Curtis Weatherall (American, born 1968) Which
Way, This Way, 2003. Wood, steel, plaster and paint.
Turconi (American, born 1939)
. Acrylic on canvas.
Through September 26, 2004
Inaugurated in 1997, the underCURRENT/overVIEW
exhibition was conceived as a showcase for contemporary artists living
and working in the Tampa Bay region. The seventh installment of
the exhibition includesd 14 of the area's most innovative and cutting
edge artists of today.
The museum reviewed many submissions from artists
throughout Hillsborough, Pinellas, Pasco, Manatee and Sarasota
counties. Such a broad selection provided an opportunity to
bring together contemporary art of great quality, but also one that
represented the variety of media, subject matter and artistic
approaches that thrive in the region.
The artists featured in the exhibition were:
Wendy Babcox Tonya Clay Elizabeth Coffman and
Ted Hardin Sheryl Haler Julie Davis Dee Hood Douglas
Loewen Mark Petty A.A. Rucci John Sims Peg
Trezvant Susan Turconi Curtis Weatherall Jeff Whipple
Tampa Bay Lightning's Tim
Taylor sits in his locker gatheringhis thoughts before the start
of game three of the Stanley Cup Finals against the Calgary
Flames on Tuesday, May 25, 2004 in Calgary, Alberta. (Tampa Bay Lightning
Focused Passion -- The Tampa Bay Lightning's Quest for
the 2004 Stanley Cup Championship
September 1 - 22, 2004
A collection of 26
beautifully framed photographs by Tampa Bay Lightning team
photographer Scott Audette were exhibited at the Tampa Museum of
Art from September 1-21. These powerful off-ice photographs hae
never been seen before and represented the emotions and true
determination of the Lightning during the Stanley Cup Finals vs.
the Calgary Flames.
Audette was granted
unprecedented access to the team during the Finals in order to
capture the behind-the-scenes moments that led to the
Lightning’s rise to the top of the hockey world. From team
meetings and pre-game preparation to stitches by team doctors
during intermissions – Audette was there to capture it all both
in Tampa and Calgary .
CROSSCURRENTS AT CENTURY'S END: Selections from the
Neuberger Berman Art Collection
January 25, - April 11, 2004
(born 1967, Kaduna, Nigeria) Bath Time,
1999. Computer montage, 48 x 52 1/2" Photo
courtesy Binta Zarah Studios, Brooklyn,
NY. Neuberger Berman Art Collection.
Bevilacqua (American, born 1966) Do You Remember
the First Time? 1998. Acrylic on
Canvas. Neuberger Berman Art
Struth (born 1954, Geldem, Germany) Shibuya
Crossing,Tokyo, 1991. C-print, 74x96" Photo courtesy
Marian Goodman Gallery, New York. Neuberger
Berman Art Collection.
Crosscurrents at Century’s End:
Selections from the Neuberger Berman Art Collection was an
exceptional exhibition of 55 innovative paintings, sculptures
and photographs showcasing the range of contemporary art
produced primarily in the last five years. The exhibition
explores such themes as: the influence of popular culture; the
tradition of abstraction; the human condition; the role of
whimsy; and personal responses to social and political events.
Many of the artists whose works were on view in the exhibition
have created some of the most important contemporary art of the
Some of the artists with international reputations
represented in the exhibition included: Andreas Gursky, Vik
Muniz, Takashi Murakami, Thomas Struth, Sam Taylor-Wood, Laylah
Ali and more. One characteristic of much painting in recent
years is its relatively up-beat nature. Artists in the show who
tend toward the whimsical include Michael Bevilacqua, Sharon
Ellis, Michael Lazarus, David Moreno, and Takashi Murakami.
Whimsy also plays a role in the metaphorical images of Liza May
Post and the droll images of Vik Muniz both of whom may
challenge many preconceptions about photography.
The exhibiton included works that ranged from a fascinating
revisiting of tradition to work that appeared startlingly new.
The focus is on individual works of art rather than on the
representation of a movement or direction. This exhibition
offered visitors to Tampa Museum of Art a unique chance to see a
variety of work by many of the most exciting artists working
today. While their work has been widely seen in major galleries
and museums, this was a special opportunity to view their work
Crosscurrents at Century’s End was a collection
belonging to the Neuberger Berman Investment Corporation. Art in
the workplace has been a part of Neuberger Berman’s corporate
culture since the investment firm was founded in 1939. In 1990
Neuberger Berman began developing its own art collection,
emphasizing the work of emerging mid-career artists from around
the world and presenting their works in an enriching environment
for employees and visitors. Their collecting philosophy is
open-ended and celebrates contemporary art’s diversity with no
dominating style or media.
