“Fluorescent Dwarf”, 2017, Acrylic and water based aerosol on wood panel, pattern traced from found branch with wood boring beetle larvae trails (the source branch is on display directly to the left)
“The Expanding Universe”, 2017, Hand cut (jigsaw) plywood, water based spray, nails, pattern traced from found branch with wood boring beetle larvae trails
“Transcend and Include”, 2019, Wood boring beetle larvae paths traced from a dead cedar tree hand-cut from re-purposed Aluplast, water based spray
Community Foundation Tampa Bay works to match people and organizations with the resources they need to carry out projects that make a positive impact on local communities. In their space in St. Pete they also exhibit work by local artists. Currently on view are selections from Kenny Jensen’sPaths of Consumption series.
From the artist about this work-
As a Florida native who spent much of my childhood outdoors both in the city and the country, I have always had an essential connection to our unique natural environment. This relationship has steadily deepened over the years through my evolving art practice, and related ecological research. Becoming a parent has also raised the stakes and heightened my ecological awareness and concern. As a result there is a tension present in my work – An earnest desire to share the wonder and mystery I continually encounter in common, overlooked nature while also expressing grief and frustration over what is actively being lost.
All of the work on display here is a part of an ongoing environmentally focused sculpture project entitled Paths of Consumption which recreates found patterns eaten out of by various insect larvae at exaggerated scale and with a full spectrum of layered hues. This series is a meditation on our consumption of the natural environment. The inverted insect paths act as a kind of metaphorical map to guide us to reflect on our own record of consumption as we develop and grow, both as individuals and as a society.
Also on view at the gallery are digital works from Nick Davis’sBlack is Beautiful series. Sadly, Davis passed away in December of 2022.
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
It was recently announced that Gibson was selected by the U.S. State Department to represent the country at the 2024 Venice Biennale. He is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, and will be the first Indigenous artist to have a solo exhibition in the U.S. Pavilion at the event.
The artist’s statement about the work from the Desert X site-
ALIVE! is a found object ready made sculpture altered with paint and text that reads: I am alive! You are alive! They are alive! We are living!
I chose to work with a wind turbine blade because of how it alters one’s perceptions when they look out across the desert landscape. They are enormous and when viewing one up close you get a sense of the expansiveness of the desert landscape that they occupy. They are also really beautiful in form and their shape reminds me of something like a wing, a fin, or a bone from a massive whale. The text references the people who live in Palm Springs and the original indigenous people who occupied this land and their belief that the landscape is living.
The images above are from SUPERFLEX: This Is The Tip Of The Iceberg,GENERATOR: USF Contemporary Art Museum’s inaugural exhibition. The two part exhibition includes a sculptural installation and the mesmerizing interactive animation Vertical Migration, in which viewers encounter a siphonophore that reacts to their movements.
From the gallery about the exhibition-
This Is The Tip Of The Iceberg emerges from SUPERFLEX’s in-depth research into the deep sea, biodiversity, and the climate. The exhibition immerses viewers in two parallel and interconnected realms, separated by a curtain which acts as an imaginary filter between land and sea. Passing through the curtain brings visitors from a terrestrial space unsettled by rising water to the ocean’s dark depths, to meet one of the most important cleaners of the ocean, the siphonophore. Relatives of the jellyfish, siphonophores bring between two and six billion tons of carbon a year from the surface down to the seabed, where it is stored. This Is The Tip Of The Iceberg offers an opportunity to encounter this unfamiliar species, prompting reflection on the impacts and consequences of climate change, especially relevant to Florida and its coastal communities, and encouraging humans to imagine a future defined by interspecies living and ecological coexistence.
For a more detailed discussion of the work, the gallery has created an exhibition catalogue that can be viewed online or downloaded as a pdf.
Vertical Migration was originally created in 2021 by SUPERFLEX for ART 2030 and was projected on the United Nations Secretariat Building in NYC during the 76th United Nations General Assembly.
The sea is not an abyss. It teems with an almost unimaginable array of life. Every night, the largest biological migration on Earth takes place, as trillions of creatures travel closer to the surface to feed. Some of these animals, like shrimp, are well-known. Others, like siphonophores—relatives of jellyfish—are unfamiliar: varying wildly in size, from the slightness of a fingernail to the length of a whale, they look like nothing that we find on land.
How does it feel to be one of these creatures? To explore this question, SUPERFLEX designed a computer-generated siphonophore and created an animated film, Vertical Migration, depicting its ascent. At first, the film mechanically circles the creature, getting closer and closer while giving the audience a view of it from all angles. But eventually the perspective shifts, the camera’s movements become more fluid, and the viewer sees the world from the perspective of the siphonophore.
Unsettling our perceptions of scale and otherness, Vertical Migration is an intimate encounter with a life form that bears no resemblance to human beings, though we share a planet, an ecosystem, and a future. Because of sea-level rise, humans will also be migrating vertically in the coming centuries, to higher elevations and raised buildings. The siphonophore’s story is our story. Though we can never experience its journey through the pitch-black ocean depths, we can shift our perspective to recognize that we’re connected, that our actions affect each other, and that we share a common fate.
For a look at the work in motion, below is the trailer from ART 2030.
About SUPERFLEX from their website-
SUPERFLEX was founded in 1993 by Jakob Fenger, Bjørnstjerne Christiansen, and Rasmus Rosengren Nielsen. Conceived as an expanded collective, SUPERFLEX has consistently worked with a wide variety of collaborators, from gardeners to engineers to audience members. Engaging with alternative models for the creation of social and economic organisation, works have taken the form of energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, and public spaces.
