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Boca Raton Museum of Art
501 Plaza Real, Boca Raton, FL 33432
In Mizner Park
T: 561.392.2500 F: 561.391.6410
Email: info@bocamuseum.org

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Tuesday, November 9, 2010
Nobel Laureate Octavio Paz on Valerio Adami

 

VALERIO ADAMI (Italian, born in 1935 - ), Metamorfosi [Metamorphosis], 1982, acrylic on canvas, 76 1/2 x 95 3/4 inches. Courtesy of Fondo Adami, Fondazione Europea del Disegno. 

Mexican writer and Nobel Prize Laureate Octavio Paz writes about artist Valerio Adami in The Narrative Line, an essay included in the exhibition catalogue for the Boca Raton Museum of Art’s retrospective of Valerio Adami.  Looking at Adami’s work as an exercise in line, narrative and color, Paz uses these 3 elements to help the reader better understand Adami’s paintings. Space is created through color, a story is created through the inclusion of text, and the line can teach us about time. 

For instance, about space and color, Paz writes, “For Adami, colour cannot be separated from space. And so space is born out of his drawing. An unfelt transformation of the line, creator of spaces, into great blocks of colour.”

In terms of text in Adami’s artwork, Paz writes, “As an intelligent artist, Adami also writes. That is nothing unusual: writing is another art born out of silence. Naturally, he is not a professional writer; he writes on the margins of his painting, as a comment, or, more exactly, as an accompaniment…his notes are not an answer; but a way of approaching these paintings and hearing their question more clearly.”

Towards the end of his essay, Paz addresses line in Adami’s work, “Whether a poem, or a novel, whether a play or a review, every text is a succession of words; whereas the line is a succession of points, or rather, a succession of bridges between one point and the other. Time is linear, and, as it turns out, people have invented nothing better than a line for representing time. The forms drawn by Adami, with his unique, rapid and secure, free and elegant movement of his hand, are closed forms. Or, more exactly, forms closed in themselves. They talk among themselves and provoke within me an indefinable unease.”

If you enjoyed his prose, check out Octavio Paz’s 1990 Nobel Prize speech.

Paz’s entry is one of many in the catalogue in praise of Adami’s use of line, color, and text to create intense canvases that stimulate both the mind and the eye. Other eminent writers included in the catalogue are: critic Dore Ashton, journalist Italo Calvino, essayist Carlos Fuentes, poet Alain Jouffroy, and academician Antonio Tabucchi.  It is truly one of the Boca Raton Museum of Art’s most prolific compilations of writing.

Valerio Adami catalogues are available online or in the museum store for $39.95.

Posted by: Kelli Bodle, Curatorial Assistant @ 3:11:23 pm  Comments (0)
Monday, November 1, 2010
Visual Truths

Photography has become ubiquitous in the digital age, giving everyone the tool for documenting everything from the moment one wakes up. Every look is captured, every event saved, every thought recorded. Although this power to record and disseminate expands the empowerment of each individual to affect history, the longevity of this visual narrative has yet to be determined.

Michael A. Smith, Chicago, 2008, 8 x 20 inches, gelatin silver chloride contact print.
Courtesy of the artist

As a medium for affecting a global audience, photography as an art form and journalistic tool indeed presents us with the groundwork for discussing the actual longevity of this exploding movement. In doing so, consider what elevates a photograph and touches the aesthetic of the public psyche.

The renowned photographer Robert Adams talked about the three truths of landscape photography. According to Adams, “Landscape pictures can offer us, I think, three verities – geography, autobiography, and metaphor. Geography is, if taken alone, sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together, as in the best work of people like Alfred Stieglitz and Edward Weston, the three kinds of information strengthen each other and reinforce what we all work to keep intact – an affection for life.”

Paula Chamlee, Jökulsárlón, Iceland, 2004, 8 x 10 inches, Gelatin Silver Chloride Contact Print. Courtesy of the artist

The photographs of Michael A. Smith and Paula Chamlee currently on exhibition at The Art School of the Boca Raton Museum of Art exemplify these “truths” and give us, the public, an opportunity to determine how one can achieve a lasting visual comment. They have spent their lives finding those images, those moments, those interpretations of their visions. Much of their work is landscape in nature with a unique interpretation of the subject, motive and truth of the lens.

Considering the impact of the medium today in our everyday lives, from Facebook posts to digital scrapbooks, the individual interested in expanding their skill to document a personal history that will exist beyond the visual byte would be well served to consider these three truths (geography, autobiography and metaphor) when they click the shutter and send the image out into the universe.

Posted by: Inga Ford @ 2:23:35 pm  Comments (0)
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What is a CVV Code?

CVV2 is a security measure for credit cards. Since a CVV2 number is listed on your credit card, but is not stored anywhere, the only way to know the correct CVV2 number for your credit card is to physically have possession of the card itself. All VISA, Discover, MasterCard and American Express cards made in America in the past 5 years or so have a CVV2 number. However Diners Club does not use a security code.

How to find your CVV2 number:
On a VISA, Discover or MasterCard, please turn your card over and look in the signature strip. You will find (either the entire 16-digit string of your card number, OR just the last 4 digits), followed by a space, followed by a 3-digit number. That 3-digit number is your CVV2 number.(See below)

VISA, Discover & MasterCard


On American Express Cards, the CVV2 number is a 4-digit number that appears above the end of your card number. (See below)