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Boca 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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Hours:
Tuesday - Friday 
Saturday & Sunday
Wednesday


10AM - 5PM
NOON - 5PM
10AM - 9PM

Admission:
Members
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Seniors(65 +)
Students(with ID)


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$14
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$6

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Monday, July 1, 2013
Family-Friendly Fun at the Boca Museum

As it is in every museum, a main goal of the institution is to engage people, most importantly, children. From class field trips to contests, the Museum goes one step further with the family-friendly program rightfully named Creation Station.

Sine 2012, the Museum ran this program for families with busy weekday schedules. It offered a weekend bonding and learning opportunity for children and parents. This was the last Creation Station and I was glad to have been a part of it.

Families learned about visual arts in a relaxed and fun manner by first viewing specific works in museum and then making an artwork themselves in the spirit of that piece.  Activities included crafting a sculpture out of recycled objects, creating a collage, or solving a jigsaw puzzle. Each month Creation Station has a different activity/focus. Volunteers are on hand to assist families.

The artists in focus this time were Miriam Schapiro and James Rosenquist. Both of these artists have pieces, more specifically collages, that are part of the Museum’s permanent collection.

Miriam Schapiro Heart in the Heartland Collage

Miriam Schapiro, (Canadian, 1923- ), Heart in the Heartlands, 1979, Fabric collage and acrylic paint on paper, 38 x 36 inches. Permanent Collection 2004.041. Gift of Mr. and Mrs. Joshua Aber

James Rosenquist Time Magazine Collage

JAMES ROSENQUIST, (American,1933- ),Sketch for Automobile Cover, 1971, collage with magazine pages, tissue paper, tape, crayon and pencil on paper, 15 x 22 inches. Permanent Collection 1993.265. Gift of Mr. and Mrs. Arthur Steinman

Duane Hanson Security Guard
Duane Hanson (American, 1925 – 1996), Security Guard, 1990, autobody filler (fiberglass and polyester resin) polychromed in oil, mixed media with accessories, 72 x 32 x 15 inches. Loan, courtesy of Mrs. Wesla Hanson

This past Saturday I got to act as the volunteer that assisted families, I helped children soak everything in and create their own works of art.

When the first group came in, the girls were cautious of going any further because they had spotted the eerily life-like security guard resting down by the edge of the table: Duane Hanson’s Security Guard.

This went on with every group that entered the museum, including two girls dressed as little princesses, crowns and all. Even the adults were taken by surprise when they discovered he was a sculpture.

When it came time to create their collages many of the kids wanted to give the finished product to dad as a Father’s Day gift. The themes ranged from golf to the sea. The possibilities were endless! I was able to help the kids cut out shapes, and come up with decorating ideas. The parents even got involved; one mom even said “I miss doing this! It is so much fun!” Not only was it fun for them but it was fun for me as well, I loved being able to see the glowing faces of the kids as they proudly showed off their work once it was completed. This just goes to show that all you really need to have fun is some inspiration, and maybe a little glue.

 

Posted by: Shannon Smagala, Curatorial Intern @ 12:00:00 am  Comments (0)
Thursday, May 30, 2013
Larry Rivers, Liberty Leading the People and Defacement at the Louvre

One of the most interesting pieces I’ve seen hanging in the Permanent Collection galleries here at the Boca Museum of Art is the painting by Larry Rivers. Even if you have never heard of this artist, the piece should be very familiar.

It is an homage to a very famous French painting by Eugène Delacroix from 1830, Liberty Leading the People, hanging in the new branch of the the Musée du Louvre in Lens, France, (which incidentally was defaced recently with no permanent damage).

Completed near the end of 1830, Delacroix depicted a very modern subject. This is the July Revolution, also known as the French Revolution of 1830. It was known as The Three Glorious Days in which the Parisians overthrew King Charles X, the last Bourbon king of France, and replaced him with Louis Philippe, Duke of Orléans.

