On View 06-07.2012

Von iewJ U N E / J U L Y 2 0 1 2F L O R I D A

Nathan Sawaya: The ART of the BRICKA T T H E A R T

A N D C U L T U R E C E N T E R

O F H O L L Y W O O D

The Secret Paris of the 1930s: Vintage Photographs

by BRASSAÏA T T H E F L O R I D A

M U S E U M O F

P H O T O G R A P H I C

A R T S , T A M P A

A ParisianAffair:

The ART of André

RENOUXA T T H E A L B I N

P O L A S E K M U S E U M

& S C U L P T U R E

G A R D E N S ,

W I N T E R P A R K

The Prints of

Gustave BAUMANN

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

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

ON THE COVER :

NATHAN SAWAYA,

BRICK ARTIST,

WITH GRAY

RIGHT:

NATHAN SAWAYA,

YELLOW

IMAGES COURTESY OF

BRICKARTIST.COM

42 Hollywood NATHAN SAWAYA: THE ART OF THE BRICK The Art and Culture Center of Hollywood presents its third exhibition of works by New York-based artist, Nathan Sawaya, whose artistry trans-forms LEGO® bricks into whimsical and awe-inspiring creations.PLUS: On View interview—Nathan Sawaya: Behind the Bricks, on pg. 50

CONTENTSJ u n e / J u l y 2 0 1 2 V o l . 3 , N o . 2

Von iewJ U N E / J U L Y 2 0 1 2F L O R I D A

Nathan Sawaya: The ART of the BRICKA T T H E A R T

A N D C U L T U R E C E N T E R

O F H O L L Y W O O D

The Secret Paris of the 1930s: Vintage Photographs

by BRASSAÏA T T H E F L O R I D A

M U S E U M O F

P H O T O G R A P H I C

A R T S , T A M P A

A ParisianAffair:

The ART of André

RENOUXA T T H E A L B I N

P O L A S E K M U S E U M

& S C U L P T U R E

G A R D E N S ,

W I N T E R P A R K

The Prints of

Gustave BAUMANN

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

54 Winter Park

A PARISIAN AFFAIR: THE ART OF ANDRÉ RENOUXThe Albin Polasek Museum & Sculpture Gardens presents a nos-talgic tribute to “The City of Light,” as seen through the eyes of a 20th century master.

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

TOP (LEFT TO RIGHT):

ANDRÉ RENOUX, CAFÉ DE FLORE

À PARIS, 1998; BRASSAÏ,

FILLE DE MONTMARTRE PLAYING

RUSSIAN BILLIARDS, BLVD

ROCHECHOUART, 1932-33,

©BRASSAÏ ESTATE; GUSTAVE

BAUMANN, OLD SANTA FE, 1924,

©NEW MEXICO MUSEUM

OF ART; GINGA NO UTA

(SONG OF THE MILKY WAY),

THEME SONG OF THE MOVIE

“GINGA NO UTA,” BY SHÔCHIKU

CINEMA, UNIDENTIFIED

ARTIST, 1931

RIGHT:

NAVY PIER AND THE

CHICAGO SKYLINE,

© CITY OF CHICAGO / GRC

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

66 Tampa

THE SECRET PARIS OF THE 1930s: VINTAGE PHOTO-GRAPHS BY BRASSAÏ The forbidden side of Paris is revealed in this intriguing visual documentary at the Florida Museum of Photographic Arts.

78 Winter Park

THE PRINTS OF GUSTAVE BAUMANN Experience a sense of wonder and awe in this brilliant display of woodblock prints by Gustave Baumann, presented by Cornell Fine Arts Museum.

92 Sarasota

DECO JAPAN: SHAPING ART & CULTURE, 1920-1945 The John and Mable Ringling Museum of Art hosts the first exhibition outside Tokyo dedicated to Japanese expressions of Art Deco.

On View Destination: CHICAGO, IL

108 The Museums: An overview of Chicago’s outstanding art venues

118 A Gallery Tour: A fine art gallery listing

CONTENTSJ u n e / J u l y 2 0 1 2 V o l u m e 3 , N o . 2

5COMMENTARY

6MUSE The Norton Museum of Art in West Palm Beach presents Elegant Enigmas: The Art of Edward Gorey.

12CALENDAR Museum exhibitions

38GALLERYA selection of gallery artists and exhibitions


E x h i b i t i o n

102 ANDY WARHOLThe Leepa-Rattner Museum of Art in Tarpon Springs, hosts an exhibition of icons from history and pop culture by the master of Pop himself—Andy Warhol.

S p o t l i g h t

104 JOHN ROCCO Award-winning author and illustrator, John Rocco, captivates young audiences with his fantastical illustrations.

Fo c u s

106RICK BECKA fascinating blend of industrial strength with subtle form and delicate color, Rick Beck’s glass sculptures are full of surprises, despite seeming familiar.

Pr o f i l e

100JACK NEWMAN

For Jack Newman, food is every bit as beautiful to paint as a lush landscape or an

intriguing portrait. From rich desserts and boxed chocolates, to a series of entire meals,

his tantalizing creations delight the senses.

PICTURED:

jack newman,

fourth of july,

50 x 60”

C O M M E N T A R Y

we’ve kicked off our summer lineup with Nathan Sawaya: The Art of the Brick, on pg. 42, a blockbuster exhibition hosted by the Art and Cul-ture Center of Hollywood. Sawaya’s awe-inspiring LEGO® sculptures have been featured twice before at the Center, to the delight of LEGO enthusiasts young and old, with attendance reaching record-breaking levels for each show. In this issue, Nathan Sawaya shares some of the magic behind his art in a chat with On View, on pg. 50.

The magic continues as we “travel” to Paris with two striking shows presenting the “City of Light” from two highly contrasting perspectives. A Pari-sian Affair: The Art of André Renoux, on pg. 54, takes us on an enchanting journey through the more intimate landmarks of daily Parisian life, while The Secret Paris of the 1930s: Vintage Photographs by Brassaï, on pg. 66, reveals the forbidden Paris of the 1930s—the sordid yet fascinating bas-monde where high society mingled with the underworld.

From the color-drenched landscapes of the South-west in The Prints of Gustave Baumann, on pg. 78, and iconic portraits from the “Master of Pop” in Works by Warhol: From the Cochran Collection, on pg. 102, to a visual feast of culinary delights in Jack Newman: The United Tastes of America, on pg. 100, there’s great summer viewing ahead!

Summer Delights

di a n e mcen a n e y

Publisher & Creative Director

Editorial

Publisher & Creative Director

di a n e mcen a n e y

Contributing Editor

pa u l at w o o d

Editorial Assistant

th e r e s a mav r o u d i s

Advertising

Marketing & Sales Director

pa u l mcen a n e y

Contact

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

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publication may be reproduced without prior

permission of the publisher.

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Von iewM A G A Z I N E

HE NORTON MUSEUM OF ART

opens its summer exhibition schedule with Elegant Enigmas: The Art of Edward

Gorey. Gorey (1925-2000) is among the rare breed of artists whose work is as

much beloved by children as it is by adults. Included in this delightfully enigmatic

display are more than 150 drawings the artist created for many of his books, including

The Gashlycrumb Tinies, The Unstrung Harp and The Gilded Bat, among others. An

illuminating array of sketchbooks, illustrated envelopes, book cover ideas and theatri-

cal costume designs are also presented in the exhibition, which was organized by the

Edward Gorey Charitable Trust and Brandywine River Museum, Chadds Ford, PA.

At the mere mention of the late artist’s name, adjectives such as ghoulish, gothic

TElegant Enigmas:

The Art of Edward Gorey On v iew 06.07–09.02.12 a t t he NORTON MUSEUM o f ART,

Wes t Pa lm Beach

MUSE


On v iew 06.07–09.02.12 a t t he NORTON MUSEUM o f ART,

Wes t Pa lm Beach

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

the children are having.

Galoshes of Remorse, n.d., frontispiece for Amphigorey Again, 2006, pen, ink, and

watercolor, 9.75 x 7.25”, The Edward Gorey Charitable Trust, ©2010 The Edward Gorey Charitable Trust

and, well...gory, often come to mind. But that’s not even half the story, according

to art historian, curator and author, Karen Wilkin, who was also a good friend

of the artist. She has worked diligently to set the Gorey story straight and has

authored, or co-authored, three books about the artist, including Elegant Enigmas:

The Art of Edward Gorey (2009), which also serves as the catalog for the exhibi-

tion. Wilkin is scheduled to present an exhibition lecture at 6:30 pm on June 7th,

during the Museum’s popular weekly Art After Dark series. On June 14th at Art

After Dark, exhibition-related activities include a Gorey illustration workshop;

Gorey storytelling; a Gorey Curator’s Conversation, led by Tim B. Wride, the

Norton’s William and Sarah Ross Sorter Curator of Photography—and in the

realm of the eerie, a demonstration by mentalist/mind-reader, Brent Gregory.

One thing Wilkin hopes the exhibition accomplishes is to “lay to rest how

people talk about [Gorey] as being macabre and eerie.” She attributes the enduring

popularity of books such as The Gashlycrumb Tinies, published in 1963, which

features the alphabetical, diverse, and sometimes diabolical demise of children,

as one of the reasons Gorey is mischaracterized, misunderstood and pigeonholed

as ghoulish. A book illustrating such misfortune as, “E is for Ernest who choked

on a peach. F is for Fanny sucked dry by a leech,” could do that to a reputation.

Books, films (of the silent sort), TV shows, art and artists, were major influ-

ences for Gorey’s work, including the absurdist theatrical works of Ionesco and

the comedy of Buster Keaton. While Wilkin doesn’t dispute the macabre aspect to

Gorey’s oeuvre—Gorey himself described his work as “whimsically macabre”—


MUSE

Gorey himself described his work as “whimsically macabre.”

Mr. C(lavius) F(rederick) Earbrass is, of course, the well-known novelist. Of his books, A Moral Dustbin,

More Chains than Clank, Was It Likely?, and the Hipdeep Trilogy are, perhaps, most admired. Mr. Earbrass is seen on

the croquet lawn of his home, Hobbies Odd, near Collapsed Pudding in Mortshire. He is studying a

game left unfinished at the end of summer. From The Unstrung Harp; or, Mr. Earbrass Writes a Novel, 1953, pen

and ink, 4.5 x 3.5”, The Edward Gorey Charitable Trust, ©2010 The Edward Gorey Charitable Trust

Elegan t En igmas : The Ar t o f Edward Gorey

MUSE

it’s only part of the equation. A close look at the exhibition also reveals the witty,

slapstick sensibility of much of his work as well as the mind of a Renaissance man.

Aside from illustrating books—his own and those by others—Gorey’s medium

was also the Broadway stage, TV, and through his influence, film and literature, too.

His was nominated for a pair of Tony Awards for Best Set Design and Best Costume

Design (winning the latter) for the 1977 Broadway production of Dracula, which

spread his reputation well beyond the world of books. His popularity expanded fur-

ther in 1980, when the hit series PBS Mystery!, later renamed Masterpiece Mystery,


MUSE

B is for Basil assaulted by Bears. From The Gashlycrumb Tinies; or,

After the Outing, 1963, pen and ink, 2-7/8 x 4”, The Edward Gorey Charitable Trust,

©2010 The Edward Gorey Charitable Trust


used his work for its opening theme. The films of Tim Burton—Beetlejuice and

Edward Scissorhands, for example—and the tales of Lemony Snickett (A Series

of Unfortunate Events) owe more than a little “macabre whimsy” to Gorey’s work.

So, even if you’ve never heard of Edward Gorey, you’ve probably stumbled upon

his work at one time or another. And younger generations continue to discover and

embrace the artist’s work. Take for example, Siobhan Magnus, the 2010 American

Idol contestant who was not shy about revealing the tattoo on her right shoulder,

portraying a scene from—what else?—The Gashlycrumb Tinies! On View


MUSE

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,

4.5 x 5.5”, The Edward Gorey Charitable Trust, ©2010 The Edward Gorey Charitable Trust


0 4 - 0 5 . 2 0 1 2

BOCA RATON

Thru 10.14.12

Glass Act: The Contemporary Art Glass Move-ment Turns 50 Boca Raton Museum of Artwww.bocamuseum.org

Celebrating the 50th anniversary of the Studio Glass Move-ment in America, this display showcases art glass representative of the full breadth of this defining period in contemporary glass-making, and focuses on unique objects that

explore ideas by lead-ing glass artists such as Dale Chihuly, Dan Dailey, Michael Glancy, Harvey Little-ton, Concetta Mason, William Morris, Jay Musler, Toots Zynsky and others.

07.18-10.07.12

Big Art/ Miniature Golf:

Artist-Designed Mini GolfBoca Raton Museum of Artwww.bocamuseum.org

Designed for those long summer months, the Museum’s galler-ies will be transformed into an interactive 18-hole mini golf course. The course will not only be artis-

tic and incorporate a lot of ideas, but will also be playable for club-wielding enthusi-asts. Bring family and friends for a remark-ably creative, fun and slightly competitive experience!

BRADENTON

Thru 08.26.12

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

museum.org

Using black & white

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


Image from Glass Act: The Contemporary Art Glass Movement Turns 50 at Boca Raton Museum of Art: Harvey K. Littleton, Ruby Orange Mobile Arc, 1982, internally decorated, hot-drawn glass, cut and polished, 14-3/4 x 18-1/2 x 2-1/4”, museum permanent collection, gift of the Estate of George Epstein

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

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

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

CORAL GABLES

06.23-10.21.12

Introspection and Awakening: Japanese Art of the Edo and Meiji Period, 1615-1912 Lowe Art Museum, University of Miamiwww.lowemuseum.org

Featured are early examples of the vari-ous painting schools, woodblock prints and

porcelains from the 17th to early 20th century, which ad-dress a variety of themes, including the influence of China and Korea on Japan during this crucial timeframe; the Japa-nese life-style and belief structure; and the impact of the West.

Thru 09.23.12

Saintly Blessings from Mexico: A Gift of

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

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

CORAL

SPRINGS

06.09-08.18.12

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

Paintings, sculptures and mixed-media works by artists, Anne Deon, Jack New-man, Isabel Perez and Deborah Gregg will be on display in four distinctive special presentations. (See story on pg. 100.)

DAYTONA

BEACH

Thru 09.02.12

Director’s Choice: Favorite Art-works from the Collections


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

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

Image from Jacoulet: Woodblock Prints from the MOAS Collections at Museum of Arts & Sciences, Daytona Beach: Paul Jacoulet, Nuit de Neige, collection of the Museum of Arts & Sciences

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

as Selected by MOAS Director Emeritus Gary R. LibbyMuseum of Arts & Scienceswww.moas.org

The extraordinary quality and range of artwork at MOAS lends itself well to an exhibit that high-lights the “best of the best.” Included are stunning con-temporary jewels together with historic French, American and decorative pieces from across the globe—a show not to be missed!

Thru 07.08.12

Havana Revisited: An Architectural HeritageMuseum of Arts & Sciences

www.moas.org

Historical colored postcard images of Havana are jux-taposed with recent digital color photo-graphs of the same views in this visual documentary, based on years of exhaus-tive research and investigation.

