October 8, 2013 - December 29, 2013 Southwestern Allure: The Art of the Santa Fe Art Colony
Southwestern Allure: The Art of the Santa Fe Art Colony considers the development of Santa Fe as an art colony through the artists who visited there and helped establish the city as an artistic center, tracing the colony's formative years from approximately 1915 up to 1940. When artists from eastern locales began to settle in the Santa Fe area, they discovered a rich culture and a wealth of picturesque imagery. Southwestern Allure focuses exclusively on the art and artists of the Santa Fe colony, presenting the best of the artists’ work and showing the distinct artistic climate of this unique locale and the qualities that distinguish it apart from the rest of the state. The city’s draws were the majestic landscape and the multi-cultural environment, which proved a matchless blend of inspiration.
The exhibition presents a thorough picture of which artists went to Santa Fe, what they found compelling about the environment, the work they produced, and the prevailing artistic trends, from Realism to Modernism, which they applied to Southwestern subject matter. Through the works included in the exhibition, a range of styles are presented, encompassing the Santa Fe Old Guard, such as Carlos Vierra, Gerald Cassidy, and Warren Rollins, the Realism of Robert Henri, Edward Hopper, Leon Kroll, and John Sloan, as well as the introduction of the Modernist aesthetic to the Southwest with such artists as Stuart Davis, Andrew Dasburg, and Marsden Hartley, to highlight only a few of the prominent artists.
Southwestern Allure features over 40 outstanding artworks carefully selected from leading public and private collections. The exhibition and accompanying catalogue is organized by the Boca Museum of Art in conjunction with independent curator Dr. Valerie Ann Leeds, a specialist in American art of this period, and will travel to the Mennello Museum of American Art (Orlando), January thru April 2014.
George Wesley Bellows (American, 1882-1925), Santuario de Chimayo, 1917, oil on canvas, 19 1/8 x 23 1/4 inches, Collection of Judy and Lee Dirks, Santa Fe, New Mexico
Marsden Hartley (American, 1877-1943), Arroyo Hondo, 1918, pastel on paper, 18 x 28 inches, Collection of Gerald and Kathleen Peters, Santa Fe, New Mexico
October 8, 2013 - December 29, 2013 Nancy Davidson: Let'er Buck
Experience the sights, sounds, smells, and spectacle of the rodeo in an exhibition devoted to an icon of American culture…the cowgirl.
Artist Nancy Davidson brings feminist and popular culture themes to the forefront through colorful sculptures, photographs, videos, and sound. At the heart of the exhibition is a giant inflatable sculpture, Dustup, a suggestive and comically absurd “super-sized” tribute to the women of the Old West and critique of our culture’s fascination with everything big. Her larger-than-life cowgirl evokes monumental roadside attractions, carnivals, and tall tales.
Growing up in the 1950s, Davidson was inspired by the “can-do” spirit of the cowgirls she saw in Hollywood movies and musicals. Characters such as Doris Day’s Calamity Jane, Butty Hutton’s Annie Oakley, and the gun-slinging Joan Crawford in Johnny Guitar stood in stark contrast to the conventional the stay-at-home wife. They were individuals, able to transgress what was deemed acceptable for women. Rowdy and unruly, they were more than equal to men – yet sexy and glamorous, no matter the situation.
Davidson celebrates the glamour of the Rhinestone Cowgirl while acknowledging the hard-knock lives of real women in rodeo with a video capturing 62-year-old Jan Youren’s final bucking bronco ride after a 47-year career and a sound piece with anecdotes from real life cowgirls. As an artist living in New York City, Davidson had no direct connection to cowgirl culture until a grant from Creative Capital enabled her to travel around the American West and experience it firsthand. This unique body of work is the result of her exploration of the myth and reality of the cowgirl, along with a book to be released in the spring.
Nancy Davidson (American, born 1943), I've Been Everywhere, 2010, digital video, 2:55 minutes, Johnny Cash song sung by the Sunny Cowgirls, Courtesy of the artist and Betty Cunningham Gallery, New York
Nancy Davidson (American, born 1943), Dustup (detail), 2012, vinyl coated nylon, rope, leather, blowers, sawdust, sandbags, 252 x 192 x 192 inches, Courtesy of the artist and Betty Cunningham Gallery, New York
October 8, 2013 - December 29, 2013 Dulce Pinzón: The Real Story of the Superheroes
What is a hero? What is a superhero? In a series of oversized photographs, Dulce Pinzón seeks to shine a light on the quiet heroes who make sacrifices for the good of others. For the artist, the countless Mexican and Latino immigrant workers in New York City, who every week send a portion of their modest income back to family members in Mexico, seemed like the perfect example of the unnoticed hero.
