITNEY MUSEUM OF AMERICAN
ART; ARCHITECT: MARCEL BREUER
AND HAMILTON SMITH (1963–1966).
PHOTOGRAPH BY JERRY L. THOMPSON
IMAGES COURTESY OF WHITNEY
MUSEUM OF AMERICAN ART
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V
on iew
D E S T I N A T I O N
New York City
The galleries. . .
WITH OVER 600 ART GALLERIES,“The Big Apple” is
the planet’s premier marketplace for contemporary art and
host to the most extraordinary and cutting-edge exhibitions,
featuring a mind-blowing display of global talent.
Over the past 10 years, more than 250 galleries have moved
into the Chelsea area of Manhattan alone. Galleries have taken
over many of the city’s former warehouse and industrial
spaces—revitalizing neighborhoods and creating wonderful
new walkable arts districts. And although a vast
majority of galleries feature contemporary
art, you will find the finest in every genre
of visual art and expression here. A leisurely
stroll through the city’s gallery districts is a
wonderful way to spend an afternoon, transporting
yourself to a world of inspiration and artful bliss.
On the following pages, On View presents a sampling of
New York City’s outstanding galleries. On View
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O N V I E W D E S T I N A T I O N • N E W Y O R K C I T Y : A g a l l e r y t o u r
Chelsea Galleries
ABLE FINE ART NY GALLERY
www.ablefineartny.com
511 West 25th St.
212.675.3057
ACA GALLERIES
www.acagalleries.com
529 West 20th St.
212.206.8080
AGORA GALLERY
www.agora-gallery.com
530 West 25th St.
212.226.4151
ALEXANDER AND BONIN
www.alexanderandbonin.com
132 Tenth Ave.
212.367.7474
AMERINGER |
McENERY | YOHE
www.amy-nyc.com
525 West 22nd St.
212.445.0051
AMSTERDAM
WHITNEY GALLERY
www.amsterdamwhitneygallery.com
511 West 25th St.
212.255.9050
ANDREA ROSEN
525 West 19th St.
GALLERY
212.727.2070
www.andrearosengallery.com
525 West 24th St.
DILLON GALLERY
212.627.6000
www.dillongallery.com
555 West 25th St.
BARRY FRIEDMAN LTD. 212.727.8585
www.barryfriedmanltd.com
515 West 26th St.
ELIZABETH HARRIS
212.239.8600
GALLERY
www.eharrisgallery.com
BORTOLAMI GALLERY 529 West 20th St.
www.bortolamigallery.com 212.463.9666
520 West 20th St.
212.727.2050
FREIGHT + VOLUME
www.freightandvolume.com
CAROLINA NITSCH
530 West 24th St.
www.carolinanitsch.com
212.691.7700
534 West 22nd St.
212.645.2030
GAGOSIAN GALLERY
www.gagosian.com
CHEIM & READ
555 West 24th St.
www.cheimread.com
212.741.1111
547 West 25th St.
212.242.7727
GALLERY HENOCH
www.galleryhenoch.com
DANZIGER PROJECTS
555 West 25th St.
www.danzigerprojects.com 917.305.0003
527 West 23rd St.
212.629.6778
GEORGE BILLIS GALLERY
www.georgebillis.com
DAVID ZWIRNER
521 West 26th St.
www.davidzwirner.com
212.645.2621
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C h e l s e a G a l l e r i e s c o n t i n u e d . . .
GLADSTONE GALLERY
www.gladstonegallery.com
515 West 24th St.
212.206.9300
JAMES COHAN
GALLERY
www.jamescohan.com
533 West 26th St.
212.714.9500
JENKINS JOHNSON
GALLERY
www.jenkinsjohnsongallery.com
521 West 26th St.
212.629.0707
JONATHAN LeVINE
GALLERY
www.jonathanlevinegallery.com
529 West 20th St.
212.243.3822
JOSHUA LINER GALLERY
www.joshualinergallery.com
548 West 28th St.
212.244.7415
KATHRYN MARKEL
FINE ARTS
www.markelfinearts.com
529 West 20th St.
212.366.5368
LENNON,
WEINBERG, INC.