Thru 06.10.12

Jacoulet: Wood-block Prints from the MOAS Collections Museum of Arts & Scienceswww.moas.org

The focus of this exhibition is a re-markable set of woodblock prints that

are beautifully com-posed, visually excit-ing and masterfully produced, using the centuries-old process of Ukiyo-e carving and printing. Though Paul Jacoulet used traditional processes, his images are mod-ern and beautifully synthesize Japanese and French aesthet-ics. (See story in the April/May 2012 issue on pg. 110.)

06.23-09.08.12

The Tsars’ Cabi-net: Two Hun-dred Years of Russian Decora-tive Arts under the Romanovs Museum of Arts & Scienceswww.moas.org

The Tsars’ Cabinet il-lustrates two hundred years of decorative


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


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

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

Image from Expanding Visions at Florida Museum for Women Artists, DeLand: Barbara Balzer, Make Me Laugh installation

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

Thru 06.10.12

Treasures of the Chrysanthemum Throne: Bronzes, Porcelain and Ivory from the Meiji EmpireMuseum of Arts & Scienceswww.moas.org

The exquisite Japa-nese bronzes, in-tricate yet delicate ivories and glorious

porcelains presented in this important exhibition were created during the progressive reign of Mutsuhito, the Meiji Emperor, who as-cended the Japanese throne in 1867 at the age of 15 and ruled with the aid of Samu-rai advisors until his death in 1912.

DeLAND

Thru 06.16.12

Expanding Visions

Florida Museum for Women Artistswww.floridamuseumfor

womenartists.org

FMWA presents the expanded bodies of work of eight excep-tional Florida art-ists: Amy W. Miller of Venice, Carolina Cleere of Tampa, Julia Owens of Sanford, Vivian Spencer of Pensacola, Candance Knapp of Brandon, Barbara Balzer of Tal-lahassee, Jo Sinclair of St. Augustine and

Jean Banas of New Smyrna Beach.

06.22-08.19.12

Witness to Creativity III Florida Museum for Women Artistswww.floridamuseumfor

womenartists.org

Following the suc-cess of Witness to Creativity II, which took place in July of 2011, the Museum will once again open its doors to the pub-lic, while a group of artists prepare their works. Viewers will enjoy a rare oppor-tunity to engage the artists about their projects, work meth-ods and messages. This dialog between the artists and view-ers is part of the resulting art installa-


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

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

tions making up this exhibition.

Thru 07.15.12

Architectural Counterpoints Museum of Florida Artwww.museumoffloridaart.org

On display are works by Roxanne Horvath, Peter Rumpel and Louise Lieber. Their sculptural creations evoke basic elements of architectural design.

Thru 07.15.12

Strappo Museum of Florida Artwww.museumoffloridaart.org

Strappo is a combina-tion of painting and printmaking, utilizing the plastic nature of acrylic paint to pro-duce a monotype. This exhibition will feature 39 Strappo Mono

Prints by Harold Garde as well as an exhibit of area artists who work with the Strappo method.

DELRAY BEACH

Thru 09.16.12

Ghosts, Goblins, and Gods: The

Supernatural in Japanese ArtMorikami Museum and Japanese Gardenswww.morikami.org

Ghosts, Goblins and Gods comprises an ar-ray of paintings, color-ful woodblock prints,

sculptures, masks and other objects depicting a host of legendary ghosts, gods and other- worldly beings.

DUNEDIN

Thru 08.11.12

Others, Elsewhere: Aydelette Kelsey Dunedin Fine Art Centerwww.dfac.org

Aydelette Kelsey is a Florida-based art-ist with a wide range of talent. Spirit and emotion are common threads throughout her work. This exhibition is a photographic exploration of the art-ist as traveler.

Thru 08.11.12

Three Islands: Bill McCarthy

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

Image from Deep Roots, Bold Visions: Self-Taught Artists of Alachua County at Harn Museum of Art, Gainesville: Ed (Mr. Eddy) Mumma, Untitled, n.d., acrylic on Masonite, on loan from Lennie Kesl

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

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

Dunedin Fine Art Centerwww.dfac.org

Maine artist, Bill McCarthy, exhibits a photographic series created at three environmentally and geographically distinct island locations: the active volcanic island country of Iceland, Bailey Island off the coast of Maine, and local barrier island, Caladesi.

FORT

LAUDERDALE

Thru 01.06.13

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

In addition to draw-ings of all the known

varieties of sharks in the world, this exhibition contains photographs, sculp-tures and video as well as a section devoted to the sensational impact of the 1975 Steven Spielberg film, Jaws.

GAINESVILLE

06.19.12-03.10.13

Anne Noggle: Reality and the Blind Eye of TruthHarn Museum of Artwww.harn.ufl.edu

This installation dis-

plays a selection of photographs by Anne Noggle, who became a professional pho-tographer at age 40, after serving as one of the Women Airforce Service Pilots (WASP) and as a captain in the US Air Force, dur-ing WWII. Noggle’s work explores female vitality, aging and beauty with an honest, respectful and some-times humorous view.

Thru 09.09.12

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

Deep Roots, Bold Visions presents paint-ings, sculptures and a variety of mixed-


Image from Karen Starosta-Gilinski: Cloud 9 at Art and Culture Center of Hollywood: Karen Starosta-Gilinski, The Survivor (original title), 2011, vinyl, broken closet doors, plush, crystals, 19.5”h x 54”w x 33”d

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

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

media works by self-taught artists, who work outside main-stream art traditions.

06.26.12-02.03.13

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

Souvenirs of Mod-ern Asia features a remarkable set of 55 woodcuts by French artist, Paul Jacoulet (1896-1960), who lived and worked in Japan most of his life. These colorful and masterfully printed woodcuts were in-spired by Jacoulet’s extensive travels in China, Japan, Korea and the South Pacific, and demonstrate a synthesis of tradi-

tional Japanese print-ing techniques with modern European aesthetics.

Thru 11.04.12

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

This exhibition high-lights the Museum’s collection of ceramic figures and vessels,

stone sculptures and jade ornaments from Ancient America—primarily Meso-Amer-ica, Central America and the Andes.

HOLLYWOOD

06.09-08.05.12

Karen Starosta-Gilinski: Cloud 9Art and Culture Center of Hollywoodwww.artandculturecenter.org

Karen Starosta-Gilin-ski takes provocative textured objects and

alters them to create whimsical, humorous, and at times, unset-tling works of art. For Cloud 9, she will show pieces from her Cotton Candy Sculp-ture Series (2009-2010) as well as her Large-Scale Sculpture Series (2011-2012).

06.09-08.19.12

Nathan Sawaya: The Art of the BrickArt and Culture Center of Hollywoodwww.artandculturecenter.org

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

bricks into whimsi-cal and awe-inspiring


Image from ReFocus: Art of the ’70s at Museum of Contemporary Art (MOCA) Jacksonville: Richard “Dickie” Landry; 1, 2, 3, 4; 1975, gift of Norman E. Fisher Collection, MOCA Jacksonville permanent collection

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

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

JACKSONVILLE

Thru 07.08.12

Project Atrium: Mark LicariMuseum of Contemporary Art Jacksonville www.mocajacksonville.org

For his show at MOCA Jacksonville, Mark Licari has tansformed the gallery space with his dramatic wall draw-ings, created on-site in the 7 days leading up to the exhibition’s opening. (See story in the February/March 2012 issue on pg. 110.)

Thru 08.26.12

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

MOCA examines the “Me Decade” that gave rise to Photo-realism, Earthworks, and Conceptual Art, and expanded the boundaries of Abstract Painting, Video, Performance and Installation Art in the second of a 3-part series examin-

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

Thru 08.09.12

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

The Cummer Museum of Art & Gardens presents a collection of 19th century Japanese

woodblock prints that showcases this unique-ly expressive art form and provides an exten-sive view of the styles and themes encom-passed by this genre as well as an understand-ing of 19th century Japanese culture.

Thru 07.31.12

50 Forward: New Additions to the Permanent CollectionThe Cummer Museum of Art & Gardens www.cummer.org

The Cummer un- veils new acquisitions made through gifts and purchases in honor of the Museum’s 50th Anniversary.

06.05-09.16.12

Miradas: Ancient Roots


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

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

Image from Miradas: Ancient Roots in Modern Mexican Art: Works from the Bank of America Collection at The Cummer Museum of Art & Gardens, Jacksonville: Javier Chavira, El guerrero (The Warrior), 2004, acrylic and crayon on paper, Bank of America Collection, © Javier Chavira

in Modern Mexican Art: Works from the Bank of America CollectionThe Cummer Museum of Art & Gardens www.cummer.org

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

Thru 07.08.12

Richard Chamberlain: The Year of the SheepThe Cummer Museum of Art & Gardens www.cummer.org

Chamberlain’s images explore the conflicts between good and evil, light and dark, and the seen and the unseen,

in vivid yet abstracted compositions. The Year of the Sheep illustrates the power art has to transform and heal.

LAKELAND

Thru 06.23.12

Albert Paley: Sketches & Steel Polk Museum of Artwww.polkmuseumofart.org

Albert Paley’s use of steel can be described as indus-trial poetry. His large sculptures combine an apparent heaviness with an almost lost sense of gravity as un-furled and animate forms construct massive works of art. (See story in the February/March 2012 issue on pg. 68.)

06.30-10.13.12

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

The central concept for this exhibition of contemporary art-works is an ancient parable telling of six


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

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

blind men who en-countered a large el-ephant and how each defined what they encountered, based on their individual perspectives. The underlying message of this parable is the diversity of interpre-tation. For Invisible Elephant, Wujcik and Wang have produced new works based on their different per-spectives in relation to the other’s cultural background.

06.02-09.02.12

Outsider vs FolkPolk Museum of Artwww.polkmuseumofart.org

The term “art brut” was first coined by 20th century French artist, Jean Dubuffet. Art brut (or ‘raw art’) labeled the growing

interest in art pro-duced by artists liv-ing 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-DPolk Museum of Artwww.polkmuseumofart.org

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

MAITLAND

06.08-09.19.12

A Day in the Life of the

Research Studio Art & History Museums, Maitlandwww.artandhistory.org

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


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Image from The Afterlife at ArtCenter/South Florida, Miami: Alex Heria, courtesy of the artist and ArtCenter/South Florida

MELBOURNE

07.14-09.09.12

Cuban Daydreams: Dionel Delgado GonzalezFoosaner Art

Museumwww.foosanerartmuseum.org

Havana artist, Dionel Delgado Gonzalez, showcases his large-scale paintings of magazine covers. Reminiscent of Nor-man Rockwell’s style, the subjects depict everyday life in Cuba. Living in Haban Vieja (Old Havana), his in-spiration comes from the characters that in-habit the surrounding streets near his studio.

06.02-07.08.12

Florida Artists from the Perma-nent Collection

Foosaner Art Museumwww.foosanerartmuseum.org

The Museum’s per-manent collection contains a number of artworks by Florida artists. This exhibition celebrates the creativ-ity of these artists.

MIAMI

06.22-07.22.12

The AfterlifeArtCenter/ South Florida www.artcentersf.org

The Afterlife ex-amines the concept of religion in fanciful,

thoughtful and prob-ing ways. “The after-life” is the belief that a part of the personal identity survives the death of the body and carries on in anoth-er oblivion. Alex He-ria, Franklin Sinanan and Byron Keith Byrd explore this realm through imaginative pieces of work.

Thru 08.12.12

Charles Ledray: Bass Museum of ArtBass Museum of Art www.bassmuseum.org

Charles Ledray’s work is a poetry of material, scale and cultural resonance, rich with history and emotion. Well known for his exquisitely crafted objects, work-ing in a range of ma-


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

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

terials from fabric to human bone, Ledray’s work touches on loss, pathos and absence. This exhibition is fo-cused on creating a unique dialogue be-tween four individu-al, powerful works—a dialogue of profound intellectual and visu-al beauty. (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 web-based project that Jillian Mayer produced in collabo-ration with computer programmer, designer and creative technol-ogist, Eric Schoen-born, which is on

view in the Bass Museum’s recent-ly renovated proj-ect room space. The interactive web-site encourages vis-itors to live an inter-net-free and happy life by simply delet-ing the World Wide Web, page by page, questioning our in-creasingly virtual lives (via social me-dia, etc.) to playfully imagine a world with-out the Internet.

Thru 10.14.12

Mel Finkelstein: Picturing the Man Behind the CameraJewish Museum of Florida www.jewishmuseum.com

Finkelstein’s ability to “play the hunch” re-sulted in his capturing special moments that tell a story. This col-lection of photos from the 1950s to the 80s, focuses on iconic sym-bols from our cultural

past, giving a sense of this larger-than-life man and his world of time, place and celeb-rity. The exhibit is full of candid images of well-known person-alities such as Frank Sinatra, Humphrey Bogart, Lauren Bacall, Jacqueline Kennedy Onassis, The Beatles, John Travolta, Kim Novak, Marilyn Mon-roe, Sylvester Stal-lone and Presidents Kennedy, Truman and Eisenhower.

Thru 09.30.12

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

This exhibition of paintings and prints



Image from The Record: Contemporary Art and Vinyl at Miami Art Museum: Jeroen Diepenmaat, Pour des dents d’un blanc éclatant et saines, 2005, record players, vinyl records, stuffed birds, sound, courtesy of the artist

by English artist, Naomi Alexander, records the last rem-nants of Jewish heri-tage to be found in the country of Lithuania. Alexander traveled the country to cre-ate artwork depicting her impressions of the people and their communities. The Museum makes a Florida connection using photographs and artifacts from Floridi-an Jews whose origins are from Lithuania.

06.29-08.26.12

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

A Needle Woman presents a multi-chan-nel video installation by Korean artist, Kimsooja. This epic

work consists of eight synchronized videos projected at large scale, each depicting a bustling area of a major metropolitan center: Cairo, Delhi, Lagos, London, Mex-ico City, New York, Shanghai and Tokyo. In each projection, the artist exemplifies the perennial struggle to preserve a place for the individual within contemporary society, while poeti-cally embodying the experience of being

engulfed within a foreign culture.

Thru 06.10.12

The Record: Contemporary Art and VinylMiami Art Museum www.miamiartmuseum.org

Bringing together artists from around the world who have worked with records as their subject or medium, this ground-breaking exhibition examines the record’s transformative power,

from the 1960s to the present, through sound work, sculpture, in-stallation, drawing, painting, photography, video and performance.

Thru 09.02.12

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

This major career retrospective of the work of José Bedia includes works on paper and canvas and two large-scale installations. Bedia’s personal border cross-ings (social, racial and religious) reflect his exploration of historical and con-temporary encounters between cultures and countries, which he


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Image from Scapes: Lynne Golob Gelfman 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

personalizes in his artistic production.

Thru 09.02.12

Ed Ruscha:On the RoadMuseum of Contemporary

Art, North Miamiwww.mocanomi.org

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

Thru 09.02.12

Ragnar Kjartansson: Song

Museum of Contemporary Art, North Miamiwww.mocanomi.org

Part of MOCA’s Knight Exhibition Series, Song presents video works by Icelan-dic artist, Ragnar Kjartansson. The vid-eos reflect the artist’s interest in music, the-ater and the personae of its performers, often coupled with extreme environments.