The exhibition was accompanied by an extensive catalogue by
Exhibition Curator, I. Michael Danoff that is still available
for purchase in the Guilders Museum Store.
WILLIE COLE: Sources & Metamorphoses
February 8 - April 4, 2004
This exciting exhibition of sculpture, photographs, and
prints by contemporary artist Willie Cole confronted and questions
issues of race, history, art history, spirituality, and consumer
consumption through the simplest of means: allusion and metaphor. Cole
began gaining national prominence as an artist in the late 1980s.
Although his subject matter and themes have evolved over time, the
artist has consistently combined elements of his personal history with
the collective history of African Americans in his work.
By carefully choosing his "signifier," Cole challenges
an object’s interpretation by twisting it into an icon of complex
associated meanings. This transfiguration requires the viewer to spend
some time looking at the objects, pondering their form and substance
in order to understand their metaphoric depth.
Photographs of old irons evoke African masks; found
bicycle parts have been reconstructed to suggest sculptures of African
antelope (quoting and punning the great 20th-century master Pablo
Picasso and his Bull’s Head); and paintings with scorched surfaces
suggest the branding of skin— in tribal scarification rituals, slavery
practices, and the current fashion of tattooing and piercing the
Such associations instill the works with numerous
references, meanings, and ways of seeing: with a sense of playfulness,
whimsicality and humor or, at times, offering more poignant commentary
on larger, unwieldy themes, such as the spiritual beliefs of the
Yoruba and Fon of West Africa or issues of race, identity, or mass
production. Ultimately, however, the strength of Cole’s work lies in
its emotional resonance and open-ended discourse, not in any exacting
Willie Cole was born in New Jersey and lives and works
there today. He attended the Boston University School of Fine Arts,
the School of Visual Arts in New York (from which he received his
B.F.A. in 1976), and the Art Students League in New York. He has won
numerous awards and grants and has exhibited his art throughout the
United States. His work can be found in numerous public collections,
including the Museum of Contemporary Art in Chicago, the Walker Art
Center in Minneapolis, the Museum of Modern Art and the Whitney Museum
of American Art in New York, and the National Gallery of Art in
Washington, DC. The artist is represented by Alexander and Bonin
Gallery in New York, and will present a talk in Tampa during the
course of the exhibition.
Local sponsor for the Willie Cole
Image above: Willie Cole
(American, born 1955), Pleasure, 2000. Porcelain and
Henri de Toulouse-Lautrec (French,
1864 - 1901), Aristide Bruant, Ambassadeurs,
1892. Color brush and tusche and spatter
lithograph. The Baltimore Museum of
Art: Nelson and Juanita Greif Gutman Collection, BMA
Toulouse-Lautrec: Master of the Moulin Rouge
November 2, 2003 - January 11, 2004
Toulouse-Lautrec: Master of the Moulin Rouge was a
showcase of daring and colorful lithographic prints and posters by Henri
de Toulouse-Lautrec, one of France’s most colorful artists and a great
modern master. Also included in the exhibit are works by
Toulouse-Lautrec’s contemporaries, many of which recount the raucous
lifestyles of artists and performers living in Montmartre, a bohemian
section of Paris during the 19th century.
Highly collectible since they were first produced, these
lithographic prints are a powerful reflection of French 19th century
popular culture— particularly the colorful entertainers, courtesans and
bon vivants of turn-of-the-century Parisian nightlife and the Moulin
Rouge. Throughout the 1890s, the theaters, newspapers and art journals of
Paris were awash in color lithographs by Toulouse-Lautrec and his fellow
artists, who saw little separation between commercial work and fine art.
Together these artists charted new ground in the exciting medium of color
The selection of 65 works, drawn from The Baltimore Museum
of Art’s extensive collection of 19th century prints, included many
well-known images, such as Aristide Bruant in His Cabaret, Jane Avril and
Divan Japonais. Additionally, works by Lautrec’s colleagues, including
Edouard Vuillard, Pierre Bonnard, Maurice Denis and Theophile Steinlein,
Born to the aristocratic family of the Counts of Toulouse,
Toulouse-Lautrec was short of stature and of limited mobility, due to a
physical malady. However, that didn’t stop him from creating some of the
world’s best known works of art. Lautrec’s art illustrated the alternative
Montmatre culture and its performers, including can-can dancer Jane Avril,
her partner "Valentin the Boneless," and Mademoiselle Eglantine (Miss Wild
Rose Flower), many of whom are featured in this exhibition.