While Delacroix was unable to personally take up arms in the uprising he fulfilled his patriotic duty through depicting the event in a dramatic and visually forceful painting. He wrote to his brother that October "I have undertaken a modern subject, a barricade, and although I may not have fought for my country, at least I shall have painted for her. It has restored my good spirits."

Delacroix 1830 – Chaos and Purpose oil painting by Larry Rivers at the Boca Museum of Art
Larry Rivers
(American, 1923-2002)
Delacroix 1830 – Chaos and Purpose 1993
Oil on canvas mounted to sculpted foam board
80 x 98 inches
Permanent Collection 2007.5.26
Bequest of Isadore and Kelly Friedman

In this allegorical composition where the personification of Liberty is charging into battle atop a landscape strewn with corpses, every kind of Parisian is represented:

  • Gavroche from Victor Hugo’s novel Les Misérables, who represents the student and youths in revolt (figure at the far right);
  • a factory worker (the figure on the far left with the saber);
  • the bourgeoise (the figure in a top hat); and
  • a temporary worker of Paris (the man raising himself up in the foreground).

Delacroix was a leader in the Romantic Movement and the genuine and impassioned take he brought to this work of art embodied the noble truth of the uprising and the greatness of Parisian citizens.

Larry Rivers, a postwar American artist associated with pop art, is famous for reworking and reinterpreting classical paintings by mixing grand art and absurdity. While living in Paris in 1950, Rivers was influenced greatly by the large-scale paintings hanging in the Louvre and when he moved to New York afterward took up painting full time. He became what is known as a gestural realist.

Rivers’ work combines loose gestural marks that encompass abstract expressionism with realistically rendered images drawn from history and popular culture. This piece by Rivers hanging in our gallery is a perfect example of this style of painting and a stunning addition to our permanent collection. Have a question about the Boca Museum of Art? Call us at (561) 392-2500 or send the Boca Museum an email.

Dorbani, Malika Bouabdellah. July 28: Liberty Leading the People. www.louvre.fr/en/oeuvre-notices/july-28-liberty-leading-people.
Lye, Harriet. Larry Rivers. American Center France. www.americancenterfrance.org.

Posted by: Catherine Quinn, Curatorial Intern @ 12:00:00 am  Comments (0)
Monday, May 20, 2013
Annual All Florida Juried Competition and Exhibition: A Retrospective of Winners
Gregory A. Jones, Two Piece Chair

1. Gregory A. Jones (Lakeland), Two-Piece Chair, 1997, acrylic and mixed media, Best in Show 1998

Cheryl Tall (Stuart), Festina Tarde
2. Cheryl Tall (Stuart), Festina Tarde, 1998, clay, Best in Show 1999
Diana Shpungin, Thirty Layered Paintings
3.Diana Shpungin (Deerfield)Thirty Layered Paintings, 1999, linen, gesso, acrylic and ink, Best in Show 2000
Carol Prusa, From our Belly
4. Carol Prusa (Boca Raton)From our Belly, 2003, silver graphite black titanium white and acrylic binder on wood, Best in Show 2003

If you follow the Boca Raton Museum of Art at all you know about our annual juried competition, but do you really know what it’s all about?

It’s about supporting and promoting exposure for Florida artists and giving our community an opportunity to see what’s happening in the arts in their own backyard.

It is a showcase of the best in emerging and professional artists in Florida, is the state's oldest annual juried competition and is a way for the museum to reinforce its commitment to local artists.

This year’s accepted entries for the 62nd installment are installed right now through July 14th.

Started in 1951, this competition displays a variety of photographs, drawings, videos, paintings, sculpture and mixed media that come together to represent a myriad of artistic expression. While the competition has always had cash prizes, it wasn’t until 1998 when the title of “Best in Show” was distinguished. Gregory A. Jones from Lakeland was the first to win this honor with his painting Two-Piece Chair (1.) and is still dominating similar competitions. Last year he won (for the third time) Best in Show at the 47th annual DeLand Outdoor Art Festival.

Our Best in Show winners represent local artistic talent who have achieved recognition in the arts beyond just the Boca Museum.