Thru 09.02.12

Scapes: Lynne Golob GelfmanThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

The works in this ex-hibition reference wa-ter, clouds and sand as well as aerial views of Greco-Roman ruins. The focus of the show is the dune paintings, a series of images whose surfaces change

with the slightest shift in viewing position or the angle of light. These paintings are experiences in percep-tion, about what hap-pens when the viewer traverses the image.

Thru 07.01.12

The War We Have Not Seen by Juan Manuel EchavarríaThe Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

The 24 paintings in-cluded in this exhibi-tion were created by men and women who participated in Colombia’s war. All 35 participants were rank and file soldiers who spent two years painting their personal experiences, illustrat-ing the rural tragedy.


Thru 08.05.12

Ursula von Rydingsvard: Sculpture The Patricia & Phillip Frost Art Museum http://thefrost.fiu.edu

Ursula Von Rydings-vard is renowned for creating large-scale sculpture from cedar beams, which she painstakingly cuts, as-sembles, glues, clamps and laminates, rubbing powered graphite into the work’s textured, faced surfaces. Her signature shapes are abstract, drawing on a range of sources from the humble to the ma-jestic. (See story in the April/May 2012 issue on pg. 56.)

Thru 09.09.12

Graphic Intervention:

25 Years of International AIDS Awareness Posters 1985–2010

The Wolfsonian–Florida International University www.wolfsonian.org This exhibition fea-tures a selection of 152 posters, which presents an insightful overview of diverse visual strate-

gies, employed by many different coun-tries, in response to the HIV/AIDS epidemic as a public health emergency.

Thru 08.31.12

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

The Wolfsonian–Florida International University www.wolfsonian.org Witness how artists manifested in their work the most profound and mundane aspects of American life through this display of Ameri-can paintings, sculp-tures and prints from the 1920s to the ’40s.

Thru 08.19.12

Visions of Victory: Picturing the Spanish- American WarThe Wolfsonian–Florida International University www.wolfsonian.org This installation showcases images created by artists and printers to comple-


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Image from Ursula von Rydingsvard: Sculpture at The Patricia & Phillip Frost Art Museum, Miami: Ursula von Rydingsvard, Halo with a Straight Line, 2010, cedar, graphite, ink, 133 x 114 x 79”, photography by Rosalyn and Michael Bodycomb, ©Ursula von Rydingsvard, courtesy Galerie Lelong, NY

ment written accounts of battle from the Spanish-American War. Created in an era predating widespread photojournalism, these images—primarily periodical and news-paper illustrations, books, posters, frame-able works of art, and other items—were integral to how the American and Brit-ish publics formed a visual impression of the war.

NAPLES

Thru 06.30.12

Juan Genovés: A RetrospectiveNaples Museum of Artwww.thephil.org

One of Spain’s best-known contemporary artists, Juan Genovés is celebrated for his pro-

vocative expression-ist paintings, which explore issues of social and political realism.

Thru 06.30.12

Leaders in American

ModernismNaples Museum of Artwww.thephil.org

An exciting new selec-tion of works from the Museum’s American Modernism Collec-tion are on display,

representing all of the important movements in American art during the first half of the 20th century.

Thru 06.30.12

Modern Mexican

Masters

Naples Museum of Artwww.thephil.org

The colors, vibrancy, beauty and mystery of Mexico are re-flected in this new installation, which

includes works by David Alfaro Siqueiros, Miguel Covarrubias and José Clement Orozco.

Thru 06.30.12

Selections from

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

Throughout the sea-son, the Museum will feature rotating exhi-bitions of selections from the permanent collection, including new and recent acqui-sitions and art never before displayed in the Museum.

Thru 06.30.12

The Mouse House: Works


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Image from Juan Genovés: A Retrospective at Naples Museum of Art: Juan Genovés, Anudado, 2011, acrylic on canvas on board, ©Juan Genovés, courtesy Marlborough Gallery, NY

from the Olga Hirshhorn CollectionNaples Museum of Artwww.thephil.org

The Mouse House is a treasure trove of intimate-sized works from some of the giants of 20th century art. This delightful exhibition recreates the environ-ment of Hirshhorn’s art-packed home in Washington, known as “The Mouse House.”

NEW SMYRNA

BEACH

Thru 06.16.12

The Art of Doris Leeper Atlantic Center for the Artswww.atlanticcenter

forthearts.org

This retrospective sur-vey includes paintings and three-dimensional works by artist, envi-ronmentalist, vision-ary and founder of the Atlantic Center for the Arts, Doris Leeper (1936-2001).

OCALA

Thru 06.17.12

Art and the AnimalAppleton Museum of Artwww.appletonmuseum.org

View 45 works from

the flagship exhibi-tion of The Society of Animal Artists, featur-ing works created by some of today’s best classically trained international artists specializing in animal subject matter.

Thru 06.17.12

Ocala Art Group’s on the BalconyAppleton Museum of Artwww.appletonmuseum.org

View more than 30 of the best recent works created by current

members of this local art club.

ORLANDO

Thru 09.09.12

FloridaScapes: I-4—The Exits

Less TraveledOrange County Regional History Centerwww.thehistorycenter.org

Documenting the cities and neighbor-hoods along Interstate 4 through photogra-phy, Sherri Bunye, Crealdé Studio Art-ist, hopes her images inspire others to take an exit less traveled and discover the un-expected beauty and charm she captures. The exhibition fo-cuses on the Orlando/Sanford stretch of I-4, and showcases her newest work.


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

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

07.14-10.28.12

From Alice to Zeus: The Art of John RoccoOrlando Museum of Artwww.omart.org

Following a suc-cessful career within the entertainment industry, John Rocco has focused his atten-tion on writing and illustrating numer-ous award-winning children’s books, including Wolf! Wolf!, Moonpowder, and Fu Finds the Way. He has also illustrated the covers for Rick Riordan’s bestsell-ing youth literature series, Percy Jackson and the Olympians. Rocco’s exhibition at OMA features ap-proximately 60 pre-paratory and finished drawings, providing

examples of how an illustration evolves, from earliest sketches to the finished work. (See story on pg. 104.)

Thru 07.01.12

Jonpaul

Douglass: Neighbor Orlando Museum of Art

www.omart.org

Douglass’ photo-graphs bend the imagination and leave room for endless nar-rative possibilities. In the series, Neigh-bor, he spotlights the uncertain lifestyle of those around him, using unique found scenarios and mas-

terful lighting. Over the course of several years, Douglass has often created, and sometimes discov-ered, absurd sets, dis-tinctive subjects and a variety of emotions, which has helped to foster the idea that life is an oversized neighborhood of the unknown.

Thru 06.30.12

Living in Style: African Art of Everyday Life Orlando Museum of Artwww.omart.org

Living in Style pres-ents beautifully crafted functional ob-jects created by both men and women from traditional African so-cieties throughout the continent. While these objects were made to


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

Image from From Alice to Zeus: The Art of John Rocco at Orlando Museum of Art: ©2006 John Rocco, cover image detail by John Rocco for The Lightning Thief (Percy Jackson and the Olympians, Book 1) , written by Rick Riordan, published by Disney Hyperion Books

fulfill a useful pur-pose, they were also created to be expres-sive works of art and treasured possessions.

Thru 07.15.12

Reflections:

Paintings of Florida 1865-1965+Picturing My FloridaOrlando Museum of Artwww.omart.org

Reflections demon-strates the impor-tance of Florida as a location where artists drew inspiration over a sustained period. Dubbed the “Florida School,” these artists make us aware that America’s core iden-tity is closely linked to its landscape and social history.

While Reflections presents historic paintings depicting Florida as a land of unspoiled natural beauty and quaint small town life, a companion exhibi-tion, Picturing My Florida, takes a grassroots look at Florida today as people who live here see it in their ev-eryday lives. These photographs vary in

subject matter and in-clude Florida’s cities, attractions, home-towns and neighbor-hoods as well as the state’s celebrated natural environment.

Thru 08.12.12

IMPRINTS: 20 Years of Flying Horse EditionsThe Mennello Museum of American Art

www.mennellomuseum.com This interactive ex-hibition is a celebra-tion of fine art book printing. It highlights the limited-edition art objects and fine art books printed by Flying Horse Edi-tions, located at the University of Central Florida’s Center for Emerging Media in downtown Orlando.

ORMOND

BEACH

06.23-08.19.12

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

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


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

Image from IMPRINTS: 20 Years of Flying Horse Editions at The Mennello Museum of American Art, Orlando: Barbara Sorenson, Des Papier II, 2012, collagraph and mylar, 20 x 20 x 4”

PENSACOLA

Thru 09.01.12

Surfing Florida: A Photographic HistoryPensacola Museum of Art

www.pensacola

museumofart.org

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

PONTE VEDRA

BEACH

06.01-07.13.12

Paint & StoneThe Cultural Centerwww.ccpvb.org

Paint & Stone presents a selection of expres-sive paintings by

one of Jacksonville’s prominent visual artists, Marilyn An-tram, along with stone sculptures by Lurah Patrick, who combines Old World craftman-ship with contempo-rary themes such as femininity and the fluid aspects of nature.

SARASOTA

07.13-10.28.12

DECO JAPAN: Shaping Art and Culture, 1920-1945

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

The nearly 200 works shown here, highlight the Levenson col-lection—the world’s premier collection of Japanese art in the Deco style. These pieces include spec-tacular examples of metalwork, ceram-ics, lacquer, glass, wood furniture, jew-elry, textiles, graphic design on paper, painting and wood-

block prints, ranging from fine art objects made to impress the public at national art exhibitions, to goods mass-produced for the modern home. (See story on pg. 92.)

Thru 10.21.12

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

While John Ringling favored large, flam-boyant European art, his collection of Asian art and Cypriot antiquities provides evidence that he was willing to move beyond his major interest. Some of these objects have not been on display for 30 years


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Image from Paint & Stone at The Cultural Center, Ponte Vedra Beach: Lurah Patrick, Abstract

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

Thru 10.14.12

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

As part of his Constellation Series, the works featured in this exhibit consist of quilts that depict “con-stellations” inspired by Harriet Tubman and other Underground Railroad conduc-tors, whose use of the stars to navigate from

slavery to freedom in the 19th century, is a vibrant part of North American history.

ST. AUGUSTINE

Thru 06.22.12

Phillip and

Mark Estlund:

Born of the SunCrisp-Ellert Art Museum, Flagler Collegewww.flagler.edu/crispellert

Both natives of Jack-

sonville, Mark and Phillip Estlund’s works engender a type of material nostalgia to convey their respec-tive explorations into everyday polarities and contradictions. Mark’s assemblage sculptures explore life, death and rebirth, while Phillip’s sculp-tures and collages deal with the clash between development and nature—a conflict that

is ubiquitous within Florida’s landscape.

ST. PETERSBURG

Thru 10.14.12

Global + Local: Studio and

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

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

Thru 08.19.12

Picturing a New Society: Photographs from the Soviet


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

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

Union 1920s–1980sMuseum of Fine Arts, St. Petersburgwww.fine-arts.org

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

TAMPA

Thru 08.19.12

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

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

maker, Brassaï, discov-ered and recorded the forbidden Paris of the 1930s—the sordid yet fascinating moments where high society mingled with the un-derworld. The Secret Paris of the ‘30s is one of the most remarkable photographic memo-ries ever published.These unique pictures are accompanied by an immensely inter-esting text in which Brassaï reminisces and describes the extraordi-

nary conditions under which he took his pho-tographs. (See story on pg. 66.)

Thru 09.16.12

A Hundred Years—A Hun-

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

This show offers a view of the different periods of furniture

design of the past century and is certain to appeal to all lovers of great design.

Thru 09.09.12

Masterworks of 20th Century

Sculpture from the Martin Z. Margulies CollectionTampa Museum of Artwww.tampamuseum.org

The latest exhibi-tion in the Museum’s three-year partner-ship with the Mar-guiles Collection, Masterworks chroni-cles important devel-opments in sculpture in the second half of the 20th century. In addition to sculptures by such 20th century luminaries as Joan Miro, Willem de Kooning and Louise


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

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

Nevelson, the exhi-bition also includes works by Isamu No-guchi, Manuel Neri, George Segal and Deborah Butterfield. An abiding fascina-tion with the figure unites all the works in the show.

Thru 09.23.12

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

New York-based sculptor, Erik Levine, is known for his use of humble 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 CollectionTampa Museum of Artwww.tampamuseum.org

This collection of drawings, collages and mixed-media works represents a survey of two-dimen-

sional work by some of the most celebrated sculptors, installa-tion artists and video artists of the 20th and 21st centuries.

Thru 07.14.12

Utility and Aesthetics in Ancient Art Tampa Museum of Artwww.tampamuseum.org

Objects in this exhibit have been grouped ac-cording to certain com-mon features—from

images, aesthetics and individual style, to form, utility and technical details. In each case, the visitor is invited to ask whether aesthetics or utility takes precedence.

06.04-08.04.12

In ResidenceUniversity of South Florida Contemporary Art Museumwww.ira.usf.edu

In Residence brings together the work of four Miami-based art-ists—Felecia Carlisle, Naomi Fisher, Christy Gast and Samantha Salzinger—who focus artistic inquiries on the contested space be-tween the natural and the built environment. These artists fold the world around them into complex exami-


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

Image from In Residence at University of South Florida Contemporary Art Museum, Tampa: Christy Gast, Production still from Herbert Hoover Dyke (de-tail), 2010, courtesy of the artist and Gallery Diet, Miami

nations of the history of art and an evolv-ing understanding of landscape.

TARPON

SPRINGS

Thru 07.15.12

Works by Warhol: From the Cochran CollectionLeepa-Rattner Museum of Artwww.spcollege.edu/museum

Superman and Sitting Bull, Mickey Mouse and Mick Jagger, Don-ald Duck and Howdy Doody, Uncle Sam and Teddy Roosevelt—icons from history and pop culture by the master of Pop himself, Andy Warhol, will fill the galleries of LRMA this summer. The variety of the Cochran Collection will delight

audiences young and old. It is the perfect summer event for the whole family. (See story on pg. 102.)

VERO BEACH

06.23-10.14.12

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

Rick Beck takes every-day shapes and trans-forms them into sculp-

tures in glass, revealing their unexpected beau-ty. Form, Color, Light includes a range of work, from large floor pieces to small pedes-tal sculptures in trans-lucent colors. (See sto-ry on pg. 106.)

WEST PALM

BEACH

Thru 09.02.12

American Masters at the Norton: Clyfford Still

and Joan Mitchell Norton Museum of Artwww.norton.org

Three exceptional canvases by Joan Mitchell and Clyfford Still, each a master of late 20th century American painting, are on view.

06.21-09.02.12

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

This exhibition fea-tures extended bodies of work by photogra-phers who have im-mersed themselves in the places, spaces and energy of concerts, shows and spontane-ous live performances. Images and essays


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

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

from photographers Jeff Dunas, David Sheinbaum, Henry Hornstein, Moby and others illuminate the worlds of country mu-sic, hip-hop, rock ‘n’ roll, and the blues.

