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DTSTART;TZID=America/New_York:20190409T120000
DTEND;TZID=America/New_York:20190409T133000
DTSTAMP:20260420T202346
CREATED:20190301T212020Z
LAST-MODIFIED:20200219T192340Z
UID:1093-1554811200-1554816600@moartdeland.org
SUMMARY:Art In Motion
DESCRIPTION:The Museum Guild Invites You to \nArt In Motion \nSupport the Arts Fashion Show & Luncheon \nNoon to 2 pm \nTuesday\, April 9\, 2019 \nVictoria Gardens Magnolia Ballroom \n1001 Garden Club Drive \nDeLand\, Florida \nMembers $30 \nNon-Members $35 \nCall for tickets:  386.734.4371 \nThe ballroom doors will open at 11:30 a.m. to welcome you to an afternoon of fashion\, food and fellowship.  Clothing and Accessories for the spring show will be provided by Em’z on Fifth of Mt. Dora\, Florida.  There will be a 50.25.25 drawing\, door prizes and clothing and accessories available for sale.
URL:https://moartdeland.org/event/art-in-motion/
LOCATION:Victoria Gardens Ballroom\, 1001 Garden Club Drive\, DeLand\, 32724\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/03/Banner-Image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190406T100000
DTEND;TZID=America/New_York:20190915T160000
DTSTAMP:20260420T202346
CREATED:20190319T151721Z
LAST-MODIFIED:20200219T192509Z
UID:1154-1554544800-1568563200@moartdeland.org
SUMMARY:Gary Monroe
DESCRIPTION:Gary Monroe\, Untitled (Wakulla Springs\, Florida)\, 1978\, Pigment inkjet print\, 29 ½ x 44 in. \nGary Monroe:  Photographs and Revelations features 46 black and white photographs by Monroe\, as well as 22 cultural objects and 10 paintings from his personal collection. \nMonroe has photographed in Brazil\, Israel\, England\, Spain\, Mexico\, the Caribbean\, Cuba\, India\, Trinidad\, Poland\, Egypt\, and several other places. Grants from the National Endowment for the Arts supported Monroe’s 10-year photographic documentation of the endings of the old world Jewry that once characterized Miami’s South Beach.  The Fulbright Foundation aided his work throughout Haiti\, to where he made twenty five trips\, and a Southeast College Arts Conference grant recognized his photographs of tourists who were experiencing that typically American rite of passage – a trip to Disney World\, which he visited some 300 times.   Many of these works are a part of the current exhibit. \n 
URL:https://moartdeland.org/event/gary-monroe/
LOCATION:Museum of Art – DeLand Downtown\, 100 N. Woodland Blvd.\, DeLand\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/03/Gary-Monroe-Untitled-Wakulla-Springs-Florida-1978-Pigment-inkjet-print-29-½-x-44-in..jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190405T170000
DTEND;TZID=America/New_York:20190405T190000
DTSTAMP:20260420T202346
CREATED:20190226T145957Z
LAST-MODIFIED:20200219T192522Z
UID:1053-1554483600-1554490800@moartdeland.org
SUMMARY:Opening Night Reception
DESCRIPTION:Gary Monroe\, Untitled (Spiritual Reading at the Colby Memorial Temple\, Cassadaga\, Florida)\, 1996\, Gelatin silver print\, 12 x 18 inches \nOpening Night Reception \n5 to 7 p.m. \n100 N Woodland Blvd.\, DeLand\, Florida \nMembers:  No Charge \, Non-Members:  $10
URL:https://moartdeland.org/event/opening-night-reception-3/
LOCATION:Museum of Art – DeLand Downtown\, 100 N. Woodland Blvd.\, DeLand\, 32720\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/02/Untitled-Casadaga-Florida-Silver-gelatin-print-1996-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190330T100000
DTEND;TZID=America/New_York:20190616T160000
DTSTAMP:20260420T202346
CREATED:20190110T204428Z
LAST-MODIFIED:20200219T192539Z
UID:467-1553940000-1560700800@moartdeland.org
SUMMARY:Grace Hartigan