www.lennonweinberg.com
514 West 25th St.
212.941.0012
LEHMANN MAUPIN
www.lehmannmaupin.com
540 West 26th St.
212.255.2923
LESLIE TONKONOW
ARTWORKS + PROJECTS
www.tonkonow.com
535 West 22nd St.
212.255.8450
MAGNAN METZ GALLERY
http://magnanmetz.com
521 West 26th St.
212.244.2344
MARGARET THATCHER
PROJECTS
www.thatcherprojects.com
539 West 23rd St.
212.675.0222
MARLBOROUGH
GALLERY
www.marlboroughgallery.com
545 West 25th St.
212.463.8634
MARY RYAN GALLERY
www.maryryangallery.com
527 West 26th St.
212.397.0669
MATTHEW MARKS
GALLERY
www.matthewmarks.com
523 West 24 St.
212.243.0200
McKENZIE
FINE ART
www.mckenziefineart.com
511 West 25th St.
212.989.5467
METRO PICTURES
www.metropicturesgallery.com
519 West 24th St.
212.206.7100
MITCHELL-INNES
& NASH
www.miandn.com
534 West 26th St.
212.744.7401
NANCY HOFFMAN
GALLERY
www.nancyhoffmangallery.com
520 West 27th St.
212.966.6676
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O N V I E W D E S T I N A T I O N • N E W Y O R K C I T Y : A g a l l e r y t o u r
C h e l s e a G a l l e r i e s c o n t i n u e d . . .
NANCY MARGOLIS
GALLERY
http://nancymargolisgallery.com
523 West 25th St.
212.242.3013
NICOLE KLAGSBRUN
GALLERY
www.nicoleklagsbrun.com
532 West 24th St.
212.243.3335
NOHO GALLERY
www.nohogallery.com
530 West 25th St.
212.367.7063
PAULA COOPER
GALLERY
www.paulacoopergallery.com
534 West 21st St.
212.255.1105
PAVEL ZOUBOK
GALLERY
www.pavelzoubok.com
533 West 23rd St.
212.675.7490
P.P.O.W.
www.ppowgallery.com
535 West 22nd St.
212.647.1044
SARA MELTZER
GALLERY
www.sarameltzergallery.com
525-531 West 26th St.
212.727.9330
STEPHEN HALLER
GALLERY, INC.
www.stephenhallergallery.com
542 West 26th St.
212.741.7777
SUNDARAM TAGORE
GALLERY
www.sundaramtagore.com
547 West 27th St.
212.677.4520
WINSTON WÄCHTER
FINE ART
www.winstonwachter.com
530 West 25th St.
212.255.2718
303 GALLERY
www.303gallery.com
547 West 21st St.
212.255.1121
1500 GALLERY
www.1500gallery.com
511 West 25th St.
212.255.2010
Downtown
and Lower
East Side
Galleries
ARCADIA FINE ARTS
http://arcadiafinearts.com
51 Greene St.
212.965.1387
CHINASQUARE
GALLERY
www.chinasquareny.com
102 Allen St.
212.255.8886
ELEVEN RIVINGTON
www.elevenrivington.com
11 Rivington St.
212.982.1930
GALLERY SATORI
www.gallerysatori.com
164 Stanton St.
646.896.1075
HELLER GALLERY
www.hellergallery.com
420 West 14th St.
212.414.4014
JEN BEKMAN GALLERY
www.jenbekman.com
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D o w n t o w n a n d L o w e r E a s t S i d e G a l l e r i e s c o n t i n u e d . . .
6 Spring St.
212.219.0166
JUNE KELLY GALLERY
www.junekellygallery.com
166 Mercer St.
212.226.1660
LISA COOLEY
www.lisa-cooley.com
107 Norfolk St.
212.680.0564
LOUIS K. MEISEL GALLERY
www.meiselgallery.com
141 Prince St.
212.677.1340
MARTIN LAWRENCE
GALLERIES
http://martinlawrence.com
457 West Broadway
212.995.8865
OK HARRIS
www.okharris.com
383 West Broadway
212.431.3600
SIMON PRESTON GALLERY
www.simonprestongallery.com
301 Broome St.
212.431.1105
SPERONE WEST
www.speronewestwater.com
257 Bowery
212.999.7337
WOODWARD GALLERY
www.woodwardgallery.net
133 Eldridge St.
212.966.3411
Midtown
Galleries
A. JAIN MARUNOUCHI
GALLERY
www.artin2000.com
24 West 57th St.
212.969.9660
ALEXANDRE GALLERY
http://alexandregallery.com
41 East 57th St.
212.755.2828
BONNI BENRUBI GALLERY
www.bonnibenrubi.com
41 East 57th St.
212.888.6007
D. WIGMORE FINE ART
www.dwigmore.com
730 5th Ave.
212.581.1657
EDWYNN HOUK
GALLERY
www.houkgallery.com
745 5th Ave.
212.750.7070
GERING & LÓPEZ GALLERY
www.geringlopez.com
730 5th Ave.