Thru 06.24.12

Decoding Messages in Chinese Art Norton Museum of Artwww.norton.org

The subjects of all of the Chinese works featured in this ex-hibition are animals, which evoke sym-bolic associations and homonymic puns. From very early cosmology to later developments of Taoist and Confucian philosophies and eth-ics, Chinese animals gained new meanings

related to their his-torical contexts.

06.07-09.02.12

Elegant Enigmas: The Art of Edward Gorey Norton Museum of Artwww.norton.org

Edward Gorey (1925- 2000) is among the rare breed of artists whose work is as much beloved by children as it is by adults. His 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 Ed-ward Gorey Charitable Trust. Featured are original pen-and-ink illustrations, prepara-tory sketches, unpub-lished drawings and ephemera. (See story on pg. 6.)

WINTER PARK

Thru 09.02.12

Best Impressions: Modern & Contemporary Prints from the Collection

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

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


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

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

Image from Elegant Enigmas: The Art of Edward Gorey at Norton Museum of Art, West Palm Beach: 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

Thru 12.30.12

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

This exhibition centers around Bau-mann’s mastery of the woodcut print-making process and includes images of New Mexico and a series of seldom seen prints depicting the rugged coast and mammoth trees of Northern California. (See story on pg. 78.)

Thru 09.23.12

A Parisian Affair: The Art of André RenouxThe Albin Polasek Museum & Sculpture Gardens

www.polasek.org

André Renoux (1939 -2002) captured the charm of Paris by documenting the intimate landmarks of daily Parisian life and its environs, preserv-ing the details of its soul. (See story on pg. 54.)

Thru 10.07.12

Roseville Pottery from the Morse Collection

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

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

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

Thru 02.03.2013

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

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


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

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

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


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

galleryV I E R A

Gallery: Art Gallery of Vieraat The Avenuewww.artgallery ofviera.com

Exhibition:ELEMENTS II ON VIEW 06.06-07.07.12

Back by popular demand, Art Gallery of Viera presents Elements II, a show-case of works based on the theme of air, earth, fire or water, presented in styles ranging from abstrac-tion to realism—and everything in-between.

From left: Helen Wheatley, Awaiting the Storm, courtesy of the artist and Art Gallery of Viera at the Avenue; John Van Alstine, Sisyphean Circle LII, 2011, bronze, slate, pigmented steel, 19.5”h x 26”w x 6.5”d, courtesy of the artist and Allyn Gallup Contemporary Art

S A R A S O T A

Gallery: Allyn Gallup Contemporary Artwww.allyngallup.com

Exhibition: Land, Sea & 3D ON VIEW THRU 06.16.12Land, Sea & 3D features landscapes and seascapes by Jean Blackburn, James Couper, Heidi Edwards, John Hardy, Bruce Marsh and A.D. Peters; and sculpture by Leslie Fry, John Henry, Don Porcaro, Caroline Ramers-dorfer, Joe Segal, John Mack and John Van Alstine.

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

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

Exhibition:CAROL ELDER NAPOLI—WITH GUEST ARTIST GREGORY A. JONES ON VIEW 06.02-06.30.12

Employing a multi- layered process, Carol

Elder Napoli, integrates color, abstracted com-positional shapes and texture to form narrative themes that speak to the heart as well as bring interest and delight to the viewer.


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

galleryS T . P E T E R S B U R G

Gallery: Mindy Solomon Gallerywww.mindysolomon.com

Exhibition: Detailed Information

ON VIEW THRU 07.07.12Detailed Information showcases a group of artists whose work is metic-ulously crafted to exacting detail—testament to each artist’s mastery of technique—and rich with narrative content.

F T . L A U D E R D A L E Gallery: Artists Haven Gallerywww.artistshavengallery.com

Exhibition: Mae Jeon: Floral PerceptionON VIEW 07.01-07.31.12By incorporating the sensu-ality and frailty of flowers within whimsically synthetic environments, digital fine artist, Mae Jeon, depicts emotional and spiritual concepts in a vibrant contemporary style.

Clockwise from top left: Mae Jeon, Divine Tongue, print on canvas, edition of 50, 12 x 12”, courtesy of the artist and Artists Haven Gallery; Carol Elder Napoli, Living Water, 32 x 40”, acrylic on archival paper, courtesy of the artist and Arts on Douglas Fine Art and Collectibles; John Byrd, Kid Chocolate: Tampa Tragedy No. 1, ceramic, mixed media, 24 x 12 x 21”, courtesy of the artist and Mindy Solomon Gallery

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


F T . M Y E R S

Gallery: Bob Rauschenberg Gallerywww.rauschenberg gallery.com

Exhibition:MICHELLE WEINBERG: PICTORIAL RECORD ON VIEW THRU 06.30.12

Miami Beach artist, Michelle Weinberg,

works primarily in paint and collage media. Her images are infused with vivid colors, rhythmic patterns and text.

From left: Michelle Weinberg, Cul de sac, 2007, gouache on paper, 68 x 48”, courtesy of the artist and Bob Rauschenberg Gallery; Jacob Gossett, Untitled, 2012, creatine on panel, 96 x 160”, courtesy of the artist and Charest-Weinberg

M I A M I Gallery: Charest-Weinberghttp://charestweinberg.com

Exhibition: Jacob Gossett: OlympiaON VIEW 06.08-07.31.12Charest Weinberg presents Olympia, a series of works by Brooklyn-based artist, Jacob Gossett. Gossett’s work examines the heroic, as expressed through the body. Using creatine—a synthetic based pro-tein—paired with contemporary images of elite bodybuilders, Gossett creates objects that slide between painting and sculpture, abstraction and representation. As the distance between viewer and object dissi-pates, bulging biceps and swollen chest cavities transform into tactile mounds that extrude and undulate across the surface.


P O N T E V E D R A B E A C H Gallery: Stellers Gallerywww.stellersgallery.com

Artist: Cat Tesla TESLA’S WORK INCLUDES both ethereal landscapes and abstract designs. The subjects she chooses to paint are organ-ic, either originating from Mother Nature, or inspired by her. Through this visual vocabulary, Tesla transports the viewer into a realm of calm and respite.

S A R A S O T A

Gallery: State of the Arts Gallerywww.sarasotafineart.com

Artist: Christopher Martin

“MY MOTIVE IS TO ASSEMBLE a vibration of color, movement and depth that transforms a clear surface into a powerful sensation, leaving a profound feeling of energy and clarity. If that becomes apparent, con-sistent and experiential, then my statement as an artist is on the wall.”

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

M I A M I

Gallery: Diana Lowenstein Gallerywww.dianalowensteingallery.com

Exhibition:

DANIEL VERBIS: LOST FOR WORDSON VIEW 06.09-07.28.12

In his abstract, organic works, Verbis extends the concept of painting by exploring diverse

material, procedure and form. His mixed-media works involve everything from acrylic and plastic, to thread, wood and iron.

Clockwise from top: Cat Tesla, Organic Study XV, acrylic on canvas, 48 x 48”, courtesy of the artist and Stellers Gallery; Daniel Verbis, courtesy of the artist and Diana Lowenstein Gallery; Christopher Martin, Acei, acrylic on acrylic, 96 x 72”, courtesy of the artist and State of the Arts Gallery

NATHAN SAWAYA: THE ART OF THE BRICK


Facepull

Images courtesy of

brickartist.com

06.09- 08.19.12 at the

ART and CULTURE CENTER

of HOLLYWOOD

NATHAN SAWAYA: THE ART OF THE BRICK


www.artandculturecenter.org

“ I S E E T H E W O R L D I Nlittle squares,” says New York-based artist, Nathan Sawaya, whose work transforms LEGO®

bricks into whimsical and awe-inspiring creations. His 2012 exhibition of The Art of The Brick ®, hosted by the Art and Culture Center of Hollywood, features large-scale sculptures constructed exclusively with

the toy building blocks, and is the only exhibition focused on LEGO as an art medium. Pre-vious showcases of Sawaya’s work have been held at the Center in 2008 and 2010—both events broke all previous atten-dance records in the Center’s 30+ year history!

Sawaya is a former New York attorney who quit his day “I

NATHAN SAWAYA:The ART of the BRICK


job to “risk it all” to pursue his passion for art, and is single-handedly credited with elevat-ing LEGO to a legitimate art medium. Over the years, his creations have resulted in enor-mous artistic and popular suc-cess. Most recently, his art was chosen by Robert De Niro’s legendary TriBeCa Film Fes-tival as the winning art prize

awarded for excellence in film-making. Sawaya’s exhibitions continue to set international museum and gallery attendance records, earning him critical acclaim as well as a wide range of high-profile commissions, and have resulted in appearanc-es on such TV shows as “The Colbert Report,” “Late Night With David Letterman,” and


Left: Untitled (Green Guy);

Center: Yellow;

Right: Kiss


“Extreme Makeover: Home Edition.” He was even fea-tured on the iconic quiz show “Jeopardy!” with a category titled “The LEGO Artistry of Nathan Sawaya.”

The artist’s early representa-tional creations have included a 7-foot-long reproduction of the Brooklyn Bridge (pictured below), a life-size Tyran-nosaurus Rex and a replica of photographer Joe Rosen-thal’s famous Battle of Iwo Jima photograph (pictured far right), which is on permanent exhibit at Virginia’s National



Museum of the Marine Corps. Sawaya’s recent work has

evolved to imbue an emotional content and visual complex-ity that might be considered antithetical to the hard-edged simplicity of the LEGO brick. One of his iconic pieces, Yel-low (pictured on previous spread), which portrays a figure tearing his chest open while bricks spill out, dem-onstrates the artist’s master-ful depiction of emotion as

Left: Brooklyn Bridge;

Center: Blue Sky;

Below: Iwo Jima Replica


well as the intricacies of the human form. His unique, one-of-a-kind creations have been commissioned by companies, charities, celebrities, museums and galleries from around the world, and his work has been featured in numerous collec-tions, including Lancaster Museum of Art in Lancaster, PA; Flinn Gallery, Greenwich, CT; Art Museum of South Texas in Corpus Christi, TX; Lakeview Museum of Arts in Peoria, IL; Narrows Center for the Arts, Fall River, MA; Kimball Arts Center, Park City, UT; D’Amour Museum of Fine Arts, Springfield, MA; Agora Gallery, New York, NY; Mulvane Art Museum, Topeka, KS; and Nassau County Museum of Art, Ros-lyn Harbor, NY.

Sawaya’s playful, sophis-ticated and highly complex structures inspire a sense of wonder and astonishment, prompting the question: How does he do it? On the following pages, the artist shares some of the magic behind his work in a recent chat with On View...



Left and inset:

Think!


OV: You were introduced to LEGO at an early age. What was that experience like for you?NS: I took to LEGO bricks very easily and I used the toy to enhance my imagina-tion. If I wanted to pretend to be a rock star, I could build myself a guitar out of bricks. If I wanted to pretend to be an astronaut, I could build myself a LEGO rocket. When I was about ten years old, I asked my parents if I could get a puppy, and when they said no, I cre-ated a life-sized dog for myself out of LEGO bricks. It was the perfect tool to lead me into my current career as an artist, where I get to create whatever I want.

OV: You left behind a career in corporate law to pursue your passion for creating art. Any regrets? NS: For me, the worst day in the art studio is still better than

the best day in the law firm. My art has always been my passion and I am so thankful that I made the decision to fol-low my dream. The fact that I have been able to sell my work and exhibit it in fine art muse-ums around the world is just a blessing on top of that.

OV: How does this medium continue to inspire you? NS: There are no limits to the medium, and I want to elevate this simple plaything to a place it has never been before. I also appreciate the cleanliness of the medium—the right angles, the distinct lines. As so often in life, it is a matter of per-spective—up close, the shape of the brick is distinctive, but from a distance, the right angles and distinct lines trans-late into curves, opening up a world of endless possibilities.

OV: Where do you find ideas for new projects?

NATHAN SAWAYABehind the Bricks

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

NS: Inspiration comes from everywhere. Many of my works center on the phenom-ena of how everyday life, people and raw emotion are intertwined. My art is often a reenactment of my personal feelings. I am inspired by my experiences, emotions and the journeys I take.

OV: Once you have an idea in place, how does the building process typically unfold? NS: Essentially there is a simi-lar process for each sculpture. It starts with inspiration and an idea. Once I am inspired, I put my thoughts down on paper. I am always carrying my sketch pad so that I can record my ideas as they come to me.

Before I start building, I plan out as much as possible. I try to envision in my mind what the finished sculpture will look like before I put down that first brick.


Nathan Sawaya with Gray

As I start building, I actu-ally glue the bricks together as I go. This involves paint-ing a little bit of glue on each and every brick. If I make a mistake, well, I’m pretty good with a hammer and chisel.

Once the sculpture evolves to the point where I had origi-nally envisioned it, I know that I’m done. The timing of this

process is different for every sculpture. A typical life-sized human figure can take up to 2-3 weeks to create.

OV: What aspects of your work do you particularly enjoy and find rewarding? NS: I still enjoy watching people view my artwork for the first time. I love seeing their reactions to artwork created from something with which they are familiar. Ev-eryone can relate to it since it is a toy that many children have at home. OV: What do you hope visitors may take away from this exhibition? NS: The fundamental purpose of my art is to captivate people for as long as I can keep their attention. I strive to create art-work that is interesting and that is unlike anything they have seen before. And hopefully, at the end of the day, they are at least a little bit inspired—and might even snap together a few LEGO bricks when they get home. On View



Above: The artist

at work in his studio;

Right: Peaces

“I want to elevate this simple plaything to a place it

has never been before.”



Café de Flore à Paris, 1998, oil, 17-1/2 x 17-1/4”

All images courtesy of the Sebastian Collection.

Photography by Douglas J. Nesbitt, www.douglasjnesbitt.com

On view through

09.23.12 at the

ALBIN POLASEK

MUSEUM & SCULPTURE

GARDENS, Winter Park

www.polasek.org

A ofARTTHE

AFFAIRPARISIAN

RENOUXANDRÉ

:

Left: Restaurant “Le Caveau du Palais”, 1996, oil, 27-1/4 x 23-1/2”; Right: Le 52 Faubourg Saint Martin, 1998, oil, 19 x 14”

D

DISCOVER OR REDISCOVER the “City of Light” in A Parisian Affair: The Art of André Renoux, presented by the Albin Polasek Museum and Sculpture Gardens in Winter Park, celebrating the essence of Parisian life in a nostal-gic tribute to the most enchanting of cities, as seen through the eyes of a 20th century master. Offer-ing a “flâneur’s” view of a disap-pearing Paris, Renoux’s canvases capture the exquisite charm of the storefronts, bistros and façades of Old Paris. A Parisian Affair is the first exhibition of original Renoux artwork to be presented in Florida since the artist’s exhibit in Palm Beach in 1979. On display is a selection of original oil paintings,


A Parisian Affair: The Art of André Renoux

D


lithographs and hand-painted wine bottles from the Sebastian Collection.

