Boca Museum of Art
501 Plaza Real, Boca Raton, FL 33432
In Mizner Park
T: 561.392.2500 F: 561.391.6410



Tuesday - Friday 
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10AM - 5PM
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CLOSED Mondays and holidays
Museum galleries will be open on Easter Sunday, April 20, 2014

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Friday, April 2, 2010
John De Andrea Sculpture Returns from Museo Thyssen-Bornemisza, Madrid

Senior Curator Wendy Blazier just returned from a whirlwind trip to Madrid, accompanying our John DeAndrea sculpture, Released, back from the Museo Thyssen-Bornemisza where it had recently been exhibited.  Unbeknownst to many, Senior Curators and Registrars get exciting fringe benefits, one of them being trips abroad.  Of course, Wendy went to ensure the sanctity of our collection, but she still had a little fun on the trip.

Released has been put back into storage but the other piece from our collection that is in the midst of its world tour, Campeo San Cassiano, Italy by Maurice Prendergast, is now featured at the Museum of Fine Arts, Houston.  It is part of the exhibition Prendergast in Italy that debuted at the Williams College Museum of Art in Williamstown, Massachusetts and traveled to the Peggy Guggenheim Collection in Venice before returning to Texas. In May, the exhibition will close in Texas and it will return home. We will reinstall it in the Dr. and Mrs. John J. Mayers Gallery on the second-floor west wing.

It is such an honor to loan artwork to such great institutions as these. The John DeAndrea sculpture especially, since we do not normally display her in our galleries. She made an appearance for our Shock of the Real: Photorealism Revisited  exhibition last year, but only for the opening nights.  

This is why it is significant when a museum such as the Thyssen-Bornemisza, whose focus is comtemporary artists, borrows and displays our treasures.

  John De Andrea, Released, 1989,
polyvinyl polychromed in oil, height 62.5 inches. Permanent Collection 2007.28.1. Gift of Louis K. and Susan P. Meisel
Posted by: Kelli Bodle, Curatorial Assistant @ 9:57:10 am  Comments (1)
Thursday, January 28, 2010
M.C. Escher at the Boca Raton Museum of Art

As a self-professed math naïf, the exhibition Marc Bell Presents:  The Magical World of M.C. Escher  (20 January – 11 April 2010) completely blows my mind.  Maurits Cornelis Escher used an intricate graphing system to create his visions of symmetry, unending tessellations and improbable buildings.  Perhaps best known for his Drawing Hands, Reptiles, and Self-Portrait in Spherical Mirror, all instructional mainstays for drawing classes, Escher created many more prints and drawings.  A major component of his mature career was the diagramed geometric grids that he used to make interlocking designs.  These designs utilize complex and varied shapes which fill the plane of the paper without leaving any voids.  In the north gallery we have assembled his “Regular Division of the Plane” prints and drawings along with some of his preliminary sketches and equation notations.  It is a unique opportunity to see the mind of Escher at work as he develops his elaborate compositions.

Besides the notations found at the edges of some artworks, Escher kept extensive notebooks tracking his various projects.  A whimsical fellow, here is his synopsis of the print Reptiles, published in M.C. Escher: The Graphic Work:

The life cycle of a little alligator.  Amid all kinds of objects, a drawing book lies open, and the drawing on view is a mosaic of reptilian figures in three contrasting shades.  Evidently one of them has tired of lying flat and rigid amongst his fellows, so he puts one plastic-looking leg over the edge of the book, wrenches himself free and launches out into real life.  He climbs up the back of a book on zoology and works his laborious way up the slippery slope of a set square to the highest point of his existence.  Then after a quick snort, tired but fulfilled, he goes downhill again, via an ashtray, to the level surface, to that flat drawing paper, and meekly rejoins his erstwhile friends, taking up once more his function as an element of surface division.

M.C. ESCHER (Dutch, 1898-1972),
Reptiles, 1943, Bool #327, lithograph,
13 1/8 x 15 1/8 inches.
Courtesy of The Walker Collection.
All M. C. Escher's works and text © The M. C. Escher Company, Baarn, The Netherlands. All rights reserved. M. C. Escher ® is a registered trademark

The three contrasting shades mentioned are part of another primary concern for Escher; color composition.  From the very beginning, Escher felt that individual motifs needed to be both recognizable and to have the same value or weight as the other motifs found within the composition.  This requires that the motifs should have similar contrast and brightness.  In the north gallery, you can see this tendency at work in the two representations of Sun and Moon. 

