Apr 172024
 

Currently Tampa Museum of Art is showing work from Garry Winogrand’s book, Beautiful Women. The photographs are from the 1960s and 1970s and are a fascinating glimpse of this time period. His ability to find and capture these brief moments is impressive.  At the same time, some of the photos of these women feel invasive and, as said in the museum’s statement on the work below, voyeuristic.

From the museum-

Garry Winogrand was a master at photographing the unseen, extraordinary moments of everyday life. With his Leica camera, Winogrand photographed both up close and at a distance, but spontaneously as the image came together. He liked to break the rules of photography by ignoring traditional horizon lines and shooting at titled angles to create compositional allure.
Described as one of the 20th-century’s most influential street photographers, Winogrand often defied social decorum by getting into the space of his subjects – sometimes unknowingly to the person and at other times to their great annoyance. He captured life in the 1960s and 1970s in the blink of an eye, preferably with his 28mm lens which allowed more of what was in front of him to be featured in the frame. Winogrand once remarked, “I photograph to see what the world looks like in photographs.”

Women are Beautiful represents of one Winogrand’s most celebrated yet controversial artworks. His magnum opus, Women are Beautiful was first published as a book in 1975 and later printed as a portfolio in 1981. Comprised of 85 photographs, the works were shot over a ten-year period between 1965 and 1975, notably at the height of second-wave feminism and the sexual revolution, the anti-war movement, and the civil rights movement. As the title suggests, women served as the inspiration for the project. Winogrand culled images from his extensive archive that emphasized the confidence, vibrancy, and individuality of the American woman. While the photographs have been lauded as artifacts of their time, the works have also been criticized as voyeuristic and invasive to women’s privacy. Both observations deserve consideration in viewing this body of work.

The presentation of Women are Beautiful in this gallery follows the format of the book, which is now out of print. Winogrand selected the images and organized the photos without reference to subject, date, and place. Apart from the first photograph in the series, the images are presented as pairs to represent Winogrand’s book spreads. This arrangement aims to highlight how the photographer viewed and read his pictures. While women anchor the photographs, Winogrand looked at the total image-such as the other people in the photo or the quietness of solitude, the surrounding landscape, and the objects featured in the frame. At quick glance, the connections between images may not appear readily visible but it is in these photographs that Winogrand invites viewers to take a longer, closer look at the pictures. Subtle gestures such as the common angle of limbs and facial profiles, or shadows, corners, and lines – even the shared shading of a hat and tree-inspired Winogrand’s paired selections. Viewed together, the photographs reveal a deliberate sequencing and pacing, like a storyboard or film. Winogrand’s Women are Beautiful offers insight into the vantage point of one the 20th-century’s most accomplished photographers.

Below are some of the pairs from the show.

This exhibition closes 4/21/24.

Mar 222024
 

Pictured is Jacob Hashimoto’s This Particle of Dust, on view at Tampa Museum of Art through 2025.  At first glance, it may seem monochromatic, but on closer inspection the blue color and star patterns begin to emerge on the darker pieces. It also changes depending on the viewer’s vantage point and the changing natural light.

From the museum about the work-

The artist takes inspiration from cloud formations and the cosmos, with each navy blue kite featuring star-like markings. Depending on the time of day and the natural light filtering through the atrium skylights, the kites will shift in color intensity. This Particle of Dust explores the visual poetics of light and dark, color and form, as well as space and architecture.

Created from over 2,500 handmade kites, This Particle of Dust is a site-specific installation and unique to the Tampa Museum of Art’s architecture. The installation represents Jacob Hashimoto’s exploration of abstract landscape and his interest in blurring the boundaries between painting and sculpture. This Particle of Dust evokes the experience of observing the night sky through various cloud clusters. Thousands of transparent and opaque white discs hang suspended from a bespoke armature. Navy blue kites, imprinted with white and cerulean blue star patterns, hang amidst the cloud shapes and catch the light as the sun rises over the Museum and dips into the horizon over the Hillsborough River. Depending on one’s vantage point, either from the lobby, stairwell, or galleries, the experience of This Particle of Dust shifts—from below the cloudscape appears to drift into the sky while at eye-level the viewer looks directly into the stars.