“We are extremely fortunate to be able to exhibit A Parisian Affair: The Art of André Renoux at the Polasek Museum,” says the Museum’s Curator, Rachel Frisby. “Renoux was a mas-ter of restraint and quiet beau-ty. Each painting feels like a moment of anticipation, or a set before it’s crowded with actors.

You might glimpse a soli-tary figure amidst the intimate table settings, shadowy alleys, courtyards and charming shop fronts but essentially, the city is yours —and that is what is so special about Renoux’s art.”

Renoux is best known as the father of the Urban Real-ist movement in France. The “Realist Movement” often refers to art that depicts every-day scenes and objects in a


Restaurant

“La Cafetière” a Paris,

2000, oil,

14-3/4 x 14-3/4”

Renoux’s canvases capture the exquisite charm of

the storefronts, bistros and façades of Old Paris.



frank, true-to-life manner, which Renoux did to perfec-tion, using Paris as his back-drop. From Montmartre to the Latin Quarter via the Marais, Renoux’s street scenes preserve the urban dream of a city full of surprises. Since the 1960s, he has depicted its unspoilt, old-fashioned and elegant spaces. His focus was not on the city’s grand architectural monuments, but on the more intimate land-marks of daily Parisian life and its environs—a glimpse into a private courtyard, the deli-

cacies for sale in a storefront display, or the table setting in an out-of-the-way bistro. His artwork captures an ambience that is timeless, emphasizing the grace of an era both past and present. Using light and shadow he projects intimacy and emotion.

People are rarely included in Renoux’s images. As the art-ist once explained, “You must envision them yourself. People come and go. I am more com-pelled to preserve the antiquity of this beguiling city. I choose


Right:

Restaurant “Les Cafetiers”,

1999, oil, 15 x 15”

Opposite:

Femme Balayant

(Woman Sweeping), oil,

23 x 19-1/2”


Left: Brooklyn Bridge;

Center: Blue Sky;

Below: Iwo Jima Replica


not to depict Paris as a tourist, but rather to create works that are a tribute to this incompa-rable city.”

Born in 1939, Renoux was raised in Nice, France. His art education included studies at L’Ecole des Arts Décoratifs in Nice and L’Ecole des Arts Modernes in Paris. Honored within his lifetime, Renoux’s award-winning work has been the subject of three mono-

graphs, numerous film docu-mentaries, television broad-casts, catalogues and books. His paintings and graphic works are found in public and private collections worldwide. The art-ist’s work has been purchased to represent such quintessen-tial institutions as the French Ministry of Tourism and the French National Railway, and


Restaurant

“L’ Echaude St Germain”,

1999, oil, 23-1/2 x 27”

“People come and go. I am more compelled to

preserve the antiquity of this beguiling city.”

—A. Renoux


his views of Paris also enjoy an enormous popular success as postcards, of which thousands are sold each month. Since his untimely death in 2002, he has been considered a French national treasure.

In addition to being a gift-ed painter, Renoux was also a master lithographer, a rare quality found among contem-porary artists. It is more likely today for painters to have digi-tal prints made of their images, or to employ a lithographer or printmaker to reproduce their work. The biggest advantage of lithography over other tra-ditional printmaking methods such as relief and intaglio, is that it does not require the print-maker to etch an image into metal plates or to physically

carve out the image into blocks of wood. Instead, an artist uses a set of greasy crayons or pen-cils to draw a mirror image of the artwork, usually onto a smooth stone tablet or metal

plate. Through interactive dis-plays, viewers to this exhibi-tion can learn what is actually involved in this process, step-by-step, and see examples of how Renoux layered each col-


Below:

André Renoux, image courtesy

of Helene Renoux

ored plate to make a complete lithograph. Visitors are also encouraged to try their hand at sketching a still-life scene from one of Renoux’s paintings.

A Parisian Affair is an

enchanting journey through the history-drenched streets of Paris, and an opportunity to soak in the city as one might savor a glass of fine red wine. On View


Le Caveau du Palaise –

19 Place Dauphine à Paris,

oil, 13 x 20”

To view more works by André Renoux,

visit: www.andrerenoux.com

o n v i e w t h r o u g h 08.19.12 at t h e

FLORIDA MUSEUM of PHOTOGRAPHIC ARTS, TAMPA

w w w . f m o p a . o r g

THE Secret Paris OF THE 1930 S

v i n t a g e p h o t o g r a p h S b y B r a S S a Ï

Fog, avenue de l’Observatoire, 1934, 9-1/8 x 11”, frame size: 16 x 20”, ©Brassaï Estate


o n v i e w t h r o u g h 08.19.12 at t h e

FLORIDA MUSEUM of PHOTOGRAPHIC ARTS, TAMPA

w w w . f m o p a . o r g

THE Secret Paris OF THE 1930 S

v i n t a g e p h o t o g r a p h S b y B r a S S a Ï

‘‘D “Drawn by the beauty of evil, the magic of the lower depths, having taken pictures for my ‘voyage to the end of night’ from the outside, I wanted to know what went on inside, behind the walls, behind the façades, in the wings: bars, dives, night clubs, one-night hotels, bordellos, opium dens. I was eager to penetrate this other world, this fringe world, the secret, sinister world of mobsters, outcasts, toughs, pimps, whores, addicts, and [sexual] inverts.” —Brassaï

Nude (detail), ca. 1933, 6-7/8 x 8-3/8”, frame size: 20 x 16”, ©Brassaï Estate

“Drawn by the beauty of evil, the magic of the lower depths, having taken pictures for my ‘voyage to the end of night’ from the outside, I wanted to know what went on inside, behind the walls, behind the façades, in the wings: bars, dives, night clubs, one-night hotels, bordellos, opium dens. I was eager to penetrate this other world, this fringe world, the secret, sinister world of mobsters, outcasts, toughs, pimps, whores, addicts, and [sexual] inverts.” —Brassaï


The Secret Paris of the 1930s:

Vintage Photographs by Brassaï

E A R L Y 2 0 t h C E N T U R Y Paris was the setting for one of the great flowerings that have periodi-cally punctuated the history of pho-tography. As with painting and sculp-ture, ambitious young photographers from around the world flocked to the city, where they formed a fertile artistic milieu. Among them was the Transylvanian-born Brassaï, whose evocative, inky-black and very rare vintage photographs of Paris’s noto-rious creatures of the night, have been assembled for this unforgettable exhibition, presented by the Florida Museum of Photographic Arts in Tampa. The Secret Paris of the 1930s ventures into a world of dark shad-ows and romantic interludes through the lens of this 20th century master.

EThe Secret Paris of the 1930s:Vintage Photographs by Brassaï

Lovers, Bal Musette des Quatre Saisons,

rue de Lappe, ca. 1932,

10-3/4 x 8-1/2”, frame size: 20 x 16”,

©Brassaï Estate

The bals-musette were

popular dance halls

originally named after

the bagpipe, an instrument

later (and fortunately)

replaced by the accordion.

Brassaï reported:

“Most of these dance

halls still had shady

reputations in the thirties.

There were no ‘Paris

by Night’ buses unloading

tourists avid to rub elbows

with the underworld.

No cosmopolitan breeze

blew through these

typically Parisian oases.

The dance halls were

full of poetry and dreams,

but they were also pitfalls:

true love came close to

prostitution. In these dance

halls, young pimps seduced

girls and recruited the

labor force for the streets

and the whorehouses.”


Brassaï (1899-1984) was born Gyula Halász and adopted the nom de plume, Brassaï, from his birth-place, Brasso, a Hungarian (now Romanian) town in the Transyl-vanian region. After attending art school in Berlin, Brassaï moved to Paris in 1924 and was immediately caught up by the city’s effervescent bohemian life. Supporting himself as a journalist, he took up photog-raphy in 1930, initially to illustrate his articles. His approach, how-ever, was at an opposite pole from the then emerging genre of photo-journalism. The key to his art was patience and long exposures. Using makeshift and cumbersome tools—a wobbly tripod, a piece of string to measure the distance of objects to the camera, and the noisy, smelly bang of a magnesium flash lamp—Brassaï carefully composed each picture, turning his subjects into archetypes.

Unlike many of his contempo-raries, who were portraying the fashionable and romantic sides of Paris, Brassaï was enraptured by the seedy underworld that could only be seen after hours. It was in the bis-

The Secret Paris of the 1930s:Vintage Photographs by Brassaï

tros, cafes and bars that he discov-ered his most fascinating subjects. And it was in their backrooms and back alleys where Brassaï captured prostitutes, nightclub entertainers, transvestites and their patrons in all stages of revelry.

The artist described the life of the streetwalker with great compassion: “Their life stories had been the same for centuries: unknown father, bas-tard child. They had known noth-ing of maternal or parental affec-tion: thus the power their ‘protec-tors’ had over them. They preferred being exploited, even brutalized, to enduring solitude. They all lived on hope. Every one of them dreamed of a different, a better life. Beneath their surface gaiety, these girls lived in perpetual anxiety. They were fearful of raids, of becoming sick, of every stranger. What if he turned out to be a sadist, kinky, a danger-ous maniac, a Jack the Ripper?”

His fascination for the hidden face of the “City of Light,” as it un-folds in the dark, culminated in 1932 with the publication of his first book, the classic, Paris de Nuit (Paris by Night).


Fille de Montmartre playing Russian billiards,

Blvd Rochechouart, 1932-33,

11-1/4 x 8-1/4”, frame size: 20 x 16”,

©Brassaï Estate

“During my first years in Paris, I lived at night, going to bed at sun-rise, getting up at sunset, wandering about the city from Montparnasse to Montmartre. And even though I had always ignored and disliked photography before, I was inspired to become a photographer by my desire to translate all the things that enchanted me in the nocturnal Paris I was experiencing.” Alone, or in the company of friends, including the writers Henry Miller or Jacques Prévert, Brassaï discovered and recorded the forbidden Paris of the 1930s, its brothels, whores, pimps,


At Suzy’s, fille de joie in mirror,

1932, 11-5/8 x 9”,

frame size: 20 x 16”,

©Brassaï Estate

Top left: At Suzy’s, introductions,

ca. 1932, 9-3/8 x 6-3/8”,

frame size: 20 x 16”,

©Brassaï Estate

Some of Brassaï’s most

memorable, if controversial,

photographs were taken

inside the bordello named

Suzy’s, which he described

as a “discreet house that

guaranteed the anonymity

of its guests. Even priests

got in and out without

being seen or recognized.

At Suzy’s, a bell went off

as the client opened the

door. The madam would clap

her hands and call out,

‘Choosing ladies!’ All the

girls who weren’t otherwise

occupied would remove

their dressing gowns, their

kimonos, pell-mell, and arrive

in the simplest of apparel,

whereupon they would form a

tableau vivant: the shortest,

sometimes kneeling, in front,

the others standing behind

them. The visitor could thus

make a considered choice

among the bodies before him.”


opium dens and transvestites—the sordid yet fascinating bas-monde where high society mingled with the underworld.

The Secret Paris of the 1930s is a remarkable photographic mem-oir, portraying a hidden, daring and candid subject matter. These unique pictures are accompanied by an immensely interesting text in which Brassaï reminisces and describes the extraordinary condi-tions under which he took his pho-tographs. Also featured in the exhi-bition are five rare “Transmutation” photographs made with the cliché-verre technique, a hybrid of pho-tography (primarily of female nude subjects) and etching in which Bras-saï scratched his choice of imagery onto an existing photographic glass-plate negative before printing it—an experimental technique developed in collaboration with, and inspired by, Brassaï’s close friend, Pablo Picasso. On View


The ballerina Ludmilla Tcherina backstage,

Sarah Bernhard Theater, 1945,

11-1/8 x 8-1/4”,frame size: 20 x 16”,

©Brassaï Estate

The daughter of a French

woman and an émigré

Russian prince, Ludmilla

Tchérina danced with

all the notable European

ballet companies of

her day, including Ballet

Russe de Monte Carlo,

the Paris Opera, and

both the Bolshoi and the

Kirov, as well as in

ballet-themed movies

such as The Red Shoes.


Brassaï, New York, 1976 (detail),

photography by Arnold Newman,

©Arnold Newman Estate

at CORNELL FINE ARTS MUSEUM, Winter Park • cfam.rollins.edu

THE PRINTS OF

GUSTAVE BAUMANN


at CORNELL FINE ARTS MUSEUM, Winter Park • cfam.rollins.edu

12.3 0.12On view through

GUSTAVE BAUMANN

THE CORNELL FINE ARTSMuseum is hosting The Prints of Gustave Baumann, which fea-tures a selection of color wood-cut prints by one of the most accomplished and popular artists working in Santa Fe during the early 20th century—and a lead-ing figure in the color woodcut revival in America.

Gustave Baumann is best known for his timeless images depicting Southwestern land-scapes and regional traditions of New Mexico. This exhibit includes several of the artist’s finest prints, opaque watercolor studies and a sequence of blocks the artist carved and used to pro-duce Spring Blossoms. Images of New Mexico and a series


The Prints ofGUSTAVE BAUMANN

Below (and detail pictured

on previous pages):

Processional, ca. 1930, opaque

watercolor with silver foil,

12-3/4 x 12-1/2”, Collection of the

New Mexico Museum of Art,

gift of Mrs. Jane H. Baumann, 1978

Right:

Spring—Tesuque Valley, 1953

(subsequent edition 1954),

color woodcut, 13 x 12-1/2”,

Collection of the New Mexico

Museum of Art, Museum purchase

with funds raised by the School

of American Research, 1952

All images:

©New Mexico Museum of Art.

Photography by Blair Clark

T


of seldom-seen color woodcut prints depicting the rugged coast and mammoth trees of Northern California, round out the show. All of the objects in the exhibit are drawn from The New Mex-ico Museum of Art in Santa Fe, which houses the largest cata-

logued collection of Baumann’s work—over 1,700 items.

A man of many talents, Bau-mann produced woodcuts, paint-ings, furniture, sculpture, toys and marionettes—and also wrote poetry and plays. He was the ulti-mate craftsman. He loved carv-ing wood as well as selecting the handmade papers he used in his printmaking. Immensely patient and meticulous, he thrilled at the challenge of a demanding


Right:

Redwood, 1934, color woodcut,

12-7/8 x 12-7/8”, Collection

of the New Mexico Museum of Art,

Museum purchase with

funds raised by the School of

American Research, 1952

Baumann’s ingenious mastery of the color woodcut

breathed new life into scenes as extraordinary as the

Grand Canyon and as com-monplace as one’s backyard.



medium and, unlike the Ukiyo-e artists of Japan, his hands con-trolled every aspect of his craft, from the carving of the blocks and the mixing of the inks, to the actual printing of each piece.

The extraordinary sculptural quality of Baumann’s woodcuts began with color sketches done in gouache, an opaque watercol-or. This was the foundation from which Baumann worked and a critical part of the long, painstak-ing process of completing a color print. The gouaches were created on heavy brown paper and textured by pencil sketching. A final study was used to transfer the image to a block of wood and to also work out the division of colors for each block that would be used in the edition. Baumann printed an end-less number of trial proofs with a combination of translucent and opaque inks to achieve his desired color scheme and tonality.

