Grantee Spotlight: Marie Selby Botanical Gardens’ Marc Chagall, Flowers, and the French Riviera: The Color of Dreams

Marie Selby Gardens in Sarasota has enjoyed an overwhelming response this year to its Picture4latest exhibition featuring the artist Marc Chagall’s nature-inspired artwork and personal effects. The immersive exhibition, Marc Chagall, Flowers, and the French Riviera: The Color of Dreams, introduced a new way of examining the artwork of the prolific artist. The exhibition opened February 12 and continued through July 31, 2017.

The six-month exhibition garnered record-breaking attendance numbers to this 15-acre bayfront botanical garden. The visitor experience included a glass house conservatory where reproductions of Chagall’s nature-inspired stained glass were displayed among living plants. Visitors also strolled  the grounds of the gardens which were enhanced with flora that evoked the south of France, the land that inspired Chagall and where he spent much of the later part of his life.

Additionally, the exhibition included Chagall’s masterwork painting The Lovers (1937), on loan fromthe Israel Museum, Jerusalem, and two additional paintings loaned from a private collector that have not been publicly exhibited before. Also on view were archival photos and personal effects from Chagall’s studio.

Accompanying cultural performances, special events, classes and lectures supported the exhibition, along with a French-inspired menu served at the on-site cafe.

Photos © Matthew Holler. / Stained glass © 2017 Artists Rights Society (ARS), New York ADAGP, Paris

 

Grantee Spotlight: Lighthouse ArtCenter

The Lighthouse ArtCenter Gallery in Tequesta, Florida introduced a glorious celebration of children’s book authors and illustrators this summer.

Mark Teague - Funny Farm.jpg

Funny Farm, Mark Teague

3) Carol Schwartz -  My Busy Green Garden p 14-15 NFS 24 x 16.jpg

My Busy Green Garden, Carol Schwartz

Drawn to the Arts, a unique exhibition that will run from June 8 through August 11, 2017, engages visitors of all ages as they explore the magical process of creating and enjoying children’s books.

Some of the nation’s bestselling illustrators and writers have generously lent their acclaimed work to exhibit including: Tomie DePaola, Mark Teague, Linda Shute, E.B. Lewis, Bill Farnsworth, Raul Colón, Layne Johnson, Henry Cole, Fred Koehler, Priscilla Burris and Kelly Light.

Janeen Mason, the Curator of the Lighthouse ArtCenter, describes the exhibition, “Here

Henry Cole - Big Bug.jpg

Big Bug, Henry Cole

in the Village of Tequesta we are honored to have these popular, well-loved illustrators send us their best work for all of our young and young at heart visitors to enjoy.”

For more information, visit www.lighthousearts.org/.

Sarah Crooks Flaire Decorates Florida’s Holiday Tree

Jacksonville artist Sarah Crooks Flaire of evervess art studio was recently selected to make ornaments for the National Parks Service to display as part of my faceAmerica Celebrates: Ornaments from Across the USA. The display at President’s Park at the White House features holiday trees decorated with ornaments designed by local artists from each U.S. State and territory as well as the District of Columbia. The ornaments reflect National Parks Service parks and programs, and the artist has taken her inspiration from the Timucuan Ecological and Historical Preserve at the mouth of the St. Johns River.

We asked her a few questions about the project, and she was kind enough to answer them!

Why were you chosen to make the ornaments for the Florida holiday tree at the Pathway of Peace for the National Parks Service?

I am an environmental artist passision flowerand a certified Florida Master Naturalist, so
creating ornaments to celebrate the National Parks must have seemed like a natural fit. I make images and experiences that connect us to the natural world, while appealing to all ages, I express a deep sense of spiritual ecology
.

Can you please describe your process in physically making the
ornaments? How did you choose what materials to use?

The ornaments celebrate the flora and fauna of the estuary of the Timucuan Preserve and highlight the importance of oysters. I use recycled cd’s to represent a waterline and miniature worlds above and below that surface. Continue reading

Artist Brian R. Owens Brings Windover Woman to Life

Today we’re featuring a story about a Florida artist, Brian R. Owens.

On November 13th, a newly revised exhibit opened at the Brevard Museum of History and Natural Science in Cocoa, FL, about one of the first groups of people in North America. The accidental discovery of a ceremonial burial ground in 1982 resulted in the unearthing of one of the largest and most well-preserved skeletal sites on the continent. The excavation reshaped our understanding of “archaic hunter-gatherers” and how they lived 7000 to 8000 years ago, about 3000 years before the “Great Pyramid”. They are called “Windover People”. Research is constantly ongoing as new technologies emerge to analyze the remains of 168 people. Over 10,000 bones and artifacts are preserved at Florida State University. The Museum commissioned Brian R. Owens to sculpt an artistic interpretation of one particular female based on her skull. It’s the centerpiece of the new exhibit. They call her the “Windover Woman”.

IMG_0004

Computer-generated image based on the bones of the Windover Woman

CBF: What did you have to work from?