DESCRIPTION:Grace Hartigan\, Follies of 1927\, 1989\, Oil on canvas\, 78 x 60 inches \nMuseum of Art- DeLand Showcases Leading Abstract Impressionist \nThe Art of Grace Hartigan on Exhibit through June 16th \nThis exhibition features the works of Abstract Expressionist Grace Hartigan. \nGrace Hartigan (1922–2008)\, was a leading abstract expressionist painter whose themes varied from movie stars to modern interpretations of historical figures.  Hartigan’s work has been displayed and collected around the world. Her work appears in the collections of the Brooklyn Museum\, the Guggenheim Foundation in both New York and Venice\, and at the Metropolitan Museum of Art in New York . \nGrace Hartigan:  Retrospective is on view from March 29 to June 16\, 2019\, at the the Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, Florida. Gallery hours are 10 a.m. to 4 p.m. Tuesday through Saturday\, and 1 to 4 p.m. Sunday.  Gallery admission is $5\, free for museum members\, children 12 and younger\, Volusia County School students and Stetson students.
URL:https://moartdeland.org/event/retrospective/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/02/Hartigan-Follies-Of-1927.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190330T100000
DTEND;TZID=America/New_York:20190526T160000
DTSTAMP:20260420T202346
CREATED:20190110T204327Z
LAST-MODIFIED:20200219T192611Z
UID:464-1553940000-1558886400@moartdeland.org
SUMMARY:The Art of Containment
DESCRIPTION:Robert Thiele\, Mid Three (745)\, 2011\, Acid etched\, acrylic sheet\, wood\, laminated canvas\, mixed media\, 21 ½ x 23 ¼ inches \nNationally recognized\, Robert Thiele is a sculptor and painter whose work has been exhibited widely with shows in New York at the Howard Scott Gallery and the Whitney Biennial\, the Galerie Tammen & Partner in Berlin\, Germany and across Europe. \nThiele’s inspiration and precedent came from several sources:  from primal sculpture\, from the simplest forms in nature\, and from the spirit of Minimalistic art.  Thiele divides his time living and working between Brooklyn\, New York and Miami\, Florida.  Many of Thiele’s works are large scale sculptures as tall as nine feet high and assume a wide variety of shapes\, from round or square to trapezoidal or oblong. \nAll works in the exhibition are courtesy of Emerson Dorsch Gallery in Miami\, Florida. \nThe Art of Containment:  Sculpture by Robert Thiele showcases 76 pieces and is on view from March 29 to May 26\, 2019\, at 600 N. Woodland Blvd.\, DeLand\, Florida.  Gallery hours are 10 a.m. to 4 p.m. Tuesday through Saturday\, and 1 to 4 p.m. Sunday.  Gallery admission is $5\, free for museum members\, children 12 and younger\, Volusia County School students and Stetson students.
URL:https://moartdeland.org/event/sentinels/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Mid-Three-745125.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190329T170000
DTEND;TZID=America/New_York:20190329T190000
DTSTAMP:20260420T202346
CREATED:20190220T193228Z
LAST-MODIFIED:20200219T192626Z
UID:997-1553878800-1553886000@moartdeland.org
SUMMARY:Opening Night Reception
DESCRIPTION:Opening Night Reception for two new exhibitions at the Museum of Art – DeLand. \nGrace Hartigan:  Retrospective \nand \nThe Art of Containment:  Sculpture by Robert Thiele \n \n  \nReception is 5 to 7 p.m. \n600 N. Woodland Blvd\, DeLand\, Florida \nMembers:  No Charge \nNon-members:  $10
URL:https://moartdeland.org/event/opening-night-reception/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/02/Hartigan-Follies-Of-1927.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190316T100000
DTEND;TZID=America/New_York:20190316T130000
DTSTAMP:20260420T202346
CREATED:20190115T193834Z
LAST-MODIFIED:20200219T192700Z
UID:745-1552730400-1552741200@moartdeland.org
SUMMARY:Family Fun Saturdays
DESCRIPTION:Are you looking for an entertaining family activity that will bring out everyone’s artistic side? Family Fun Saturday offers hands-on art activities that highlight the Museum’s exhibitions from 10 a.m. to 1 p.m. on the third Saturday of each month\, at 600 N. Woodland Blvd.\, September through May. Children must be accompanied by an adult\, and admission to both Museum locations is free all day.\nFamily Fun Saturdays are sponsored in part by the Rotary Club of DeLand.