Toulouse-Lautrec’s development of the print medium, as well
as his unconventional subject matter, inspired artists such as Georges
Rouault, Georges Seurat and Vincent van Gogh. Toulouse-Lautrec’s prolific
output diminished only with his deteriorating health: he died at age 36.
This exhibition is organized and circulated by The Baltimore Museum of
Toulouse-Lautrec: Master of the Moulin Rouge
recreated the bold and dynamic atmosphere of the French capital at the
end of the 19th century.
Voces y Visiones: Highlights from El Museo del
Barrio's Permanent Collection
Through October 19, 2003
Voces y Visiones: Highlights from El Museo del
Barrio's Permanent Collection featured 100 works of art from a variety
of media and cultures that are considered the overall “highlights” of El
Museo del Barrio’s permanent collection, which spans from pre-Columbian
artifacts to contemporary Latino works.
The variety and richness of artworks and “voices” in this
exhibition derive from El Museo del Barrio’s mission to represent and
include, beyond the founding Puerto Rican community, all the Latin
American communities that are transforming El Barrio, New York City, and
the United States at large. The exhibition featured art from Cuba,
Puerto Rico, Brazil, Mexico, Dominican Republic, Haiti, and U.S. and is
divided into eight general themes: Día de los Muertos/Day of the Dead; The
Taínos and Their Legacy; Santos & Devotional Art; Voudou & Orisha
Worship; Animals & Transformation; Patterning & Worldviews;
Politics & Art; and Abstraction & Process
and circulated by El Museo del Barrio, New York, NY
Unknown Artist, from Metepec, Mexico, Tree of
Life Candelabra (Candelabro del Arbol de la Vida) ca.
. Painted Ceramic. Gift of Margery
Nathanson. Collection of El Museo del Barrio, New
Modern Art in
Florida (1948-1970): A Climate for Contemporary – Tampa Bay
Through July 6, 2003
Guest curated by Mark Ormond, this
exhibition focused on artists who traveled to, resided in, or exhibited at
museums or galleries in Florida during the period between 1948 and
1970. Work by Syd Solomon, a resident of Sarasota since 1946, was an
important part of this exhibition as he was the catalyst for the exchange
among the other artists, most notably James Brooks, Conrad Marca-Relli,
and Philip Guston.
Picasso (Spanish, 1883-1971) Visage rieur,
1940. Gouache on paper Private Collection, courtesy Jan
Krugier Gallery, New
(Above) Manierre Dawson
(American, 1887-1969) Lucrece, 1911. Oil on
canvas Ringling Museum of Art, Purchase 1967
Solomon was involved in establishing a
visiting artists program at New College that, in its three-year existence,
brought these artists to Sarasota as workshop instructors. Also
important to the area was Chick Austin who arrived in 1946 to be the
Ringling Museum of Art’s first director. As the Tampa Museum embarks
on a major expansion it is important to look at an earlier period that
also nurtured the new and committed to the now in art. Examples of
Modernism, Surrealism, Abstraction, Collage, Pop and Realism will be part
of the exhibition.
Youth of Agrigento (about 480
BC) Agrigento Marble, East Greek Museo Archeologico Regionale di
Agrigento, inv. C 1853 Photo by Bruce White
Magna Graecia: Greek Art from South Italy and
Sicily brought masterworks of Western Greek art from eight Italian
archaeological museums to America for the first time.
colonization of South Italy and Sicily was a cultural "big bang." From the
8th through the 6th centuries BC they founded new cities similar to those
they left behind but on a grander scale. Life in Western Greece was more
exuberant, its temples bigger, and its cities more prosperous.
Interactions with local populations added to the region's
The Greeks called it "Megale Hellas" and the Romans
"Magna Graecia"-- Great Greece!