But the fun doesn’t stop there.  This exhibition holds almost 400 items created by Escher, the second-largest private collection in the world, courtesy of Rock J. Walker of Walker Fine Arts.

The exhibition traverses his early days spent drawing in Italy, through his interests in mirrored images, impossible buildings, and tessellations.  We have cancelled lithographic stones, a chair covered in an Escher print and the work table from his studio.

If you are interested in finding out more about M.C. Escher’s life, you can take a curator highlight tour with Senior Curator Wendy Blazier this Tuesday at 2:30 pm for The Life and Art of M.C. Escher or on March 9th for M.C. Escher’s “Impossible” Objects and Scenes.  Free with paid admission to Museum. 

Posted by: Kelli Bodle, Curatorial Assistant @ 9:30:24 am  Comments (1)
Wednesday, December 23, 2009
Social Change Through Art

                                                    Mel Chin, Revival Field, 1990-present, view during early July 1991, landfill, chain link fence, six  plant varieties, perennial and annual seeds and seedlings, 60 square feet, Pig's Eye landfill, St. Paul, Minnesota. © Mel Chin


Hans Ulrich Obrist, named "most powerful figure in the international art world" by ArtReview magazine in their November 2009 issue, recently moderated a symposium at the Louisiana Museum of Modern Art, Copenhagen

This symposium deliberately coincided with the larger United Nations Climate Change Conference (COP 15). Obrist first made headlines in 1992 when he founded the Museum Herbert Walser, a migratory museum.  The idea was to constantly shift the location of the museum, moving between cities and countries.  His innovative vision of a museum that always questioned itself - parameters and operations changing with each show - helped to establish him as a progressive director/curator who not only considers the "what" in an exhibition, but also the "why" and the "how." 

Obrist has become known as an art-world powerhouse, having worked as critic, writer, curator and co-director (Serpentine Gallery, London). Keeping in line with his tradition of creative catalyst, Obrist recently facilitated a symposium comprised of eminent art-world personalities like Shilpa Gupta, Olafur Eliasson and Peter Weibel, among others.  The focus of their conversations was sustainability in the creative sector and challenges that face the environment. 

What of us here, in South Florida?  If one cannot attend an international meeting of the minds to contemplate art and the planet, what shall an artist do?  Why, make art, of course.  Personally, I feel that artists have a moral imperative to address the mounting issues in our communities, both locally and globally.  Climate change and waste are not the only issues to address; there are those on a social level, such as the breakdown of intimate social interactions facilitated by omnipresent technology, issues of racism and sexism, and so on.

Artists are in a unique position to reach a public audience who will stop and consider what they are saying.  When someone takes time out of their day to get in their car, drive to an art gallery or museum and look at your work rather than doing any number of other things, they are yours for a time.  They have deposited themselves at your doorstep and now it is up to you how you make use of their time.  It is a chance for an artist to point to issues and resolutions that the visitor may not have otherwise considered.  Below are a few examples of artists who I think have done a superb job of tying art to pressing issues in a way that the public can understand.

Mel Chin, Revival Field

Rikrit Tiravanija, Untitled 

Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971 

Fred Wilson, Mining the Museum

In the context of an international worldview, if the most powerful figure is someone that feels social responsibility rather than create items for conspicuous consumption, then I encourage all artists to take a page from Obrist's notes.   


Posted by: Kelli Bodle, Curatorial Assistant @ 11:58:13 am  Comments (1)
Thursday, November 19, 2009
Painting with light: A look at Keith Sonnier

                                                                             Keith Sonnier, Cross Station, circa 1987, aluminum,

                                                                             neon tubes, wire, edition of 4, 50 x 48 x 8 inches. 

                                                                             Permanent Collection 2004.111. Gift of the Estate of Edna Sloan Beron 


Renowned light artist Keith Sonnier (1941, Mamou, Louisiana) - whose work can be seen at the Boca Raton Museum of Art - has roots in the American Minimalism movement, which took place in the 1960s. His peers are artists like Bruce Nauman, Donald Judd, Richard Serra, Eva Hesse and Robert Morris - artists who rejected pictorial illusionism and put their trust in real space.