URL:https://moartdeland.org/event/family-fun-saturdays-3/
LOCATION:FL
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/family-fun-saturday-or-child-image-website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190313T113000
DTEND;TZID=America/New_York:20190313T130000
DTSTAMP:20260420T202346
CREATED:20190222T185331Z
LAST-MODIFIED:20200219T192714Z
UID:1045-1552476600-1552482000@moartdeland.org
SUMMARY:Harlem Renaissance Film Series - Encore Showing
DESCRIPTION:Explore the lives of visual artists who made the Harlem Renaissance one of the 20th century’s richest artistic moments. Archival footage\, newsreels\, and photographs recall the influential force of exhibitions\, Harlem’s vibrancy in the Roaring Twenties\, and significant personalities such as William E. Harmon\, W. E. B. Du Bois\, and Alain Locke. Watch African-American artists triumph over formidable odds to create lasting beauty. \n \n11:30 a.m. to 1 p.m. \n600 N. Woodland Blvd. \nThe film is 60 minutes. \nGuests can bring a brown bag lunch. No Refreshments will be served by the Museum for this film.  Food and drink are not permitted in the galleries. \nSeating is limited and RSVPs are requested.  Call 386-734-4371 to RSVP.\nMembers:  No Charge\, Non-members $10\, price includes a 1 – 2 – 3 Ticket to view current special exhibitions.
URL:https://moartdeland.org/event/harlem-renaissance-film-series-encore-showing/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Featured,Other Events
ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2019/02/image-for-website-movie-reel.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190312T173000
DTEND;TZID=America/New_York:20190312T193000
DTSTAMP:20260420T202346
CREATED:20190306T142904Z
LAST-MODIFIED:20200219T192746Z
UID:1127-1552411800-1552419000@moartdeland.org
SUMMARY:DeLand Fall Festival of the Arts Patron Program Kick-off Set for March 12th
DESCRIPTION:  \n \nThe DeLand Festival of the Arts Patron Program is holding a Kick-off event from 5:30 to 7:30 p.m.\, Tuesday\, March 12th sponsored and hosted by the Elusive Grape located at 129 N. Woodland Blvd. \nThe Patron Program is a significant component of what is now DeLand’s largest Downtown event\, the Fall Festival of the Arts\, which attracts 175 quality artists from across the country and nearly 50\,000 visitors for the two-day event. The 2019 festival is scheduled to be held November 23rd and 24th. \nThe Kick-off will celebrate 2018 patrons and encourage them to register again for 2019.  Everyone who signs up before or at the event will receive $25 bonus Patron Bucks to spend at the festival.  When they bring a friend who signs up as a new patron\, each of them will receive an additional $25 bonus Patron Bucks. \nHighlights and benefits of becoming a patron include $250 in Patron Bucks to spend at the 2019 festival\, exclusive invitations for two to patron special events throughout the year\, including the Artists’ Awards Dinner held during the festival\, admission for two to the Patron Retreat\, festival VIP parking\, and Patron Awards Ribbons to present to exhibiting artists when purchases are made.   A minimum pledge of $350 is required to become a Patron\, $250 of which is returned in Patron Bucks to spend at the festival. The Patron Program provides a significant commitment toward purchases with artists showcasing their works at the annual event. The remaining pledge money is used for festival operations and programming. \nCan’t make it to the Kick-off event\, but want to earn Bonus Patron Bucks? Call the Museum at 386.734.4371 or sign up online at Patron Program Registration. To learn more visit the festival website at www.DeLandFallFestival.com .