Magna Graecia: Greek
Art From South Italy and Sicily was co-curated by Aaron J. Paul,
Richard E. Perry Curator of Greek and Roman Art at the Tampa Museum of Art
and Michael Bennett, Curator of Greek and Roman Art at The Cleveland
Museum of Art in collaboration with Mario Iozzo, Director of the Center
for Conservation in Florence, and Director of the Archaeological Museum of
The spirit of American and Italian collaboration extends to
the exhibition catalogue, 18 of whose contributing authors are Italian,
and 4 American. Italian museum officials wrote object entries for the
catalogue and permitted new photographs to be taken of most of the works
in the exhibition.
The exhibition catalog is the first
English-language sourcebook for the art of Magna Graecia ($50 hardcover,
$34.95 soft cover). Catalog is available on line at the Guilders Museum
Callahan. Chicago, c. 1950. Silver gelatin
Kasten. Architecture Site 17, The High Museum, August 29,
1988. Silver dye bleach print.
Hurrell.Bette Davis, from the portfolio George
Hurrell, 1938. Silver gelatin print.
Dennis Stock. Untitled from James
Dean: A Memorial Portfolio, (1979) c. 1955. Silver gelatin
Jeanne Dunning. Hand Hole, 1994. Silver dye
Keith Carter, Atlas
Moth, 1990. Toned silver gelatin print.
Available in the Tampa Museum
Store: PHOTOGRAPHY'S MULTIPLE
ROLES This monumental book
surveys the development of postwar American
photography, and isolates four major roles of the
medium-artistic expression, journalistic documentation,
commercial industry, and scientific tool. With extensive
essays from a range of scholars and work from Arbus, Frank,
Lange, Friedlander, and many more, this book represents a
major reference work of photo history. Paberback, 11"L x 10"W,
Roles explored and
defined the various and often blurred facets of the medium as
communication and artistic expression, as a documentor of life
and the environment, as a powerful commercial industry and as
a tool of science and technology.
Included were Robert
Frank’s 1950s black-and-white commentaries on race,
relationships and public spaces (art) to Alice Hargrave’s
romantic medical imaging of gallstones in the human body
(science). Commercial photographer John McCallum’s use of
digital imaging as an alternative to darkroom manipulation
(market) is juxtaposed against Dorothea Lange’s portrait of
displaced farmers during the Great Depression
The exhibition showcased the images,
objects and installations of 170 20th century photographers
including Berenice Abbott, Harry Callahan, Robert Frank,
Diane Arbus, Larry Clark, John Coplans, Jeanne
Dunning, Nan Goldin, Alfredo Jaar, Dorothea
Lange, Annie Leibovitz, Sally Mann, Maria Martinez-Canas,
Susan Meiselas, Duane Michaels, Abelardo Morell, Patrick
Nagatani, Irving Penn, Gilles Peress, Fazal Sheikh, Sandy
Skoglund, Carrie Mae Weems and Joel-Peter Witkin,
to name a few.
RIVER MYTHS, A Gallery Installation by Therman
January 17- April 7, 2002
Stantom, Installation Views, Art of Glass, 1996. Hot glass,
flat glass, and neon. Collection of Toledo Museum of Art
Various materials including oil
painted plate glass, aluminum, and ceramics were combined and constructed
to create an experiential environment that explores the artist’s African-
and Native American ancestry, a heritage that likewise reflects the Tampa
Bay region and its populace. Visitors could actually walk through part of
the enormous display.
Statom was born in Winter Haven, Florida, and
his African-American and Seminole Indian roots are the primary
inspirational sources behind this installation which appealed to audiences
of all ages.
Statom worked with Dale Chihuly, a glass master
featured in the exhibition Craft is a Verb, while studying at Rhode Island
School of Design and Pilchuck Glass School in the 1970s. He has taken the
glass medium further by incorporating other materials along side it and by
creating large-scale installations.
Organized by the Tampa Museum of Art
The following are images of Therman
Statom at work in his California studio,
preparing a large wall panel and other objects
for the River Myths installation exhibition.
Twelve women who feel
that being blind should not impair their artistic expression
explored their creative abilities through lessons in art history,
memoir writing, and by creating different types of art.
Works in the exhibition ranged from a
collaborative clay installation, paintings inspired by the landscape
to still-life paintings, charcoal drawings, baskets, and relief
prints. The majority of the works in the show were two-dimensional,
contrary to traditional attitudes that artists who are visually
impaired only find satisfaction in three-dimensional
Organized by Cummer Museum of Art and Gardens,
Women of Vision: An Experienced in Seeing by the Visually
Ended September 15, 2002
Funding for this presentation has been