Lots of detailed measurements of her skull but not the skull itself. I also had some computer-generated images that were made years ago on the basis of the skull. The remains included DNA but it’s so damaged that it is of little use. At least for now. Archeologists generally agree that she was descended from Asians.

CBF: How is an artistic interpretation different from a forensic sculpture? Continue reading

Spotlight On: A 300th Birthday with the C. P. E. Bach Festival

C. P. E. Bach is having a 300th birthday party in Tallahassee! The “C. P. E Bach at 300” festival features three days of concerts and lectures that celebrate the life, music, and influence of Carl Philipp Emanuel Bach, Johann Sebastian Bach’s fifth child, born 300 years ago in 1714. The festival is presented through a partnership with the FSU College of Music, Musicology area and Early Music Ensembles, with the Tallahassee Bach Parley, and will take place from Friday, November 21 until Sunday, November 23.

Members of the Tallahassee Bach Parley

Members of the Tallahassee Bach Parley. Photo submitted by Erica Thaler.

“This three-day festival is an exciting partnership between the FSU College of Music and the Tallahassee Bach Parley,” says Bach Parley music director Valerie Arsenault. “FSU music faculty and students, guest artists from out-of-town, and Tallahassee community musicians will join forces to present the music and world of C. P. E. Bach.” The Tallahassee community is home to a thriving community of Baroque players and enthusiasts, and this festival offers three days of unique musical opportunities for patrons to enjoy.

Most of the performances will be on period instruments, including fortepiano (an early incarnation of the modern piano), clavichord (a delicate, intimate, soft-sounding keyboard instrument), along with harpsichord, organ, modern and baroque flutes, period stringed instruments, and guest artist Josh Lee on viola da gamba. Special guest Mark Knoll, a founder of the Tallahassee Bach Parley and FSU College of Music alumnus, will be returning to give the keynote lecture and musical commentary for the concerts. By using period instruments, the musicians will recreate the music using the same tools as when it was first written. History and music will come to life with commentary about the pieces and lectures to provide insight into the works and world of C. P. E. Bach.

One of the trademarks of the Tallahassee Bach Parley is to provide commentary before the pieces, to give audience members historical background about the composer or the piece, and to give listeners ideas about what to listen for in the music. In fact, the word “Parley” means discussion, so providing an opportunity to talk about the works is part of what makes the Bach Parley unique. Similarly, the entire festival combines guest lectures in addition to performances, so audience members can learn more about the world in which C. P. E. Bach lived and composed his music, bringing the past to life.

The festival will begin on Friday evening with an intimate clavichord performance by Charles Brewer at FSU in the Kuersteiner Music Building lounge (limited seating), followed by a lecture “C. P. E. Bach at 300, An Overview: Life, Family, Works, Reception” in Lindsay Recital Hall by visiting scholar Mark Knoll, founder of Steglein Publishing and an editor of the new C. P. E. Bach edition through the Packard Humanities Institute.

On Saturday, Dr. Knoll will give a pre-concert lecture followed by a concert of chamber, vocal, and solo keyboard music, including fortepiano, organ, and harpsichord in Opperman Music Hall, FSU. This concert will feature FSU College of Music faculty members Sarah Eyerly (soprano), Joel Hastings (fortepiano), Eva Amsler (modern and baroque flute), Iain Quinn (organ and harpsichord), along with FSU student performers.

In the final concert on Sunday, the Tallahassee Bach Parley will join forces with members of the FSU Baroque Ensemble for orchestral and chamber music. Kim Jones will be featured in C. P. E. Bach’s Concerto in A major for cello, and the large ensemble will also play the Berlin Symphony in G major. For the chamber music portion, guest artist Josh Lee will perform a viola da gamba sonata, and Eva Amsler, Melissa Brewer, Iain Quinn, and Valerie Arsenault will play duos, trios, and a quartet.

For additional information about the festival or the Tallahassee Bach Parley, visit www.tallahasseebachparley.org or e-mail musicdirector@tallahasseebachparley.org. The FSU College of Music publicity office can be reached at music-publicity@admin.fsu.edu.

Poetry as a Means to Understand and Cope with the Social Difficulties of Having Autism

by Jacob Richard Cumiskey

My name is Jacob, and I am a twenty-one year old undergraduate at Warren Wilson College studying poetry. I have a disability known as Asperger syndrome: an Autism Spectrum Disorder that manifests itself through extreme discomfort in most social situations and difficulties in non-verbal communication. The phrase “non-verbal” can be a bit misleading here, because while I personally have a very difficult time reading body language from my friends or hand signals from my parents, I have a very comfortable time communicating to the world through my writing. I have been writing poetry for around nine years, and I believe there may be reasons linked to my disability as to why poetry comes more naturally to me than socializing, and the truth behind these reasons might not just be important for the autistic community to understand, but for the state of Florida to know as well.

Autism has become a hot word in our state recently, but there seems to be some pretty dangerous patterns regarding people’s initial take on what having an Autism Spectrum Disorder (an ASD) means. There is this tendency to either reduce individuals with an ASD to people with basic social anxiety or demonize them to the point of labeling their behavior as intentional social deviance. Doctors and scholars naturally have a much more empirical view on ASD—having linked differences in social behavior with differences in brain structure— but in my opinion, the ways in which the general public is learning about autism these days is extremely silly. The behaviors of a shark need to be researched from afar because we cannot ask the shark why it does the things it does, but some people with autism can be asked what their life is like and explain directly (or indirectly) what autism means to them.