URL:https://moartdeland.org/event/delscriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-joinretur-3/
LOCATION:Elusive Grape\, 129 N. Woodland Blvd\, DeLAnd\, FL\, 32720\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/03/Web-bannerFestival-3.19-Black-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190312T173000
DTEND;TZID=America/New_York:20190312T193000
DTSTAMP:20260420T202346
CREATED:20190301T214842Z
LAST-MODIFIED:20200219T192834Z
UID:1107-1552411800-1552419000@moartdeland.org
SUMMARY:DeLand Fall Festival of the Arts
DESCRIPTION:The Museum of Art – DeLand is holding a DeLand Festival of the Arts Patron Program Kick-off event from 5:30 to 7:30 p.m.\, Tuesday\, March 12th sponsored and hosted by the Elusive Grape located at 129 N. Woodland Blvd. \nThe Patron Program provides a significant commitment toward purchases with artists showcasing their works at the annual event.   The Kick-off will celebrate 2018 patrons and encourage them to register again for 2019. \nSign up now and involve your friends.  Everyone who signs up before\, or\, at the event will receive $25 bonus Patron Bucks to spend at the festival.  When they bring a friend who signs up as a new patron\, each of them will receive an additional $25 bonus Patron Bucks. \nHighlights and benefits of becoming a patron include $250 in Patron Bucks to spend at the 2019 festival\, exclusive invitations for two to patron special events throughout the year\, including the Artists’ Awards Dinner held during the festival\, admission for two to the Patron Retreat\, festival VIP parking\, and Patron Awards Ribbons to present to exhibiting artists when purchases are made.   A minimum pledge of $350 is required to become a Patron\, $250 of which is returned in Patron Bucks to spend at the festival.  The remaining pledge money is used for festival operations and programming. \nCan’t make it to the Kick-off event\, but want to earn Bonus Patron Bucks? \nCall the Museum at 386.734.4371 or sign up online at Patron Program Registration. \nTo learn more visit the festival website at www.DeLandFallFestival.com .
URL:https://moartdeland.org/event/delscriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-joinretur-4/
LOCATION:Elusive Grape\, 129 N. Woodland Blvd\, DeLAnd\, FL\, 32720\, United States
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/03/Patron-Image-festival-wesbite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190307T180000
DTEND;TZID=America/New_York:20190307T200000
DTSTAMP:20260420T202346
CREATED:20190115T202409Z
LAST-MODIFIED:20200219T192852Z
UID:767-1551981600-1551988800@moartdeland.org
SUMMARY:Harlem Renaissance Film Series
DESCRIPTION:Faith Ringgold: The Last Story Quilt\nShare an insider’s look at how one African-American woman\, through patience\, perseverance and education fulfilled her dream of becoming an artist. Every obstacle she faced reinforced her determination to reach her goal. A painter by profession\, she has moved away from traditional framed canvases to ”tankas”\, paintings on quilted canvas with frames of quilted fabric. \nBetye and Alison Saar: Conjure Women of the Arts\nThis documentary examines the personal and artistic relationship between artist Betye Saar and daughter Alison Saar. The artists’ enthusiasm and originality make for an engaging and wonderful documentary. \nIt shows both artists working in their studios\, discussing their influences\, and collaborating on the installation piece\, House of Gris Gris. \nEach film is 30 minutes. Approximately ½ hour before and ½ hour after the film has been allotted for guests to see the exhibition.\nThere are no refreshments served for these films.\nSeating is limited and RSVPs are requested.  Call 386-734-4371 to RSVP.\nMembers:  No Charge\, Non-members $10
URL:https://moartdeland.org/event/harlem-renaissance-film-series/
LOCATION:FL
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Ringgold-Movie-Web-Banner-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190301T170000
DTEND;TZID=America/New_York:20190301T193000
DTSTAMP:20260420T202346