Carol Prusa is an artist from Boca Raton who is frequently featured in our annual exhibition and has been awarded several times. Her From our Belly, (4.) 2003 was awarded Best in Show but she has also won several Merit awards throughout the years. Most recently she was represented by Bernice Steinbaum Gallery in Miami (2011) as well as at Coleman Burke Gallery in Chelsea in New York City (2010) and she is now represented by Zadok Gallery in Wynwood, Miami.

Another Boca winner from 2004 is Denise Moody Tackley with  Is It So? #2 (5.). Her artwork deals with the deconstruction of the American feminine myth. Her work was most recently shown at the 10th International Open at Woman Made Gallery in Chicago.

Lou Ann Colodny (6.) was the founding director of MoCA, Museum of Contemporary Art in North Miami and director of its precursor, COCA for 15 years. She has works in the permanent collection of the Miami Museum of Art, the Southeast Museum of Photography in Daytona, MoCA, Miami-Dade Community College, Miami-Dade Public Library Collection, and the Okaloosa-Walton College in Niceville. Colodny has exhibited all over South Florida and has made quite a name for herself with her videos, drawings, installations and photographic work.

Pip Brant (8.), a fiber style artist, uses a plethora of found materials in her work. Brant has exhibited her work in the United States and abroad in Belfast, Ireland, Lithuania and London, England. She was awarded the South Florida Cultural Consortium for Visual and Media Arts for Tabled Reports.

Vanessa Diaz’s sculpture The Offering (12.) 2012 was last year’s recipient of Best in Show. The mixed-media work is a combination of furniture pieces that come together to create a surreal yet organic piece which justly earned its title.

Our juror’s selections represent the best Florida artists have to offer and we relish the opportunity to present their creations to the public. Come on out to the current show to see this year’s winner for his body of work, Geoff Hamel’s (13) monumental colored pencil works.

Denise Moody Tackley, Is It So? #2 Lou Anne Colodny, Saturation Lynn Davison, Modesty
5. Denise Moody Tackley(Boca Raton), Is It So? #2, 2003, screen safety pins, Best in Show 2004 6. Lou Anne Colodny, Saturation, 2002-3, video, Best in Show 2005 7. Lynn Davison (Naples), Modesty, 2007, oil on canvas, Best in Show 2007
Pip Brant, Blood Veil Nadine Saitlin, Small Red Landscape Kerry Phillips, Chairs Found and Fixed
8. Pip Brant (Hollywood) Blood Veil, 2008, installation, Best in Show 2008 9. Nadine Saitlin (Boca Raton), Small Red Landscape, 2009, acrylic paint and pastel on canvas, Best in Show 2009 10. Kerry Phillips (Miami), Chairs Found and Fixed, 2010, installation-chairs, zip ties, duct tape, vinyl, string, rope, wood, paper, Best in Show 2010
Bonnie Wolsky, Tangled Palms Vanessa Diaz, The Offering Geoff Hamel, I Want My Life Back
11. Bonnie Wolsky(Coral Gables), Tangled Palms, 2011, watercolor on paper, Best in Show 2011 12. Vanessa Diaz (Boynton Beach), The Offering, 2012, sculpture, Best in Show 2012 13. Geoff Hamel (Lehigh Acres), I Want My Life Back, 2011, colored pencil on board, 32 x 94 inches, Best in Show 2013
Posted by: Catherine Quinn, Curatorial Intern @ 12:00:00 am  Comments (0)
Monday, April 15, 2013
Interning at the Boca Museum: The Myth of the Camera Stealing the Soul

Today is early into my third month interning at the Boca Museum of Art under Registrar Martin Hanahan. As an English major and Linguistic minor, people look at me oddly when I tell them the internship I pursued. But through my studies in English, I learned every facet of art is intertwined seamlessly, and we must pursue each type to experience what art is. Artists paint with many colors, writers paint with two.

