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


Tues, Wed & Fri
Saturday & Sunday
Mondays & holidays

10AM - 5PM
10AM - 8PM

Children(12 & under)
Seniors(65 +)
Students(with ID)



Thursday, July 24, 2014

Saturday, July 19 the Boca Raton Museum of Art hosted an exclusive talk for members by Curator of Exhibitions Kathleen Goncharov on the topic of biennials. The definition of biennial, or biennale in Italian, is an event that occurs every two years. It is typically used to describe large-scale international contemporary art exhibitions. The most famous biennial, as Goncharov explained, is held in Venice and began in 1895.

In her discussion, Goncharov spoke about her personal experience during the 2003 Venice Biennale. Goncharov worked together with Fred Wilson, a contemporary, conceptual artist, as the representatives of the United States. Wilson is best known for his piece Mining the Museum (1992) installed at the Maryland Historical Society wherein he juxtaposed pieces normally “hidden” in storage like iron slave shackles with expected display items like 19th-century silver decorative arts. By “mining” the museum’s holdings he forced the audience to examine, question and deconstruct the traditional display of art and artifacts.




Goncharov discussed:

  • the theme of Wilson’s exhibition - race in Venice from the Renaissance onward;
  • the experience of viewing the Biennale;
  • how every pavilion was designed to illustrate the country it represented
  • the coming together of these countries in the Italian Pavilion, which was a large space for every country represented; and
  • the artists chosen for the 2015 Venice Biennale.

Biennials, particularly the Venice Biennale, are incredible opportunities to see some of the forerunners in contemporary art from around the world. The large scale of biennials is a unique way of experiencing art without viewing it at a museum or gallery. The pavilions provide cultural context for the visitor to be immersed in the idea of a different country, and what the artist is trying to capture about his or her homeland.

Kathleen Goncharov’s lecture gave the listener a firsthand account of what it takes to create an exhibition at the Venice Biennale. Goncharov also described the eclectic mix of styles displayed. She explained that it’s not just contemporary art heavy-hitters but also less publicized artists like surrealists and “obsessive” artists (artists who work meticulously with small or delicate materials).


One of the highlights of the talk for me was the sneak preview of artists chosen to be in the 2015 Biennale. Two of particular note are Joan Jonas (Untied States) and Danh Vo (Denmark).

Having been in Italy for the 2013 Venice Biennale, I traveled to the city to see the event. While there I particularly enjoyed the Azerbaijan Pavilion, where six different artists presented their ideas on ornamentation as well as the Croatian Pavilion in which artist Kata Mijatovic delved into the realm of dreams using audience participation. Biennials are a wonderful tradition in the contemporary art world and since the Venice Biennale began countless Biennials have been created around the globe such as:

  • the São Paolo Art Biennial (second-longest running);
  • Biennale de Paris; and
  • the Whitney Biennial.
Posted by: Aleksa DíOrsi, Curatorial Intern @ 3:00:00 pm  Comments (0)
Thursday, July 10, 2014
Urs Fischer Comes to Instagram

Considered one of the most intriguing installations at the Boca Raton Museum of Art, Swiss artist Urs Fischer has created magnificent stainless steel boxes polished to a mirrored surface with images of a sponge and a chair (respectively) silkscreen printed onto the various sides of the boxes. Obscurely named Pineapple/Melon, the four pieces (two printed with chairs, two printed with sponges) are giant interactive still lifes that provide multiple views of the objects: top, front and sides. Fischer enjoys changing the perception of things by presenting them in a different way, thus changing the human relationship to them. The feature that stands out most in these boxes is that the viewer is able to be present in the piece through the reflection of the polished surface.

Urs Fischer was born in Switzerland and began his artistic career there. He studied photography in Zurich and found his inspiration in the neo-Dada movement. In the mid-late 2000s, Fischer became increasingly popular in the US, particularly, New York where he currently resides.

His works are incredibly popular in the contemporary art scene and he has shown pieces at the:

  • Venice Biennale;
  • New Museum of Contemporary Art (New York); and
  • Museum of Contemporary Art (Los Angeles).

At first glance, one would think the cubes are made out of a common glass mirror. Yet, what makes Fischer’s pieces so eye-catching and different is the fact that they are made out of polished stainless steel. While these pieces are beautiful to behold, their medium does present a challenge in upkeep and cleaning; stainless steel as polished as this is hard to maintain and clean. Fingerprints remain on the piece for a long time and the cleaning process is complex. While the boxes look just like mirrors, it is important to remember they are not, and must be treated differently.

Urs Fischer Urs Fischer Urs Fischer Urs Fischer

While physically touching the pieces is discouraged, another exciting feature of the Urs Fischer boxes is the interactive portion. It is even possible to create the illusion that one is sitting in the chair on the mirrored box. If you would like to try this optical illusion, it is sort of a trial by error process. The key is to sit on the ground at a certain distance from the cube while someone takes your picture from an angle. The distances and angles will have to be worked out while present at the museum, but some of our Instagrammers have posted fun snapshots of themselves sitting or standing on the chair!

Fischer’s pieces are located in the museum’s East Gallery among various portraits. While the still lifes seem to have little to do with portraiture, the mirrored portion provides a connection to the theme of the gallery. Because one can see his or her own reflection in the boxes, the piece becomes a portrait of that person, and our gallery becomes a portrait gallery with revolving portraits with our lovely guests as the subjects- just another special interactive portion of these stunning pieces.

Posted by: Aleksa DíOrsi, Curatorial Intern @ 11:00:00 am  Comments (0)
Email to a Friend |  
View Archive
Visit | Store | The Art School Membership |

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)