The arts are an easy example of how this can be accomplished.

First and most important, eye-to-eye discussion is not always necessary with art, and so just about any artistic medium can act as an outlet for people with an ASD to discuss things they wouldn’t normally be comfortable talking about. Writing, for example, creates a safe environment where it is just the person and some paper. A blank page (or canvas, or journal) is the perfect listener and has zero social expectations for the artist, and this makes all the difference in terms of comfort. As someone with autism myself, one of the main reasons why I chose to write poetry over other forms of artistic expression is because it gives me the chance to speak without having to be spoken to or observed. I feel safe when writing because essentially nothing is expected of my behavior when I am alone with the page, unlike just about every other moment of my life. Poetry provides an opportunity for me to feel easy about my own thoughts, and so instead of forcing kids and adults with an ASD to participate in uncomfortable social experiences in order to help them “grow,” doesn’t it make more sense to allow the autistic community a means to indirectly communicate with neurotypicals through the arts? Wouldn’t art be an effective way to help people with autism grow comfortable with their own voice?

The arts can be no replacement for day-to-day communication, I know this, but art also creates the chance for normally unacceptable forms of communication to be celebrated and allows for an individual’s confidence to build. Through poetry, I may not have immediately begun socializing with other people, but I slowly learned to feel confident and safe with my own thoughts, and this confidence is the key to prosperous social interaction. In time, I hope our state will begin notice this valuable correlation between autism and the arts even more. So many people with an ASD are relentlessly treated like social pariahs by their peers; at the very least, it is essential for people on the autism spectrum to have a place where thoughts can be explored safely. Poetry is this for me, and I hope it might already be this for a few other people with an ASD as well.

As a personal example of the concepts I have been talking about, recently a good friend of mine asked me how I feel being in a long-distance relationship. Because of my autism, this was naturally a hard question for me to answer in the moment, and so I began working on a response to this through poetry. Writing this was not only more comfortable for me personally, but I feel as if it became a more effective form of communication than me just speaking on the subject immediately. What do you guys think?

I had to write some stuff to myself before I could answer her question.

I had to write some stuff to myself before I could answer her question.

My response.

My response.

Jacob Cumiskey recently spoke at the Florida Alliance for Arts Education 2014 summit in a session entitled “Access through the Arts: One Student’s Journey to the Neurotypical World in the Public School Setting.”

Spotlight On: Professional Development for Artists at Convening Culture 2014

by Tim Storhoff

Convening Culture 2014 will take place January 28-29 at the Vero Beach Museum of Art.

Convening Culture 2014 will take place January 28-29 at the Vero Beach Museum of Art.

On January 29 during the statewide cultural conference, “Convening Culture 2014: Connecting the Arts with Environmental Conservation,” there will be multiple opportunities for Florida artists to present their work, meet other artists and patrons, and gain important career skills. One conference highlight for artists will be the two professional development sessions presented by the Creative Capital Foundation.

Creative Capital is a national nonprofit organization dedicated to providing integrated financial and advisory support to artists pursuing adventurous projects in multiple disciplines. Through their Professional Development Program, which has been developed by artists for artists, Creative Capital has provided career, community and confidence building tools to help all artists become successful in their fields. In its first ten years, this program has reached more than 5,500 artists in 150 communities. The Florida Division of Cultural Affairs has been partnering with Creative Capital to present professional development workshops in Florida since 2007.

Creative Cap pd-program-logo

The Creative Capital sessions at Convening Culture 2014 will be:

  • Social Media: How to be Everywhere, All the Time
    Includes strategies and practical tips on how to most effectively use social media to communicate about your work and ideas; expand your audience, peer and professional network; and create a deeper connection with the general public.
  • Advocacy & Support Systems
    Provides perspectives on the important role artists can play in advocating for themselves, each other, and the field while explaining ways to develop support systems with other artists and strengthen connections between artists and non-arts partners.

The Creative Capital sessions will be presented by Eve Mosher, an artist and interventionist living and working in New York City. Her works raise issues of involvement in the environment, public/private space use, history of place, cultural and social issues and our own understanding of the urban ecosystem. In addition to being a consultant/leader for Creative Capital’s Professional Development Program, Eve is an Assistant Professor at Parsons the New School for Design. Her public and community-based artworks have received grants from New York State Council on the Arts and New York Department of Cultural Affairs, both through the Brooklyn Arts Council and The City Parks Foundation.

For a taste of the information presented by the Professional Development Program, visit Creative Capital’s The Lab blog. Spaces at Convening Culture are limited, so view the full schedule and register now at florida-arts.org/conveningculture.

The original version of this article appeared in the November 2012 Cultural Connection, the newsletter of the Florida Division of Cultural Affairs. We encourage you to sign up for our mailing list to receive future updates.