Our words, in perfect black and white, show how colorful life is. And artists, with their cubism and their expressive modernism, offer an abstract sense of life that playfully incites our senses. The beauty of art is that it does not tell you what to think, or even how to think. It simply is. Just like music. So, after studying the great writers, I decided to pursue a different approach to the world of expressive awareness. I am drawn to art because it is quiet, but even the quietest painting, possibly in hues of blue, still sends our senses diving into an ocean of consciousness. Art, like literature, can affect society by presenting something we are afraid of, or by creating a calming space in which we find solace.

Either way, art, music, and literature are the catalysts that strip away fake and replace it with raw. Whether artist, writer, photographer, we tell the story of life boundlessly with no restrictions. We welcome consequences. We are renegades of the present. This is how I found myself in a museum instead of a library. I am surrounded by artifacts that tell of our history without words; silent pronouncements of truth. Quiet frames hang on quiet walls and tell stories of lovers, children, animals, trees. Loudly they spill their secrets, forever surrounded by a gold frame, in remembrance of a tender, experienced hand.

Last week I documented 13 old photographs: daguerreotypes, ambrotypes, and tintypes. I also stored 11 cameras dating from the Second World War to the 1960s. The photographs were produced in the 1800s; each “type” produced differently. Daguerreotypes (1840-1855) are extremely reflective photographs on polished silver. Ambrotypes (1855-1865) are not shiny like daguerreotypes, but matte, because the photograph emulsion is coated on glass with black paint that often cracks and darkens the picture.

Tintypes (1855-1900) are black painted tin- exposed. There is rarely any tarnish and it does not have a reflection. It doesn’t come in an ornate case like the other two because it is not fragile. So the type of picture that goes on these artifacts usually contains an unsmiling, somber subject who looks like she or he has no idea what is going on. Pulled from the farm, or the church, or the kitchen, the subjects exude nothing artificial about them. In fact, you feel as though you are standing there, facing them (which we very well could be). Their attitude (or lack of) in the photographs sent my mind reeling. It is so different from the way we take pictures today- with our poses and our scrunched faces and our obscene gestures.

The myth about the camera stealing the soul feels very real with these pictures. For some reason, our technology often fails to gather the real soul of a person, possibly because the entire experience of photography has changed into point and click. Easy to capture moments, but there is something distinctly un-timless about them. Perhaps this is why there are so many programs that offer ways to alter photographs in an effort to lend them some authenticity.

Now, each moment is real, but sometimes moments are so on-the-surface that we fail to appreciate the way of life- the harshness of it, the cold and the hot, the good and the bad. When people took photos in the 1800s, their faces show of struggle, of reserved resignation, sometimes exultation or humble adoration. But in each person’s face, there exists a question of the future. And this question creates a formidable distance between the person and the photographer.

Juxtaposed with the present, we pretend not to ask questions of the future because the answer is always the same- we don’t know. Why did we stop searching in an effort to look in control? It is not more becoming for a person to take a beautiful picture that has lost all sense of wonder. The people in these old photographs are asking questions of everything, even themselves.

Pioneers, renegades of the present, their souls are wondering, wandering, losing, and finding. They are not afraid to show vulnerability or strength. Their experiences are genuine because each moment has its own breath and the wildness of the photographs emulate the wildness of their world. In a world where we attempt to control the uncontrollable, a sense of magic has flown away.

To find it, we must live in and breathe every moment without contention for the past, anxiety for the future, or resistance of the present. We must accept the query. Just as these forever-young pioneers in their gold frames asked questions of the future without abandoning the present or escaping to the past. We could learn to do the same, and avoid the midlife crisis of waking up in chains. Visit the Boca Museum of Art (561) 392-2500

Daguerreotype portrait of a young girl

Unknown artist, Portrait of a Young Girl, ca. 1850, daguerrotype, 3 x 2 ½ inches. Permanent Collection 1991.128F. Museum Purchase

 Ambrotype portrait of an elderly woman in a bonnet

Unknown artist, Portrait of a Woman in a Bonnet, ca. 1850, ambrotype, 4 ¾ x 3 ¾ inches. Permanent Collection 1991.128T. Museum Purchase