Hashimoto began making kite sculptures twenty-years ago while an art student in Chicago. Inspired by traditional Chinese kite making in the city of Weifang, where the artform of sculptural dragon kites originated, Hashimoto has made hundreds of thousands of kites from Japanese paper and resin. He appreciates kites as a universal object of joy that is recognized across the globe. Transformed into monumental artworks, Hashimoto’s kites convey happiness, wonder, and serenity.

Below is Tampa Museum of Art’s video of the artist discussing this installation.

Hashimoto is also showing several wall-mounted sculptural works for his solo exhibition, Fables, at Rhona Hoffman Gallery in Chicago. It will be on view until 4/20/24.

Feb 142024
 

Esterio Segura’s Goodbye My Love, 2013, three sculptures created with fiberglass and automobile paint, are currently on view at Tampa Museum of Art.

From the museum about the work-

A new acquisition to the Museum’s permanent collection, Goodbye My Love represents Esterio Segura’s (Cuban, b. 1970) ongoing exploration of the meaning of airplanes and flight. Produced in multiple editions at different scales, this version is nearly the largest. In describing the series, Segura explained,  “In this work, the reference to the airplane hybridizes with a reference to another well-known universal symbol: a simplified image of the heart. This is fused with an easily understood title with several meanings, from the most corny and sentimental to the most controversial, from a political and social standpoint. With this work, I reference the experience of uprooting, nostalgia, memory, loss—how we experience the breakdown of everything we love.”

He discusses the work in the video below in a bit more detail.

Jan 022024
 

Frank Weston Benson, “Natalie”, 1917, Oil on canvas

Childe Hassam, “Gathering Flowers in a French Garden”, 1888, Oil on canvas

Luther Emerson Van Gorder, “In the Park”, before 1894, Oil on canvas

Tampa Museum of Art’s current exhibition, Frontiers of Impressionism: Paintings from the Worcester Art Museum, features paintings by American and European impressionists and is a lovely reminder of the extraordinary works these artists created during this time period. The enduring popularity of the impressionists throughout the years makes sense when walking among these paintings. The use of color and brush work, as well as the details and beauty of the subject matter (not to mention the wealth and comfort often depicted)- make the viewer feel like they are being transported through time to the artist’s idyllic world.

From the museum-

In 2024, the term “impressionism” celebrates its 150th anniversary. Such a significant occasion inspires reflection on the profound impact that a relatively small group of artists in Paris made by positing a new mode of painting: one that favored painting outdoors over in a studio, immediacy over planning, the everyday over the grand, and the fleeting over the eternal. In doing so, the impressionists upended centuries of traditions in European art. This exhibition explores the radical impulses behind impressionism and its seemingly endless adaptability, as artists from around the world came to Paris to study and returned to their homelands, assimilating what they had absorbed and propelling the movement further.

The Worcester Art Museum pioneered new artistic horizons by embracing impressionism early in its history. The French and American impressionism collections at the Worcester Art Museum have long drawn visitors to the galleries. The first directors purchased works by Monet from his Parisian dealer, Durand-Ruel, as well as directly from American impressionists, making the Museum one of the first in the United States to collect impressionism actively as contemporary art. Over the past 125 years, this collection has grown, encapsulating the story of the movement’s roots and emergence in France and its subsequent expansion to the United States, Germany, Scandinavia, and beyond. Highlighting more than 30 artists, including Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Mary Cassatt, Childe Hassam, and Max Slevogt, this exhibition demonstrates impressionism’s international allure, captured in subjects as far-flung as Monet’s famed Giverny lily pond to the natural wonders of the Grand Canyon.

Below are a few more selections from the show.

Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas

Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas (detail)

Paul Signac, “Golfe Juan”, 1896, Oil on canvas

Thomas Cole, “View on the Arno, near Florence”, 1837, Oil on canvas

Lovis Corinth, “Vordem Spiegel (At the Mirror)”, 1912, Oil on canvas

John Singer Sargent, “Katherine Chase Pratt”, 1890, Oil on canvas

About the unfinished painting above (from the museum)-

A successful society portraitist, Sargent painted the elite from his international social circles. In June 1890, Sargent visited Worcester, Massachusetts, where he was inundated by requests for portraits. The sitter’s father, Frederick Pratt, a noted collector and eventual acting director of the Worcester Art Museum (1908 and 1917), became friends with the artist and invited him to return a few months later to paint his daughter, Katherine- although the idea for Katherine’s portrait originated in Sargent’s first trip to Worcester, when he had made a sketch of hydrangeas. Sargent’s vision of Katherine against a backdrop of flowers, however, proved less than satisfactory for his client and he abandoned the painting for another, more formal depiction. As an unfinished work, this painting reveals the immediacy of Sargent’s process, with careful attention to broad swaths of color and patterns in the brushwork to convey flower petals or folds of clothing.

This exhibition will be on view until 1/7/2024.

Dec 072023
 

In the Deep Space of the Sea I Have Found My Moon by Ales Bask Hostomsky aka BASK was created for the 2020 edition of the SHINE Mural Festival in St. Pete, Florida.

You can also see his work at his exhibition B.A.S.K.: Because Art Should Kill at The University of Tampa’s Scarfone/Hartley Gallery, on view until 12/15/23.

Nov 292023
 

Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum-

“The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, detail

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

 

 

Nov 282023
 

Lisa McCarthy “Joy Ride”, 2023, mixed media on paper (left) and Georgia Vahue, “Peacock”, 2023, mixed media

(clockwise from upper left) Georgia Vahue “Isn’t it Romantic”, 2022-3 mixed media; Lisa McCarthy “Awkward Attachment”, 2023, mixed media on canvas; Georgia Vahue “Time to Finish My Hand”, 2023, mixed media; Lisa McCarthy “Shot Gun”, 2023, mixed media on paper

Lisa McCarthy “All the books I bought and never read”, 2023, mixed media on paper (left) and Georgia Vahue “Turquoise”, 2023, mixed media and “Las Vegas”, 2023, mixed media

Clockwise from left- Georgia Vahue’s mixed media works- “Felicitations” 2023, “Travel Log”, 2023 and “Robert Browning”, 2023

Currently on view at HCCFL’s Gallery 221, located on their Dale Mabry campus, is Leftovers- assemblages by Georgia Vahue and mixed media paintings by Lisa McCarthy.

From the artists about the exhibition-

Things that are “left over” in our lives speak to our priorities. Regardless of their composition, the fact that something remains after a time can elicit strong reactions of nostalgia or urgency. Whether they are collectibles, old books, identities, leftover meals, or simple mementos, these things can be prized just as easily as they can be neglected. Even though tastes and perceptions change over time, we find ourselves drawn to the past for novelties and material to create with something new.

Leftovers are a loaded source, full of possibility and untapped potential. Their hold on us can remain for one second, a minute, an hour, day, or century. As leftover items sit, hide, or are abandoned for whatever reason, they mature into something else. In the context of art, the act of examining these elements closer, again and again, makes the artist aware of qualities one did not see or appreciate beforehand. Only with this careful attention can we help these leftovers transition into the future.

Although very different in medium, the works play off each other well, creating interesting conversations between the pieces. McCarthy has even created drawings on the pedestals based on objects and elements from Vahue’s work.

The closing reception for the exhibition on Thursday (11/30/23) will include an artist talk beginning at 6pm.

Below are additional paintings by McCarthy including the incredibly detailed wall length mural.

Lisa McCarthy “Enter Here”, 2022, mixed media on mylar

Lisa McCarthy “Enter Here”, 2022, mixed media on mylar (detail)

Lisa McCarthy, “Bon Marché”, 2023, mixed media on paper

Lisa McCarthy “Passers by the window”, 2023, oil and acrylic on canvas

Nov 092023
 

The University of Tampa’s Scarfone/Hartley Gallery is currently showing the creatively displayed B.A.S.K.: Because Art Should Kill, work by Aleš Bask Hostomsky aka BASK. The exhibition also allows visitors a chance to participate by adding their own marks to a wall in the show.

From the gallery-

Known for his iconomorphic revisitation of contemporary images, BASK’s work highlights the transformative ability of hybridization. Offering layered deconstruction and reconstruction, each piece pushes viewers to look anew at culturally infused images and text, in order to consider what they say about the viewer and the culture that developed them.