646.336.7183
GREENBERG VAN DOREN
GALLERY
www.gvdgallery.com
730 5th Ave.
212.445.0444
HAMMER GALLERIES
www.hammergalleries.com
475 Park Ave.
212.644.4400
HIRSCHL & ADLER
GALLERIES
www.hirschlandadler.com
730 Fifth Ave.
212.535.8810
HOWARD GREENBERG
GALLERY
www.howardgreenberg.com
41 East 57th St.
212.334.0010
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M i d t o w n G a l l e r i e s c o n t i n u e d . . .
JADITE GALLERIES
www.jadite.com
413 West 50th St.
212.315.2740
JASON McCOY, INC.
www.jasonmccoyinc.com
41 East 57th St.
212.319.1996
LAURENCE MILLER
GALLERY
www.laurencemillergallery.com
20 West 57th St.
212.397.3930
MARIAN GOODMAN
GALLERY
www.mariangoodman.com
24 West 57th St.
212.977.7160
MARLBOROUGH
GALLERY
www.marlboroughgallery.com
40 West 57th St.
212.541.4900
MARY BOONE
GALLERY
www.maryboonegallery.com
745 Fifth Ave.
212.752.2929
MAXWELL DAVIDSON
GALLERY
www.davidsongallery.com
724 Fifth Ave.
212.759.7555
SCOTT JACOBSON
GALLERY
www.scottjacobsongallery.com
114 East 57th St.
212.872.1616
SPANIERMAN GALLERY
www.spanierman.com
45 East 58th St.
212.832.0208
SPANIERMAN
MODERN
www.spaniermanmodern.com
53 East 58th St.
212.832.1400
TIBOR DE NAGY GALLERY
www.tibordenagy.com
724 5th Ave.
212.262.5050
THROCKMORTON
FINE ART
www.throckmorton-nyc.com
145 East 57th St.
212.223.1059
WALLY FINDLAY
GALLERIES
www.wallyfindlay.com
124 East 57th St.
212.421.5390
ZABRISKIE
GALLERY
www.zabriskiegallery.com
400 East 57th St.
212.752.1223
Uptown
Galleries
ACQUAVELLA
GALLERIES, INC.
www.acquavellagalleries.com
18 East 79th St.
212.734.6300
ADAM BAUMGOLD
GALLERY
www.adambaumgoldgallery.com
60 East 66th St.
212 861.7338
AMERICAN
ILLUSTRATORS
GALLERY
www.americanillustrators.com
18 East 77th St.
212.744.5190
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U p t o w n g a l l e r i e s c o n t i n u e d . . .
ANITA SHAPOLSKY
HAUSER & WIRTH
GALLERY
www.hauserwirth.com
www.anitashapolskygallery.com 32 East 69th St.
152 East 65th St.
212.794.4970
212.452.1094
HELLY NAHMAD
DAVID FINDLAY JR
GALLERY
GALLERY
www.hellynahmadgallery.com
www.davidfindlayjr.com
975 Madison Ave.
724 Fifth Ave.
212.879.2075
212.486.7660
JANE KAHAN
DIDIER AARON
GALLERY
www.didieraaron.com
www.janekahan.com
32 East 67th St.
922 Madison Ave.
212.988.5248
212.744.1490
GAGOSIAN
KEITH DE LELLIS
GALLERY
GALLERY
www.gagosian.com
www.keithdelellisgallery.com
980 Madison Ave.
1045 Madison Ave.
212.744.2313
212.327.1482
GERALD PETERS
KOUROS
GALLERY
GALLERY
www.gpgallery.com
www.kourosgallery.com
24 East 78th St.
23 East 73rd St.
212.628.9760
212.288.5888
GODEL & CO. FINE ART L&M ARTS
www.godelfineart.com
www.lmgallery.com
39A East 72nd St.
45 East 78 St.
212.288.7272
212.861.0020
LEO CASTELLI
GALLERY
www.castelligallery.com
18 East 77th St.
212.249.4470
McKEE GALLERY
http://mckeegallery.com
745 Fifth Ave.
212.688.5951
MICHAEL WERNER
www.michaelwerner.com
4 East 77th St.
212.988.1623
RICHARD GRAY
GALLERY
www.richardgraygallery.com
1018 Madison Ave.
212.472.8787
TILTON GALLERY
www.jacktiltongallery.com
8 East 76th St.
212.737.2221
VAN DE WEGHE
FINE ART
www.vdwny.com
1018 Madison Ave.
212.744.1900
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