 Tintype portrait of two young boys, seated

Unknown artist, Two Children, ca. 1850, tintype, 3 x 2 ½ inches. Permanent Collection 1991.128. Museum Purchase

 

Posted by: Adrienne Decramer, Curatorial Intern @ 12:00:00 am  Comments (0)
Wednesday, March 27, 2013
Understanding Jody Culkin: Refashioned – A Contemporary Artist, Fashion, and Feminism

Today is Tuesday, March 12, 2013. And today Martin, the Registrar at the Boca Museum, had me document each piece of the exhibition Jody Culkin: Refashioned. This exhibition subverts traditional functions of women’s apparel. Now, Jody Culkin: Refashioned is slightly left of wacky, right of weird, and smack dab in the middle of wait, what, why?! Let me paint you a picture: mesh, broken glass, chains, bright fabric, water, light, cameras, and eyes.

clientuploads/Blog Images/Kelli-Blog2.jpgJody Culkin: Refashioned reveals the chains of women fashion, and reinvents them in a capricious light to expose the issue of fashion: our clothes can make us prisoners. Much of her inspiration came from the Victorian household she grew up in (inside information thanks to curator Kathy Goncharov, a close friend of Culkin’s). So the contemporary artist refashioned pieces of art take modern daywear and transform them with a Victorian element.

As an active feminist, Culkin’s art also contains elements of female anatomy. This image sparks confusion in our minds as we try to compartmentalize the vision of the art. But contemporary art is not meant to be compartmentalized, it has an agenda of its own, and a large amount of history to play with. There is a refashioned burka out of white mesh with little purple propellers on each sleeve. This may be so the wearer can fly away from her repression.

However, the onlooker will notice the gold rectangle as the eye piece and it creates a sense of suppressed, imprisoned, clothing that is not simply a woman’s dress but her fabricated chains. And as we view this piece, we feel trapped, ensnared. A little to the right is a hanging chain of black mesh filled with broken glass. It begs the question, what kind of jewelry are your chains made from? Subversive, yes. Repressive, no!

As I fulfilled the task of documenting and measuring each piece of art, a few museum visitors took a look around. The immediate reaction of many was to turn and walk away- I actually heard “no, I don’t like this” from a woman within the first 20 seconds looking around her. Other women would exclaim at how cute the purse with the roving eyes is, but they would silently pass by the more abrasive elements of the collection. I wanted to give them a tour so they could understand that this exhibit is meant to cause unease! 

clientuploads/Blog Images/Kelli-Blog2-2.jpgIf only the women would have read the introduction to Jody Culkin: Refashioned they would have understood this art is not to look pretty. It is not to please the eye. It is to open the mind through the eyes. It is meant to make you feel. The exaggeration of the refashioned pieces is a call to arms: as a woman, how does our dress confine us? Does it present a feminine image that is meant to please the looker? Does our dress please us at all besides in the validation of the onlookers?

And which ogglers are we dressing to impress, exactly? How are we empowered when we display our bodies in this way? The exhibition itself exposes that if something is not “appealing” or “pleasant” to look at, our immediate reaction is to recoil. Does this look nice? No? Then I want nothing to do with it. How would you feel if people talked about you that way? And if we realize that we have the same reaction, wouldn’t it be better to take a moment and let the art enter our brain, twist around our neurons and shoot something?

We cannot only appreciate the beautiful, the perfectly packaged. Most of it is just a mirage. Once we stop aiming for perfection and niceties we could accomplish something with our minds, our voice. Hence contemporary art, such as Jody Culkin: Refashioned, is an expression of where our world came from, the history of the upright Victorian society. And Jody Culkin: Refashioned is also a silent commentary on our reactions to something a contemporary artist refashioned to be less than perfect. Chains or shackles, our perception must break those gold and silver loops that keep us lost and mesmerized.

Posted by: Adrienne DeCramer, Curatorial Intern @ 12:00:00 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


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