The artist’s ingenious mastery of the color woodcut breathed new life into scenes as extraordinary

Summer Shadows, 1916-1917,

color woodcut, 9-1/2 x 11”, Collection of

the New Mexico Museum of Art,

Museum purchase with funds raised by

the School of American Research, 1952



as the Grand Canyon and as com-monplace as one’s backyard. His images are each filled with a sense of wonder and infectious joy.

Born in 1881 in Madeburg, Germany, Baumann immigrat-ed to the US with his family in 1891, where they established a home in Chicago. At age 16, Baumann became an apprentice at a commercial print studio and began taking evening classes in drawing and design at the Art Institute of Chicago. By 1903, he had established his own com-mercial art studio and in 1905, returned to Germany to escape the commercial grind and study for a year at the Kunstgewer-beschule (School of Arts and Crafts) in Munich. While in Ger-many, he studied wood carving and the graphic arts—in particu-lar, the art of relief printmaking.

Upon returning to Chicago in 1906, Baumann continued his career as a commercial art-ist while creating an abun-dance of intricate woodblock

Rain in the Mountains, 1925,

color woodcut, 9 x 11”, Collection of

the New Mexico Museum of Art,

Museum purchase with funds raised by the

School of American Research, 1952

prints, which he developed from opaque watercolor studies of regional landscape scenes. In 1909, he produced his first lim-ited edition color woodcuts and exhibited them at the Art Insti-tute of Chicago. This successful showing enabled him to move to a small town he had discov-ered in Brown County, Indiana, and set about capturing it in his art. Here he depicted peaceful, familiar scenes with simplicity and directness. Baumann had an uncanny ability to transmit the flavor of a place into his art. It was also during his time in Indiana that he developed his personal seal, the image of a hand opened over the heart, which was his pledge to make his craftwork available to those who might enjoy it.

At the end of the 19th and beginning of the 20th century, there was a renewed interest in the craft of traditional Europe-an printmaking and in the color woodcut prints coming from Japan. Many of Baumann’s prints include asymmetrical compositions, bright colors, curving lines and patterned sur-faces that appear to be influ-

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


enced by the Japonisme that was in vogue at the time. He received his first significant national rec-ognition when he took home a gold medal for his color wood-cut prints at the 1915 Panama-Pacific International Exhibition in San Francisco.

At the encouragement of an artist friend, Baumann spent the summer of 1918 in Taos, New Mexico. Towards the end of that summer, on route back to the East Coast, he stopped in Santa Fe to see an exhibit of prints he had organized for the newly opened Art Gallery of the Muse-um of New Mexico (now the New Mexico Museum of Art). Enchanted with New Mexico, and Santa Fe in particular, he began planning a way to earn the money to finance a relocation to the area, but when the muse-um’s curator secured Baumann a small loan and studio space in the basement of the art museum, Baumann readily accepted.

While Baumann had previ-

Summer Clouds, 1925, color woodcut,

10-1/2 x 9-1/2”, Collection of the


Museum purchase with funds raised by the

School of American Research, 1952


ously incorporated touches of bright color in his prints, it was during his time in New Mexico when his color went wild with an explosion of hot golds, magentas and greens. A new-found sponta-neity emerged in his work—his shapes went molten and alive in shimmering light. Here he mas-tered luminosity and captured the mystery of the Southwest. He once said, “Given a free choice in the matter, I would have selected the Southwest as the place to be born, I would then have learned Spanish, along with riding a horse and predict-ing the weather.”

Baumann went on to become one of Santa Fe’s most beloved and respected artists, a standing not dimmed since his death in August, 1971. On View


“Given a free choice in the matter, I would have

selected the Southwest as the place to be born...”

—Gustave Baumann

Above:

Gustave Baumann, 1932

Right:

Old Santa Fe, 1924, color woodcut,

6 x 7”, Collection of the


Museum purchase with

funds raised by the School of

American Research, 1952

*The Prints of Gustave Baumann

was organized by the

New Mexico Museum of Art.

D E C O J A PA N92 O n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 2

Shaping Art and Culture,1920-1945

07 .13-10 .28 .12 a t

THE JOHN AND MABLE RINGLING MUSEUM OF ART ,Sa rasota

T h e f i r s T e x h i b i T i o n h e l d o u T s i d e T o k y o d e d i c a T e d T o Japanese expressions of Art Deco, DECO JAPAN provides dramatic examples of the spectacular craftsmanship and sophisticated design long associated with Japan, and conveys the complex social and cultural ten-sions during the Taishô and early Shôwa epochs (1912-1945). In these pre-war and war eras, artists and patrons created a Japanese modernism that simultaneously signaled the nation’s unique history and cosmopoli-tanism. The vitality of the era is further expressed through the theme of the moga, or “modern girl”, the emblem of contemporary urban chic that flowered along with the Art Deco style in the 1920s and 1930s.

D E C O J A PA N

The nearly 200 works displayed, highlight the Levenson collection—the world’s premier collection of Japanese art in the Deco style. These pieces include spectacular examples of sculpture, ceramics, furni-ture, glass, jewelry, metal-

work, paintings, textiles and lithography. Selected by Dr. Kendall Brown, Professor of Japanese Art History at California State University, Long Beach, these two- and three-dimensional works epitomize the contributions made by Japanese artists to


DECO JAPAN:Shaping Art and Culture,1920-1945


Art Deco, a global interna-tional design movement that was all the rage in the early 20th century. The selections range from fine art objects, made to impress the public at national art exhibitions, to goods mass produced for the modern home.

In contrast to previous exhibits and books on Art Deco that organize the mate-rial by medium, this exhibi-tion is conceived in a more complex fashion to highlight the cultural, formal and social aspects of Japanese Deco. It sheds light on how, during the

Previous spread:

Postcard (detail), unidentified artist

Above:

Kekkai or Sencha (tea ceremony screen)

with Autumn Cattail Design,

Nakayama Ken’ichi, 1943

All images courtesy of the Levenson Collection


early 20th century, Art Deco contributed to the emergence of a cosmopolitan nation, shaping global trends in visu-al and performing arts, archi-tecture, fashion and design.

In Japan as in Europe, the Art Deco era—which spanned roughly from World War I through World War II—con-stituted a time of dramatic social and technological change, combined with politi-cal and cultural turmoil.

Japanese society was whip-sawed by globalist values that championed western liberal-ism and isolationist ideolo-gies that sought a restoration of Asian traditions.

From the early 1930s, Japan’s military invasion of Asia gained pace, culminating in war with America and Brit-ain from 1941-45. The Deco era was marked by growing totalitarianism juxtaposed with fantasies of luxury and internationalism, fed by the burgeoning advertising and film industries.

In addition, a reappraisal of craft, in terms of fine art, emerged amidst an explosion

of photography and graphic design. Art schools produced designers, and consumer culture created a demand for mass-produced goods to sell to a rising middle class, in addition to one-of-a-kind objects for those who became wealthy in the war industries. The compelling contradic-tions of the age are best seen in the Art Deco style, where a façade of elegance parallels a totalitarian gravity.

The fundamental Deco preference for simplified geo-metric shapes, minimal orna-mentation and fresh colors is witnessed in abstract works in a range of materials. They also attest to the Japanese desire to reinterpret a variety of crafts. The Deco adapta-tions of earlier styles (like Art Nouveau and Cubism) and familiar themes, is most evident in the works featuring plants, animals, birds and aus-picious creatures. Among the artwork is a ubiquitous Deco motif of the flying fish—the ultimate 1930s emblem of stylish power in sea and air.

Beyond design, the exhi-

Opposite:

Ginga no uta (Song of the Milky Way),

Theme song of the movie

“Ginga no uta,” by Shôchiku Cinema,

unidentified artist, 1931

DECO JAPAN: Shaping Art

and Culture, 1920-1945*

is organized and circulated by

Art Services International,

Alexandria, Virginia.

*His Excellency, Mr. Ichiro Fujisaki,

Ambassador Extraordinary and

Plenipotentiary of Japan to the US, is

Honorary Patron of this exhibition.



bition features an examina-tion of changing lifestyles, with themes of travel, speed, consumption, luxury, exoti-cism and elegant distortion of form.

A key focus of the exhibi-tion is how art reflected the social transitions that faced Japan in the first half of the 20th century, including a greater visibility, prominence and freedom for women. The vitality of the era is expressed through the theme of the “modern girl,” known in Japan as the moga—a sym-bol of contemporary urban

chic that emerged with the Art Deco style of the 1920s and 1930s. In many ways an evolution of the stylized cour-tesan who epitomized the ukiyo (or “floating world”) of the Edo period, the moga was carefully constructed via cosmetics and hair ornaments. Equally important was her transgressive behavior, sym-bolized by smoking and drink-ing, which encouraged elegant Deco-style cocktail glasses and smoking sets. The mod-

Below:

Norakuro The Dog,

Okabe Tatsuo, ca. 1931-41


Above:

Okimono (sculpture)

of Pair of Origami Cranes,

Chikueidio Eishin II,

ca. 1930-40


ern girl’s milieu was the café and dance hall, where active movement of dance bespoke social and personal freedom.

The Deco style was also linked with luxury commodi-ties that decorated the mod-ern “culture house,” a pre-eminent mark of the “culture lifestyle.” Deco-style objects made for domestic use consist of furniture and such furnish-ings as rugs, lamps, clocks and bowls. They also include human and animal figurines,

demonstrating both the ubiq-uity of the Deco style and the spread of customs like keep-ing pure bred dogs and cats.

Lectures with specialists, Gallery Walk & Talks, and Art and a Movie evenings serve to complement the objects in the exhibition and create an enhanced cultural understand-ing. A catalogue accompany-ing the show features essays by Dr. Brown and specialists from Europe, America, Aus-tralia and Japan. On View

FOR JACK NEWMAN, FOOD can be every bit as beautiful to paint as a lush landscape or an intriguing portrait. His new show at the Coral Springs Mu-seum of Art, includes a selec-tion of large and small paintings he has completed over the last several years. From rich desserts and boxed chocolates, to a series of entire meals—even a kinetic sculpture of a hero sandwich—Newman’s tantalizing creations are sure to delight the senses.

“Most people quickly glance at what’s on a dinner table. I study the nuances of colors, shades, shadows, reflections and textures from the simplest olive in a martini, to the com-plexities of an entire meal,” he explains. “I want the observ-er to ‘smell’ the aromas or be tempted to run a finger through the whipped cream in one of my paintings. Anyone can savor my work, without paying the high price of calories.”

Newman paints in a modern realist style, preferring the rich colors of acrylics and the im-mediacy they afford him. Many sketches are made before ever


PROFILE{ J A C K N E W M A N }

E x h i b i t i o n

Jack Newman: The United Tastes of AmericaOn view June 9th through August 18th

at the Coral Springs Museum of Artwww.csmart.org

dipping his brush in paint. In some cases, he will take pho-tos of an item from above, to get the perspective just right.

“I often find myself smiling as I paint,” he says. “It gives me pleasure to imagine viewers studying the completed work, bringing smiles to their faces.”

Newman’s inter-est in art began long before he graduated from the New York School of Design. “As long as I can remember, I have loved to draw. I’ve always felt it a mag- ical experience to be able to render on paper, the images I see around me.”

He continued his studies at Pratt Institute and School of Visual Arts in New York, and also spent a number of his for-mative years at the Art Stu-dents League of New York. After serving two years in the armed forces, he became a book and magazine graphic designer. Eventually, his career shifted

to advertising. He was a Senior Art Director for a number of years, before retiring as a Vice President of Ogilvy & Mather Direct. He now resides in South Florida, where he enjoys the freedom of pursuing his art, without answering to clients’

whims. His very first juried compe-tition, at the Palm Beach Watercol-or Society Annual Exhibition, earned him a Special Prize. He has won numer-ous awards since then, and several of his papier mâché sculptures have ap-peared on the pag-es of The New York Times.

Jack Newman’s work has been included in exhibitions at the Boca Raton Museum of Art, Cornell Museum of Art & Amer-ican Culture in Delray Beach and The Society of The Four Arts in Palm Beach. His sketch-es and paintings are also held in a number of private collections in the US and abroad. On View

opposite (top to bottom):

1. 5 Candy Apples, 36 x 48”

2. Sharing, 48 x 36”

above (top to bottom):

1. White Chocolate Crunch, 12 x 12”

2. Bloody Terror, 36 x 48”

left: Jack Newman

images courtesy of the artist

to view more of jack Newman’s

work, visit his website:

www.newmanart.photoshop.com

or contact him at:

[email protected]

P R O F I L E

Jack Newman’s TANTALIZING

CREATIONS are SURE

TO DELIGHT.

O N V I E W T H I S S U M M E R , the Leepa-Rattner Museum of Art presents an exhibition of icons from history and pop cul-ture by the master of Pop him-self—Andy Warhol. The works showcased in this eye-pop-ping display are from the pri-vate collection of Wesley and Missy Cochran of La Grange, Georgia, who have been as-sembling their fine art collec-tion for the last three decades. Among the selections included in the exhibit are acrylics and silkscreens as well as one of Warhol’s drawings. The silk-screens, which were created from 1968 to just months be-fore the artist’s untimely death in 1987 following gall bladder surgery, are comprised of com-plete sets of his Cowboys and Indians and Myths series.

Warhol exhibited an acute sense for the powerful motifs of his time—those images that captured the imagination as the gods and goddesses of ancient mythology once did. Warhol’s Myths series explores the idea of iconic figures from popular culture, drawn mostly from old


EXHIBITION{ A N D Y W A R H O L }

E x h i b i t i o n

Works by Warhol: From the Cochran Collection

On view through July 15th at the Leepa-Rattner Museum of Art, Tarpon Springs

www.spcollege.edu/museum

Hollywood films or television, including John Wayne and Howdy Doody as well as mod-ern day versions of classical heroes such as Superman and Uncle Sam. Mickey Mouse and Santa Claus represent the myth-os of modern day innocence while the Wicked Witch and Dracula are captivating villains.

Warhol’s series, Cowboys and In-dians, shows the artist’s fascination with the mytholo-gy of the American west. Images in-clude a portrait of Geronimo, General Custer, Teddy Roos-evelt, Annie Oak-ley and Sitting Bull as well as Kachina dolls, a shield from the Plains Indian tribe and Buffalo Nickel.

Andy Warhol was born An-drew Warhola in 1928 in Pitts-burgh, Pennsylvania. He moved to New York City and got his first break as a commercial artist in 1949, when Glamour mag-azine wanted him to illustrate

a feature entitled “Success is a Job in New York.” The credit accidentally read “Drawings by Andy Warhol,” which is how he dropped the “a” in his last name. By 1955 he was the most successful and imitated commercial artist in New York.

In 1960 he produced the first of his paintings depicting en-

larged comic strip images, such as Popeye and Su-perman, for use in a window dis-play. Warhol pio-neered the devel-opment of the pro-cess whereby an enlarged photo-graphic image is transferred to a silk screen that is then placed on a canvas and inked from the

back. It was this technique that enabled him to produce the se-ries of mass-media images that he began in 1962, incorporating such iconic images as Camp-bell’s Soup cans, dollar bills, Coca-Cola bottles, and the fac-es of celebrities. On View

Works by Warhol: From the

Cochran Collection offers

visitors a chance to view iconic

figures from history and

popular culture, immortalized

by the master of Pop himself,

Andy Warhol. From Uncle Sam

to Howdy Doody and Mickey Mouse

to the Wicked Witch, this

experience will delight audiences

young and young at heart.