Additionally, these artists redefined sculpture through the use of unusual materials (fabric, latex, industrial elements and light) in the 1960s-70s. One minimalist element of Sonnier's work is its relation to the space in which it is exhibited rather than a fictional space found within the confines of a frame. 

Instead of pointing to itself, as narrative pictures do, it points outwards, to its surrounding elements. When one looks at a piece of light art, one also looks at wall space, architecture and even the other people that inhabit the gallery space around them. Elements of this phenomenon can be seen in other light artists' work - Dan Flavin and James Turrell, for example. 

The defining element of Sonnier's style is his use of neon light. The sharp linear quality of neon as it emits from its tube casing allows Sonnier to essentially "draw" on an architectural element, in addition to creating a diffuse wash of color as it falls on differing planes. The wall, generally considered a structural support, is now a part of his canvas. 

Currently, Sonnier resides in New York City, where he continues to create light art sculptures. Some of his recent projects include the Tunnel of Tears which was featured at the reopening of P.S.1 in Long Island in 1997, and gallery shows at the Joseloff Gallery at the University of Hartford, CT, Galerie JGM in Paris, and PaceWildenstein, New York.

For Tunnel of Tears, Sonnier, bathed the interior of a chimney at P.S. 1 in blue and pink light. Sonnier integrated the existing architecture so that when looking at the piece, one can get a whole new feel for an interior that normally would have gone unnoticed. 

Alternatively, the work shown at JGM Galerie departs from his standard installation method. USA: War of the Worlds (2004) has a more confined feel to it, with American flags boxing in the color emitting from tubes of light at the center of the piece. Rather than the light painting a wall, the flags create a space with marked borders, making it difficult for the light to emanate beyond. 

This motif is repeated with Baghdad Relic (2004), also at JGM, wherein the mounted sea shells (listed as found objects) create a partition between light and wall, effectively absorbing a majority of the color. Once you are familiar with the trajectory of Sonnier's work, this deviation in style becomes all the more poignant.

Almost all of Sonnier's works ask us to see light and color as a medium, blurring our understanding of object and environment.


Posted by: Kelli Bodle, Curatorial Assistant @ 2:34:19 pm  Comments (3)
Tuesday, November 10, 2009
Art-o-Mat is where it's at!

Visitors to the Museum often inquire about our quirky little machine situated in the lobby. Inevitably, younger visitors cast an eye to its bright colors and promise of a mystery prize. 

This reconstituted cigarette vending machine offers 2" x 3" original artworks created by artists from all over the country.  Simply insert a token - procured for $5 from the fine volunteers at the front desk - and out comes a miniature artwork. The Art-o-Mat is a great way to get affordable, handmade pieces of art; start your personal art collection on the cheap through this donation to the Artists in Cellophane group

About Art-o-Mat

Clark Whittington, the National Bureau Chief of Artists in Cellophane, has been repackaging art to incorporate into people's daily lives for more than ten years. The success of his project is evidenced by the number of Art-o-Mats installed worldwide  -  more than 80 of them! 

Here, at the Boca Raton Museum of Art, we have featured in our machine a few hometown heroes from around the state of Florida:

If you're a hepcat who is more interested in creating pocket art than in buying it, visit and learn about how you can become part of the Artists in Cellophane crew. 

The other artists currently featured in our Art-o-Mat:

Windi Rosson Landscapes
Maria Ortado Screen prints of fish
Susan McDonald Abstractions
Deborah McDougall Drawings
Candace Roth Hair jewels
Cici Painted wooden blocks
Paula Yardley Griffin Patterns and textures
Jenna Adams OCD Fun!
Thomas Rohr Sculpture
Mucho Mud by Brenda Taylor Pottery
Heather M. Schmaedeke Painted blocks
Corey Hengen Photography
ArtWorks Mystery artwork
Mike Lenkowski Paintings

If you are interested in supporting one of these artists, don't hesitate. These they sell out quickly and we are always incorporating new art into the mix.

And don't forget, with the holidays approaching...


Posted by: Kelli Bodle, Curatorial Assistant @ 11:57:30 am  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)