BASK’s bricolage style takes the known and familiar, the distressed and destroyed, and merges them to create windows through which visitors can explore places of unanchored interpretations and ask a multitude of questions of the piece and of their interpretations.

This exhibition closes 12/15/23.

 

Nov 042023
 

Jenn Ryann Miller’s charming creations, seen above, are currently on view at Tempus Projects in the Kress Contemporary building in  Ybor City for her solo exhibition, Hobby House.

From the gallery-

Hobby House– where art meets self-indulgence, subversion meets humor, and creativity meets absurdity. With ceramics, sterling silver, a little photography and a lot of gemstones Hobby House presents objects that are meticulously crafted for no good reason other than looking fabulous. Hobby House contemplates the places and practices of art making with humor, irony, and a little wit.

Jenn Ryann Miller explores materiality and aesthetics through sculpture and painting. With a background in functional ceramics, her work subverts tradition and process through the experimentation with oblique materials and forms. Miller has been part of numerous solo and group exhibitions in Florida and the United States. Originally from Connecticut, she received a BFA from the University of Connecticut and MA from the University of South Florida. Miller currently teaches ceramics at the University of South Florida.

In another of the Tempus Projects gallery spaces is Justin Myers‘ exhibition, What Did We Use To Say, seen below, which uses collage along with a video and sound installation to explore the concept of memory.

From the gallery and artist-

What Did We Use To Say? Trying to remember things from the past from distorted and fragmented memories. Is that really how it happened? With intention, the mind has the ability to erase just as easily as it does create. The mind decides what stays and what gets purged for the new. Are you in control? Or is the subconscious doing as it pleases? In this work, I explore deconstruction, recomposition, and sampling, and their impact on memory and perception.

Justin Myers, a Tampa Native, is a member of music projects Justin Depth, Alien House, and Diamond Man. He also is the co-founder of Tampa-based record label, Image Research Records.

Justin studied printmaking at HCC in Ybor City and began experimenting with sculpture and installation-based works during his time there. Myers finds inspiration from discarded imagery, random thought, and spontaneous actions. Over the last 10 years, Myers has participated in numerous exhibitions at Tempus Projects, including the T-shirt shows, Mix Tape Show, Return to Sender, and an offsite window installation as part of a partnership with Downtown Tampa and more. In 2020, Myers partnered with his brother, Jeremy Myers on a virtual exhibit with Tempus Projects titled, “One Day of Perfect”. Justin has been involved with Tempus Projects since his music project Alien House made its debut performance in November of 2011.

Both of these exhibitions are on view until 12/14/23.

Oct 282023
 

Photographs by Jerry Uelsmann (left) and Herb Snitzer (right)-“Bette II”, top and “Tennessee Williams”, bottom)

Photographs from the International Photography Competition

Continuing from the previous post about the Ybor Arts Tour, there are three venues that were part of the tour that are also worth highlighting.

The Florida Museum of Photographic Arts (FMoPA) is showing some impressive photography in their new Ybor City space. On one side of the museum is Icons of Black and White, a selection of over 60 fine art photographs, by some of the most famous photographers in history including Ansel Adams, Dorothea Lange, Edward Weston and more. This show will be on view until 12/3/23.

In the FMoPA Community Gallery are the winning photographs from the 2023 International Photography Competition, previously on view at The Tampa International Airport. This exhibition closes 10/28/23.

Kaitlin Crockett of Print St. Pete, “Why?” letterpress monoprint (left) and Chris Sellen/ Kaitlin Crockett, “It’s Only A Matter of Time”, risograph print

Mia Makes It, “[redacted]”, risograph print, and “Molecular Anxiety”, linocut on fabric

The Bricks is a restaurant in Ybor City that also has an event space. For the Arts Tour the space turned into a gallery for Print Mode (2) a selection of work by Tampa Bay printmakers. That show will be up for a few more weeks.

Marcolina’s (seen below) is a relatively new gallery currently showing the group exhibition EDEN: Beyond Paradise until 11/30/23. Check out their Instagram and Facebook to see upcoming events like Nude Model Life Drawing (every third Wednesday) and Deidre Kling’s “The Haunted Flesh” Photography Book Release on 10/28.