Working in and outside the physical location of the exhibition space, SUPERFLEX has been engaged in major public space projects since their award-winning Superkilen opened in 2011. These projects often involve participation, involving the input of local communities, specialists, and children. Taking the idea of collaboration even further, recent works have involved soliciting the participation of other species. SUPERFLEX has been developing a new kind of urbanism that includes the perspectives of plants and animals, aiming to move society towards interspecies living. For SUPERFLEX, the best idea might come from a fish.
This past weekend was Studio Waltz, an annual artist studio tour that takes place around Dunedin and Palm Harbor. One of the stops was The Mosaic House of Dunedin.
Carol Sackman and Blake White’s magical home has so much going on you almost don’t know where to look first. The couple teach classes from November thru April and can be contacted for tours of their home.
The Mosaic House was also featured in a gallery exhibition at the Dunedin Fine Art Center last year.
Spotted while at their home was a mural, pictured below, by former local artist Jennifer Kosharek, pictured below. She recently relocated to Alaska.
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.
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.
The Ybor City Arts Tour was last week and was a great way to check out the many spaces currently in the Ybor City area. The Kress Contemporary building with its multiple galleries, artist studios, performance space (The Fringe Theatre), and microcinema, was definitely a highlight.
The above images are of sculptural work by Edgar Sanchez Cumbas (he was also in the Department of Contemporary Art group show in the same building). It is just one of the rotating works you can find while walking around the space.
Below are some selections from the event.
Kim Radatz opened her space, currently showing an installation focused on the “C” word.
Screen Door: An Ybor City Microcinema is always showing interesting films from a variety of genres. Pictured are the seating area and the movie posters lining the hallway outside of the film viewing area. For the art tour they were showing past Flex Fest short films.
On the third floor are a large group of artist studios with several walls hanging work by many of the artists.
Self taught painter Karol Batansky just moved in to her new studio from the Ybor Art Colony which is closed while currently being renovated.
Mixed media artist Chase Parker makes a variety of work, including the unique sculptures pictured above.
Ron Watson creates highly detailed drawings at his Shades of Gray Studio.
Below is one of the common spaces filled with work by a selection of artists. It’s always worth a trip up from the 2nd floor galleries even if most of the artists are not in their studios to see what’s new.
Anthony Freese “State of Emergency”, 2023 vinyl and “Termination”, 2023 3D print
(L to R) Jay Giroux “Slow Burn”, 2023, waterborne acrylic on aluminum sign panel mounted to MDF; Ryan Lagasse, “This Isn’t Sunshine”, 2023, acrylic on wood; Blake Bailey, “Solar Pressure”, 2023, linocut relief print
Ryan Lagasse “This Isn’t Sunshine”, 2023, acrylic on wood
Jay Giroux, “Drug Store”, 2023, acrylic on primed MDF
RJ Martin, “Cold projections”, 2023, digital print on signboard and “Truth in blue”, 2023, 3D print
(left) Edgar Sanchez Cumbas, “Where There Is Brown There Is Gold”, 2023, digital print embellished with wax, acrylic, and charcoal on Arches cold press 140lb paper; (right) Joana Hila “Equilibrium of Insect & Flora”, 2023, mixed media
The works above are from Department of Contemporary Art’s latest group exhibition Degrees, organized with Tampa’s Greater Public Studio. It explores the multiple uses of the word “degrees” including in climate change, education and history.
In this exhibition, we unravel the layers of meaning behind ‘Degrees’. From the nuanced shades of truth that shape our perceptions to the tangible degrees of temperature that influence our environment, the exhibition creates a dynamic dialogue between different dimensions of this concept.
Situated in a pivotal battleground state, the exhibition also contemplates the intricate relationship between degrees and the pressing issue of global warming. Delving into the political discourse, we examine how degrees of belief and denial intersect, particularly in the context of climate change debates.
Furthermore, the exhibition prompts contemplation on the notion of an art degree. What does it signify? How does it define one’s creative journey? These questions guide us through an exploration of artistic qualifications and the degrees of expertise they represent.
A journey through art history reveals the connection between degrees and lines, as we delve into the associations between angles, perspectives, and the progression of artistic movements. This collection invites you to ponder how degrees of inclination can shape artistic expression and historical narratives.
Join us in this immersive exhibition, where degrees of interpretation converge, offering a multi-dimensional encounter with the concept of ‘Degrees’.
Tomorrow (10/26/23) from 6-9pm is the last chance to see the show.
Currently on view at Hillsborough Community College’s Gallery 114 in Ybor City is Ya La’Ford’s solo exhibition HENGE- unearthing ancestral memory. The exhibition includes the sculptures seen above as well as several prints. The geometric work taps into universal themes of cross cultural connectivity through form.
From the gallery about the artist and the exhibition-
Ya La’ford (b. 1979, Bronx, NY) is an internationally recognized multimedia artist whose bold, geometric work explores themes of transformation and transcendence. Her solo exhibition HENGE – unearthing ancestral memory in Gallery114@HCC invites viewers to reconsider symbols from ancient civilizations as keys for navigating the shapes and patterns of modern life. Concepts such as connection, excavation, reverence and memory are woven together for an immersive and multi-sensory installation. Inspired by forms such as Neolithic henges, kivas, and other ancient architectural monuments, these new works by La’ford investigate ancestral messages and reimagines them for contemporary audiences.
The prints, seen above, strike an intriguing balance with their delicacy to the more solid forms of the sculptures.
About the prints from the gallery-
Many numbers have symbolic associations. For example, sets of three can sometimes indicate cycles of time, such as past, present, and future.
The prints included in HENGE are titled in a series as Seven שבע. In ancient near eastern and Israelite culture, the number seven can be used to communicate a sense of fullness or completeness (שבע “seven” is spelled with the same consonants as the word שבע “complete/full). The number seven can also be associated with intuition, wisdom, spiritual revelations, a growing self-awareness, or upcoming shifts that may have a positive impact on one’s life.