IMAGES COURTESY OF LRMA.

E X H I B I T I O N

Andy WARHOL’s iconic Pop

MASTERPIECES FILL the

LRMA’s galleries this summer.

JOHN ROCCO’S ILLUSTRA-tions are well known among fans of Rick Riordan’s best-selling youth literature series, Percy Jackson and the Olympi-ans (Disney Hyperion Books). In February 2010, Twentieth Century Fox released the motion picture, Percy Jackson and the Olympians, The Lighting Thief, based on a book from this series.

This summer, the OMA is hosting an exhibition of works by the award-winning illustra-tor and writer, whose work has been captivating young audienc-es since 1992, when he published his first children’s book, Alice, an interpretation of Alice in Won-derland, as retold by actor and comedian, Whoopi Goldberg.

Rocco, who grew up in Bar-rington, RI, and studied illustration at the Rhode Island School of Design and School of Visual Arts in NYC, worked for a number of years in the entertainment industry before fully focusing his talents on children’s books. At Walt Dis-ney Imagineering, he designed attractions for Disney’s Epcot theme park and also served as


SPOTLIGHT{ J O H N R O C C O }

E x h i b i t i o n

From Alice to Zeus: The Art of John Rocco

On view July 14th through October 28th at the Orlando Museum of Art

www.omart.org

art director for DisneyQuest, an interactive theme park in Down-town Disney. At Dreamworks, Rocco was the pre-production art director for the top grossing animated film, Shrek, where he produced hundreds of illustra-tions that helped animators cre-ate the final look of the film.

In 2005, Rocco wrote and illustrated Wolf! Wolf!,*

which won several awards, including Borders’ Original Voices Award for best picture book. Artwork from his next book, Moon-powder,* was in-cluded in the Orig-inal Art Show at the Society of Illustra-tors, NYC, and was selected for a special nationwide traveling exhibition. The fall of 2009 marked the release of Fu Finds the Way,* a modern para-ble full of adventure, heart, hu-mor—and finding joy in simple tasks. Blackout,* written and il-lustrated by Rocco in 2011, was selected as a Caldecott Hon-

or Book in 2012, and explores how the absence of electricity can reconnect families.

Rocco’s exhibit at OMA in-cludes preparatory sketches to finished drawings, giving view-ers a chance to see how his il-lustrations evolve. He believes in encouraging young people

to be creative and to try new things with-out the fear of fail-ing. This lesson can be seen in the many preliminary draw-ings that eventually lead to a published book. During his OMA appearance at noon on July 14th, Rocco will make a presenta- tion demonstrating his process, which

involves both traditional and computer-based media. He will also be available for book sign-ing. A reading area with books featured in the exhibition and in-teractive gallery activities will be available for visitors as well. To see more of the artist’s work, visit: www.roccoart.com. On View

opposite page : Cover image

for The Lost Hero (Heroes of Olympus,

Book 1), written by Rick Riordan,

©2010 John Rocco

Above & below:

1. Cover image for The Lightning

Thief (Percy Jackson and the

Olympians, Book 1), written by Rick

Riordan, Published by Disney

Hyperion Books, ©2006 John Rocco

2. Alice, 1991, written by Whoopi

Goldberg, ©1991 John Rocco

left: John Rocco, photo by Denise

Rocco-Zilber

*(DISNEY HYPERION BOOKS)

S P O T L I G H T

John Rocco CAPTIVATES

young audiences WITH

his fantastical ILLUSTRATIONS.

R I C K B E C K C R E A T E S sculptures in glass that are full of surprises, despite seeming familiar. His art often takes the form of familiar objects such as tools, kitchen implements and at times, human figures from histo-ry. He is best known for his cast glass sculptures of mechanical objects such as saws, knives and spoons, often in deep and vibrant hues—and generally a few feet larger than the objects that in-spired them. By enlarging ev-eryday forms and transforming them into sculptures in glass, he reveals their unexpected beauty.

Beck’s works are a fascinating blend of industrial strength with subtle form and delicate color. While some art historians have noted parallels between Beck’s witty sculptures and works of art by Marcel Duchamp, who took everyday objects such as shov-els and coat racks out of con-text and redefined them as art, it is the pure beauty and sensuali-ty of Beck’s medium, richly col-ored glass, that marks a clear dis-tinction between the two.

Form, Color, Light, at the Vero Beach Museum of Art,


FOCUS{ R I C K B E C K }

E x h i b i t i o n

Form, Color, Light: Cast Glass by Rick Beck

On view June 23rd-October 14th at the Vero Beach Museum of Art

www.verobeachmuseum.org

includes a range of work pro-duced by the artist over the last decade, from large floor pieces to small pedestal sculptures in translucent colors. According to art critic Anna Starling, Beck “wants to engage the viewer with the simplicity of his subject matter, hoping to inspire further observation and interpretation.”

Beck begins the process of creating his glass sculptures using clay forms to produce a plaster/ silica mold in which he melts recycled glass, fired to 1,650 degrees Fahren-heit. Once the mol-ten glass takes the shape of the mold, it can take weeks to cool to room temperature. He then grinds and textures the sur-face, with little or no polishing.

In 1978, Beck received his BA in Art from Hastings College in Hastings, NE, and his MFA in 1986 from Southern Illinois Uni-versity at Carbondale. In 1989, Beck moved to the Appalachian Center for Crafts in Smithville,

TN. Following a two-year resi-dency there, he moved to Pen-land School of Crafts in North Carolina for a three-year resi-dency before settling in Spruce Pine, North Carolina, where he and his wife, Valerie, have lived and worked for more than 20 years. Together they have produced work that has been

shown throughout the US. In 1991, the Becks were among just 100 glass art-ists selected by the Corning Museum of Glass to be pub-lished in the pres-tigious New Glass Review 12.

The Becks’ work has been featured six times in Amer-

ican Craft Magazine, as well as Glass Magazine. Their sculptures have been exhibited at the Mint Museum of Art in Charlotte, NC, the Society of Arts and Crafts in Boston, the Kentucky Muse-um of Art and Design in Louis-ville, the Glasmuseum in Den-mark, and in numerous galleries throughout the country. On View

opposite page

(Left to right):

1. Indigo Icarus*, 2008,

cast glass, 70.5 x 18 x 12”

2. Yellow Odalisque*

(in collaboration with sculptor

Bill Brown Jr.), 2011,

cast glass, 63 x 13.5 x 13.5”

3. Backscratcher*, 2005,

cast glass, 91 x 12 x 18.5”

Above (top to bottom):

1. Reclining Monarch*, 2008/9,

cast glass, 72.5 x 42 x 12”

2. Clear Composition*, 2008,

cast glass, 70 x 21 x 14”

*COLLECTION OF THE ARTIST;

PHOTOGRAPHY BY DAVID H. RAMSEY

left:

The artist at work

F O C U S

Rick Beck’s sculp-tures REVEAL

UNEXPECTED BEAUTY in

everyday forms.

CHICAGO HAS IT ALL—from cutting-edge architecture, legendary blues, scrumptious dining and lavish shopping, to world-class museums, lakeside views, glorious parks, major-league baseball and side-splitting improv…oh, and don’t forget the deep-dish pizza! Chicago’s great magic lies in its mix—and although a bustling city, it is also serene, sophisti-cated and friendly, and it offers a stunning year-round array of things to see and do that are unique in all the world.

Among its many attractions, Chicago’s great diversity is apparent in its amazing museums. It is home to an impres-sive range of world-class art. On the following pages On View presents a brief overview of some of the city’s premier venues including the Chicago Cultural Center, Loyola University Mu-seum of Art, Mary & Leigh Block Museum of Art, Museum of Contemporary Art, Museum of Con-temporary Photography, National Museum of Mexican Art, Smart Mu-seum of Art, and The Art Institute of Chicago. On View

ChicagoThe museums. . .

VonD E S T I N A T I O N

iew


Osaka Gardens, © City of Chicago / GRC; postcards courtesy of www.ChicagoPostcardMuseum.org

Chi

cago

Chi

cago

Chi

cago

A “ P E O P L E ’ S P A L A C E , ” the Chicago Cultural Center celebrates the arts, education, Chicago and the world. People of all definitions, from near and far, come here to enjoy a multitude of exciting and free art exhibitions, music, dance, theatre, film and family events.

The landmark building, con-structed over 100 years ago as the Chicago Public Library and a Civil War memorial, features both Greek-inspired and Roman-inspired archi-

tectural elements and orna-mentation.

The building is most nota-bly home to two magnificent stained-glass domes—the world’s largest Tiffany dome, measuring 38 feet in diameter, with approximately 30,000 pieces of glass as well as a Renaissance patterned dome, designed by Healy & Millet, measuring 40 feet in diameter, with approximately 50,000 pieces of glass. The building’s beauty has been preserved through the years by meticu-lous restoration and is consid-ered one of Chicago’s premier destinations. On View

A

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

Chicago Cultural Center

CHICAGO CULTURAL CENTERwww.chicagocultural center.org

78 E. Washington St., Chicago, IL312.744.6630

Info

CLOCKWISE FROM

TOP RIGHT:

1. oculus of tiffany

stained-glass dome

(detail), Michael

Beasley Images

2. preston bradley hall

with tiffany dome,

Hedrich Blessing

Photographers

3. a view of the

Chicago cultural

center’s exterior,

Hedrich Blessing

Photographers

images ©City of

Chicago / GRC


ChicagoC

hicagoChicagoO n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 2 111

A B R I L L I A N T G E M O F Chicago’s museum scene, Loyola University Museum of Art (LUMA), was founded in 2005 on the Water Tower Campus of Loyola University Chicago. LUMA is located on the Magnificent Mile at the Water Tower in Lewis Towers, a historic 1927 Gothic Revival building. The Museum con-tains eight main exhibition gal-leries, a lecture hall, library and museum store.

LUMA is dedicated to the

exploration, promotion and understanding of art and artis-tic expression, and attempts to illuminate the enduring spiri-tual questions and concerns of all cultures and societies.

The Museum displays rotat-ing exhibitions and perma-nent collections, including the Martin D’Arcy Collection of medieval, Renaissance and Baroque art. Stunning ivories, enamels, painted sculpture and works by masters, such as Tintoretto and Bassano, are among the collection’s most important objects. On View

ACLOCKWISE FROM TOP:

1. THE WAY TO CALVARY,

16TH CENTURY, FOLLOWER OF

HIERONYMUS BOSCH

(NETHERLANDISH, 1450-

1516), OIL ON PANEL,

GIFT OF SPENCER SAMUELS

2. SCENES FROM THE LEGEND

OF DAVID AND GOLIATH,

FLORENTINE, CA. 1450,

TEMPERA ON PANEL

3. ERA & DONALD

FARNSWORTH, DHARMAKAYA,

2004, JACQUARD TAPESTRY,

COTTON, 116 x 79”

IMAGES COURTESY OF

THE MUSEUM


Loyola University Museum of Art

LOYOLA UNIVERSITY MUSEUM OF ARTwww.luc.edu/luma

820 N. Michigan Ave.Chicago, IL312.915.7600

Info

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M A R Y & L E I G H B L O C K Museum of Art, Northwest-ern University, is the fine arts museum of Chicago’s North Shore. A permanent collection, consisting primarily of works on paper, distinguishes the Block as an important reposi-tory of original works of art.

The museum currently has nearly 5,000 pieces in its collec-tion, which includes a remark-able sampling of old master to 19th century prints and draw-ings, modern and contempo-

rary prints, photographs and architectural drawings. Stuart Davis, Albrecht Dürer, Jasper Johns and Rembrandt are just a few of the artists represented.

An integral part of the Museum’s indoor and out-door environments is the sculpture collection. A tour of the sculpture garden includes works by Hans Arp, Barbara Hepworth, Joan Miró and Henry Moore. On View

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Mary & Leigh Block Museum of Art

MARY & LEIGH BLOCK MUSEUM OF ARTwww.blockmuseum.northwestern.edu

40 Arts Circle DriveEvanston, IL847.491.4000

CLOCKWISE FROM TOP:

1. museum exterior

2. Marion Mahony Griffin,

drawing of eucalyptus,

ink-on-silk

3. Mary Cassatt,

In the Omnibus, 1890–91,

color aquatint,

soft-ground, and

drypoint on light

cream laid paper,

Mary & Leigh Block

Museum of Art,

Northwestern University,

Gift of James and

Anne DeNaut

IMAGES COURTESY OF

THE MUSEUM


Info

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hicagoChicago

LOCATED IN THE HEART of downtown Chicago, the Museum of Contemporary Art (MCA) has outstanding exam-ples of visual art, from 1945 to the present, with a strong focus on surrealism, pop art, minimal-ism, conceptual art and con-temporary painting, sculpture, photography, video, installation art and related media. Its collec-tion includes works by Alexan-der Calder, Jeff Koons, Rene Magritte, Claes Oldenburg and Andy Warhol.

The MCA was established in 1967 and moved to its pres-ent location in 1996. The five-story limestone and aluminum structure was designed by Ber-lin architect, Josef Paul Klei-hues, and contains 45,000 sq. ft. of gallery space, making it the largest institution devoted to contemporary art in the coun-try. An architectural highlight is the Museum’s main stairway, which combines clean lines and organic form. The museum has a shop featuring one-of-a-kind items and a café overlooking a sculpture garden. On View

CLOCKWISE FROM TOP:

1. JEFF KOONS, RABBIT,

1986, STAINLESS STEEL,

41 x 19 x 12”, PARTIAL

GIFT OF STEFAN T. EDLIS

AND H. GAEL NEESON

2. A VIEW OF THE MUSEUM’S

MAIN STAIRWAY

3. RENÉ MAGRITTE (1898-

1967), LES MERVEILLES

DE LA NATURE (THE WONDERS

OF NATURE), 1953, OIL

ON CANVAS, 30 1/2 x 38 5/8”,

GIFT OF JOSEPH AND

JORY SHAPIRO

IMAGES COURTESY OF

THE MUSEUM


Museum of Contemporary Art,

Chicago

MUSEUM OF CONTEMPORARY ART, CHICAGOwww.mcachicago.org

220 E. Chicago Ave.Chicago, IL312.280.2660

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C H I C A G O ’ S M U S E U M O F Contemporary Photography is the only museum in the Mid-west with a sole focus on the medium of photography. The Museum constantly seeks out local and international talent. By presenting projects and exhibi-tions that embrace a wide range of contemporary aesthetics and technologies, the museum pro-motes a greater understanding of and appreciation for the cultural, social and political implications of the image in our world today.