In her words: "The principle objective of this series is to pay homage to these brave and determined men and women that somehow manage, without the help of any supernatural power, to withstand extreme conditions of labor in order to help their families and communities survive and prosper."
For the exhibition, Pinzón selected 20 workers, dressed them in costumes of popular American and Mexican superheroes that corresponded to their employment, and photographed them going about their usual work day. She identifies each by name along with their hometown, the number of years they have been working in New York City, and the amount of money they send back to their families each week.
Dulce Pinzón (Mexican, born 1974), color photograph mounted on sintra board, 20 x 24 inches, Courtesy of the artist
Maria Luisa Romero from the state of Puebla works in a laundromat in Brooklyn. She sends home $150 a week.
November 23, 2013 - April 6, 2014 James Rosenquist's "High Technology and Mysticism: A Meeting Point"
This portfolio of seven prints feature Pop artist James Rosenquist's characteristic use of varied images assembled to create a dizzying collage. Speaking of the portfolio in 1982 he said:
The questions I hope to raise in this work are: how will our relationship with computer education, the young people's fascination with electronic games, and the need for robots change our lives? People are still animals. In the future, however, will we select hi-tech surroundings, or prefer to live like lambs in a meadow? How will high technology relate to religion? In Eastern philosophy, one can reincarnate into people, animals, and plants. A big question is could it go a step further?
Little did Rosenquist know when he created these visual metaphors for the intersection of the electronic with the bucolic, how information technology would soon infiltrate nearly every aspect of life.
James Rosenquist (American, born 1933), Above from "High Technology and Mysticism: A Meeting Point," 1981, photo-offset lithograph, ed. 149/150, 28 x 28 inches, Gift of Mr. and Mrs. Gerry Hoffman, 2000.075b
Ongoing Wall of Picasso
A painter, printmaker, and ceramicist who revolutionized western art, Pablo Picasso was born in Malaga, Spain in 1881. He settled in Paris in 1904 and became a driving force in the avant-garde Parisian art community. Within the context of this highly creative environment and with the constant threat of war and social uprising, Picasso experimented with a variety of different media that ultimately led to his groundbreaking collage paintings, graphic work, and sculptures.
Picasso's artistic output was practically all dedicated to the depiction of the human form, which he explored in detail at all stages of his prolific career and in diverse styles from realism to abstract figures in exaggerated distortions.
This selection of prints culled from the Boca Museum’s collection shows Picasso iconic figural imagery in his favored subjects including an homage to Rembrandt, a self-portrait, the female form, and animal forms such as bulls and mythological beasts. Picasso died on April 8, 1973 at the age of 91, painting nearly to the very end.
Pablo Picasso (Spanish, 1881-1973, Plate 18 of 24 Gravures, 1968, lithograph, 14 3/4 x 10 3/4 inches, Gift of Dani and Jack Sonnenblick
October 8, 2013 - January 5, 2014 Caught on Film: Photography from the Collection
Investigating the shifting boundaries between seeing and spying - the private act and the public image, Caught on Film explores how cameras have transformed the nature of looking as it easily crosses the line into surveillance and invasion of privacy.
With historical and contemporary photographs, this stimulating exhibition presents some of the camera’s most unsettling uses including surveillance, celebrity stalking, and documentation of disaster. Caught on Film poses compelling questions about who is looking at whom and why by photographers such as Gregory Crewdson, Robert Doisneau, and Edward Steichen.
Gregory Crewdson (American, born 1962), Untitled from the “Twilight” series, 2001-2002, digital chromogenic Fujicolor Crystal Archive print, 48 x 60 inches, Bequest of Isadore and Kelly Friedman, 2007.5.74
Ongoing Grooms Room(in the Collection Galleries)
Grooms Room is a long-term gallery installation that celebrates over 30 years of art created by the American Pop artist, Red Grooms. Best known for his self-described “sculpto-pictoramas,” Grooms uses a combination of painting and sculpture in a distinctive – and immediately recognizable – witty pictorial style.
Creating environments of everyday life to tell stories of people living in modern urban cities, Grooms imbues his figures with exaggerated physical characteristics and actions, which give the work an overall feeling of cartoon-like improvisation.
Grooms Room features works, drawn from the Museum’s important collection of American art, and is augmented by generous loans from two private collections, the Steven D. Robinson Family and the Robert B. Mayer Family Collection. The energy and frenzy of Red Grooms’ zany art will be sure to delight your eyes and put a smile on your face.
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)