The Museum’s collections uniquely illustrate the diversity of regional, national and inter-national photographic practice. The permanent collection is comprised of more than 10,000 photographs and related objects produced since 1936, including works by Ansel Adams, Henri Cartier-Bresson, Julia Margaret Cameron, Walker Evans, Irving Penn, Aaron Siskind and Victor Skrebneski. The Midwest Pho-tographers Project is a rotating archive of contemporary works by artists living and working in the Midwest. On View

C CLOCKWISE FROM TOP:

1. MICHAEL WOLF,

THE TRANSPARENT CITY 06,

(DETAIL), 2008, CHRO-

MOGENIC DEVELOPMENT

PRINT, MUSEUM PURCHASE

2. JOHN OPERA, UNTITLED

(FLAME IN WATERFALL),

2006, ARCHIVAL INKJET

PRINT, MUSEUM PURCHASE

3. DOROTHEA LANGE,

MIGRANT MOTHER, NIPOMO,

CALIFORNIA, 1936,

GELATIN SILVER PRINT,

GIFT OF SONIA BLOCH

IMAGES COURTESY OF

THE MUSEUM


Museum of ContemporaryPhotography

MUSEUM OF CONTEMPORARY PHOTOGRAPHYwww.mocp.org

600 S. Michigan Ave.Chicago, IL312.663.5554

Info


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hicagoChicago

THE NATIONAL MUSEUM of Mexican Art (NMMA) carries the unique distinc-tion of being one of the most prominent institutions for Mexican art and culture in the US, housing one of the larg-est collections of Mexican art, including textiles, folk art, paintings, sculptures, photog-raphy and more.

The Museum is dedicated to stimulating and preserving knowledge and appreciation of Mexican culture from ancient

times to the present, and show-ing how it has manifested itself on both sides of the border.

The current collection includes more than 7,000 ob-jects, featuring prominent works by Mexican artists and artifacts from Mexican history. The permanent exhibit, Mexi-canidad: Our Past is Present, explores the history of Mexico in five stages: Pre-Cuauhtémoc Mexico, Colonial Mexico, Mexico from Independence to Revolution, Post-Mexican Revolution to Present-day Mexico and The Mexican Experience in the US. On View

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

National Museum of Mexican Art

NATIONAL MUSEUM OF MEXICAN ARTwww.nationalmuseum ofmexicanart.org

1852 W. 19th St.Chicago, IL 312.738.1503

Info

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CLOCKWISE FROM TOP:

1. ALFREDO ARREGUIN,

CORRIDOS DE MI TIERRA (DETAIL),

2004, OIL ON CANVAS

2. HEAD FRAGMENT WITH

SMILING FACE, REMOJADAS,

LATE CLASSIC (600–900 C.E.),

EARTHENWARE, GIFT OF

THE SNITE MUSEUM OF ART,

UNIVERSITY OF NOTRE DAME

3. ART DIRECTION BY

SANTOS MOTOAOPOHUA DE

LA TORRE DE SANTIAGO,

EL NUEVO AMANECER (DETAIL),

2003, CHAQUIRA BEADS

IN CAMPECHE WAX ON WOOD,

94 3/4 x 118 3/4”, PHOTO:

MICHAEL TROPEA

ALL WORKS FROM THE

NATIONAL MUSEUM

OF MEXICAN ART

PERMANENT COLLECTION

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F O U N D E D I N 1 9 7 4 W I T H a gift from the Smart Fam-ily Foundation and designed by the renowned architect, Edward Larrabee Barnes, the Smart Museum of Art houses a permanent collection of over 10,000 objects, spanning five millennia, of both Western and Eastern civilizations.

Particular strengths of the collection include European and American modern and contemporary works, East Asian art and works on paper

from all periods. Highlights from the collection include ancient Greek vases, furniture, medieval sculpture, Old Mas-ter paintings and Tiffany glass. Works by artists such as Ansel Adams, Degas, Matisse, Henry Moore, Diego Rivera, Rodin, Mark Rothko and Frank Lloyd Wright are represented.

Stop off in the quaint Muse-um Café for a repast during your tour. In the summer, you can dine outdoors in the Eden Sculpture Garden. On View

FCLOCKWISE FROM TOP:

1.FRANK LLOYD WRIGHT

(1867-1959), DINING

TABLE AND SIX SIDE CHAIRS,

55 5/8 x 96 1/4 x 53 1/2”,

TABLE: OAK, LEADED

COLORED AND OPAQUE

GLASS, CERAMIC; CHAIRS:

OAK WITH (REPLACEMENT)

LEATHER SLIP SEAT,

UNIVERSITY TRANSFER

2. BARBARA HEPWORTH

(1903-1975), CURVED FORM

(WAVE II), 1959, 15 3/4 x

18”, PAINTED CAST BRONZE

WITH STEEL RODS, THE

JOEL STARRELS, JR.

MEMORIAL COLLECTION

3. HENRY MOORE (1898-

1986), TWO FIGURES, 1939,

22 x 15”, PENCIL, CHAR-

COAL, PEN AND INK, AND

PASTEL ON WOVE PAPER,

THE JOEL STARRELS, JR.

MEMORIAL COLLECTION

IMAGES COURTESY OF

THE MUSEUM


Smart Museum of Art/University

of Chicago

SMART MUSEUM OF ARTUNIVERSITY OF CHICAGOwww.smartmuseum. uchicago.edu

5550 S. Greenwood Ave.Chicago, IL 60637773.702.0200

Info


ChicagoC

hicagoChicago

T H E A R T I N S T I T U T E O F Chicago ranks among the city’s most-visited museums and houses one of the finest art col-lections in the world, offering visitors a rich cultural experi-ence that is not to be missed.

The Institute was founded nearly 125 years ago and has grown through adversity, hav-ing originally been built on the rubble of the 1871 Chicago fires. Today, the Institute houses a myriad of exhibits and perma-nent collections which include

prints and drawings, an interna-tionally acclaimed collection of Impressionist and Post-Impres-sionist paintings, sculptures, photographs, Asian, African and American arts, architectural drawings, textiles and more.

Highlights from the collec-tion include such masterpieces as Edward Hopper’s Night-hawks, Grant Wood’s Ameri-can Gothic, Georges Seurat’s A Sunday on La Grande Jatte and Pablo Picasso’s The Old Guitar-ist, to name a few.

The museum also has an ele-gant restaurant and courtyard café (open June-Sept). On View

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

The Art Institute of Chicago

THE ART INSTITUTE OF CHICAGOwww.artinstituteofchicago.org

111 S. Michigan AveChicago, IL 60603 312.443.3600

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CLOCKWISE FROM TOP:

1. EDWARD HOPPER (1882-1967),

NIGHTHAWKS, 1942, OIL ON

CANVAS, 33 1/8 x 60”, S.L.R.

EDWARD HOPPER, FRIENDS OF

AMERICAN ART COLLECTION

2. SALVADOR DALÍ (1904–1989),

VENUS DE MILO WITH DRAWERS,

1936, PAINTED PLASTER

WITH METAL PULLS & MINK POM-

POMS, 38 5/8 x 12 3/4 x 13 3/8”,

THROUGH PRIOR GIFT OF

MRS. GILBERT W. CHAPMAN,

© 2008 SALVADOR DALI, GALA-

SALVADOR DALI FOUNDATION /

ARTISTS RIGHTS SOCIETY, NY

3. GRANT WOOD (1891-1942),

AMERICAN GOTHIC, 1930,

OIL ON BEAVER BOARD,

30 3/4 x 25 3/4”, FRIENDS OF

AMERICAN ART COLLECTION

IMAGES COURTESY OF THE MUSEUM

BRING ON THE GALLERIES! Often called the “Second City” to New York, Chicago has thriving gallery districts that prove this city to be anything but. From glass sculpture to black-and-white vintage photography to modern and contemporary painting and sculpture, Chicago’s art galler-ies feature a myriad of genres with an appeal to novice col-lectors as well as to the more seasoned.

This so-called “Second City” demonstrates that not only is it first class when it comes to the world of art, but it has a warmer, more inviting feel for visitors who appreciate art. Chicago’s galleries present the works of some of the most important and innovative artists. From the lesser known to the renowned Masters, collectors and enthusiasts of fine art can expect the best the art world has to offer.

On the following pages, On View presents a listing of Chicago’s most distinctive galleries. On View


ChicagoA gallery tour. . .

VonD E S T I N A T I O N

iew

Jay Pritzker Pavilion, © City of Chicago / GRC; postcard courtesy of www.ChicagoPostcardMuseum.org

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River North Area

ADDINGTON GALLERY

www.addingtongallery.com

704 North Wells St.

312.664.3406

Contemporary art

ALAN KOPPEL GALLERY

www.alankoppel.com

806 N. Dearborn Ave.

312.640.0730

Contemporary art

ANDREW BAE GALLERY

www.andrewbaegallery.com

300 West Superior St.

312.335.8601

Contemporary Asian art

ANN NATHAN GALLERY

www.annnathangallery.com


312.664.6622

Contemporary art

BELLOC LOWNDES

FINE ART

www.belloclowndes.com


312.266.2222

Modern & contemporary art

CATHERINE EDELMAN

GALLERY

www.edelmangallery.com


312.266.2350

Contemporary art

DAVID WEINBERG

GALLERY

www.davidweinberggallery.com


312.529.5090

Contemporary art

ECHT

GALLERY

www.echtgallery.com


312.440.0288

Contemporary Art

EXPRESSION GALLERY

OF FINE ART

www.expressiongalleries.com

708 North Wells St.

312.274.9848

19th & 20th century art

GALERY KH

http://gallerykh.com


312.642.0202

Contemporary art

GRUEN

GALLERIES

www.gruengalleries.com


312.337.6262

Contemporary art

JEAN ALBANO GALLERY

www.jeanalbano-artgallery.com


312.440.0770

Contemporary art

JOSEF GLIMER

GALLERIES

www.josefglimergallery.com


312.787.4640

Masters, modern & contemporary art

JUDY A SASLOW

GALLERY

www.jsaslowgallery.com


312.943.0530

Contemporary art

KEN SAUNDERS GALLERY

www.marxsaunders.com


312.573.1400

Glass sculpture

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


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LYDON

CONTEMPORARY

www.lydonfineart.com


312.943.1133

Contemporary art

MAYA POLSKY

GALLERY

www.mayapolskygallery.com


312.440.0055

Contemporary art

MELANEE COOPER

GALLERY

www.melaneecoopergallery.com

740 North Franklin St.

312.202.9305

Contemporary art

MONGERSON

GALLERIES

www.mongersongalleries.com

704 North Wells St.

312.943.2354

19th & 20th century and contemporary art

PERIMETER

GALLERY

www.perimetergallery.com


312.266.9473

Contemporary art

RICHARD NORTON

GALLERIES

www.richardnortongallery.com

612 Merchandise Mart Plaza

312.644.8855

19th & 20th century impressionist & modern art

ROY BOYD

GALLERY

www.royboydgallery.com

739 North Wells St.

312.642.1606

Contemporary art

SCHNEIDER

GALLERY

schneidergallerychicago.com


312.988.4033

Contemporary photography

STEPHEN DAITER

GALLERY

www.stephendaitergallery.com


312-787-3350

20th century American & European photography

VALE CRAFT

GALLERY

www.valecraftgallery.com


312.337.3525

Contemporary fine craft

ZG GALLERY

www.zggallery.com


312.654.9900

Contemporary art

ZOLLA /

LIEBERMAN

GALLERY

www.zollaliebermangallery.com

325 West Huron St.

312.944.1990

Contemporary art

ZYGMAN

VOSS GALLERY

www.zygmanvossgallery.com


312.787.3300

17th-20th century masters & contemporary art

South Loop Area, Michigan Avenue, & River East



River North Area continued...

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ATLAS GALLERIES

www.atlasgalleries.com

535 North Michigan Ave.

800.423.7635

Master prints & contemporary art

COLLETTI

GALLERY

www.collettigallery.com

102 East Oak St.

312.664.6767

Antique posters & decorative arts

DONALD YOUNG

GALLERY

www.donaldyoung.com

224 South Michigan Ave.

312.322.3600

Contemporary art

HILDT

GALLERIES

www.hildtgalleries.com

140 East Walton St.

312.255.0005

19th & 20th century British, European & American art

HILLIGOSS GALLERIES

www.hilligossgalleries.com


312.755.0300

Masters & contemporary art

OGILVIE /

PERTL GALLERY

www.opgallery.com

435 East Illinois St.

312.321.0750

Contemporary art

POSTER

PLUS

www.posterplus.com

30 East Adams St.

312.461.9277

Original vintage & fine art posters

RICHARD

GRAY GALLERY

www.richardgraygallery.com


312.642.8877

Contemporary art

ROSENTHAL

FINE ART

www.rosenthalfineart.com

3 East Huron St.

312.475.0700

20th century American

& European art

SPENCER WEISZ

GALLERIES, LTD.

www.spencerweisz.com

843 West Chicago Ave.

312.527.9420

Original European vintage posters

VALERIE

CARBERRY

GALLERY

www.valeriecarberry.com


312.397.9990

Contemporary art

West Loop, Pilsen Area & The Chicago Arts District

4ART, INC.

www.4artinc.com

1029 West 35th St.

773.254.5100

Contemporary art

CARRIE SECRIST

GALLERY

www.secristgallery.com

835 West Washington Blvd.



South Loop Area, Michigan Avenue, & River East continued...

ChicagoC

hicagoChicagoO n V i e w M a g a z i n e . c O M • J u n e / J u l y 2 0 1 2 123

312.491.0917

Contemporary art

DOUGLAS

DAWSON GALLERY

www.douglasdawson.com

400 North Morgan St.

312.226.7975

Historic & contemporary art

G.R. N’NAMDI GALLERY

www.grnnamdigallery.com

110 North Peoria

312.563.9240

Contemporary art

KASIA KAY

ART PROJECTS

www.kasiakaygallery.com

215 North Aberdeen St.

312-944-0408

Contemporary art

KAVI GUPTA

GALLERY

www.kavigupta.com


312.432.0708

Contemporary art

LINDA WARREN

PROJECTS

www.lindawarrengallery.com

327 North Aberdeen St.

312.432.9500

Contemporary art

MARS

GALLERY

www.marsgallery.com

1139 West Fulton Market

312.226.7808

Contemporary art

McCORMICK

GALLERY

www.thomasmccormick.com


312.226.6800

Contemporary art

PETER MILLER

GALLERY

www.petermillergallery.com

118 North Peoria St.

312.951.1700

Contemporary art

RHONA

HOFFMAN

GALLERY

www.rhoffmangallery.com

118 North Peoria St.

312.455.1990

Contemporary art

THOMAS ROBERTELLO

GALLERY

www.thomasrobertello.com

27 North Morgan St.

312.345.1886

Contemporary art

North, Bucktown, & Wicker Park Area

CHICAGO

ART SOURCE

www.chicagoartsource.com

1871 North Clybourn Ave.

773.248.3100

Contemporary art

MADRON GALLERY OF

AMERICAN ART

www.madrongallery.com

1000 West North Ave.

312.640.1302

Contemporary art

THOMAS MASTERS

GALLERY

www.thomasmastersgallery.com

245 West North Ave.

312.440 2322

Contemporary art On View


West Loop, Pilsen Area & The Chicago Arts District continued...

Documents

On View 06-07.2012