CREATED:20190115T203224Z
LAST-MODIFIED:20200219T192930Z
UID:773-1551459600-1551468600@moartdeland.org
SUMMARY:An Evening of Jazz and Multicolored Memories
DESCRIPTION:A professional  cabaret performance of inspirational jazz vocals and literary stories tracing the common journey of native-born Americans and immigrants as they adapt to life in a diverse society and social change on a global scale. \nDr. Oliver shares personal experiences moving from segregation to integration to multicultural diversity in the international arena drawing on poignant\, humorous\, revealing reflections as an author\, race relations oral historian\, national media personality and recording artist who talks about race in a hopeful\, healing way. \nThis innovative “Race and Change” program has family-friendly appeal to audiences across races\, ethnicities\, cultures and generations using music and storytelling to relate history to the present and bringing together people across cultures for an inspirational\, entertaining event. \n \nDr. Kitty Oliver is an author\, oral historian\, media producer and professional singer with a Master of Fine Arts degree in creative writing and a Ph.D. focusing on race and ethnic communication. The native Floridian and former university professor is founder of the “Race and Change” historical archive of cross-cultural race and ethnic relations oral histories\, the only one of its size and scope in the country\, Her sought-after insights and research have been featured in books\, public television and webcast radio productions\, on CNN\, and\, most recently\, in a standout interview in the Ron Howard Beatles documentary Eight Days a Night-The Touring Years now playing in theaters internationally to rave reviews. This in-demand artist also has a CD of original inspirational jazz music and weaves music\, media and storytelling into her innovative\, creative\, uplifting programs on race and ethnic relations designed to bridge audiences across cultures and generations. \nThe doors open at  5 p.m. for a reception and to view the art exhibition\, African American Art:  We Too Dream America.  The performance is scheduled to begin at 6 p.m. Guests will have the opportunity to visit with Dr. Oliver following her performance.  Dr. Oliver’s books and CDs will be for sale. \nMembers $10\, Non-members $15\, Children and Students Free
URL:https://moartdeland.org/event/an-evening-of-jazz-scriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-joinqu/
LOCATION:FL
CATEGORIES:Featured,Other Events
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/oliver-wesbite-banner-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190221T180000
DTEND;TZID=America/New_York:20190221T200000
DTSTAMP:20260420T202346
CREATED:20190115T201645Z
LAST-MODIFIED:20200219T192944Z
UID:765-1550772000-1550779200@moartdeland.org
SUMMARY:Harlem Renaissance Film Series
DESCRIPTION:A documentary about the life and work of Jacob Lawrence\, one of America’s great painters\, the first African-American to be represented by a New York City gallery. \nEmphasis is placed on the epic narratives he painted about the struggles of the African-American people. Central to the documentary is the attention given to the emotional aspects of the process of creating art as well as the importance of motivation and determination for success. \nThe film is 30 minutes. Approximately ½ hour before and ½ hour after the film has been allotted for guests to see the exhibition.\nThere are no refreshments served for these films.\nSeating is limited and RSVPs are requested.  Call 386-734-4371 to RSVP.\nMembers:  No Charge\, Non-members $10
URL:https://moartdeland.org/event/harlem-renaissance-film-festival-series/
LOCATION:FL
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Web-banner-EVENT-jacob-lawrence-template-Black-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190220T080000
DTEND;TZID=America/New_York:20190220T170000
DTSTAMP:20260420T202346
CREATED:20190220T194554Z
LAST-MODIFIED:20200219T193002Z
UID:1013-1550649600-1550682000@moartdeland.org
SUMMARY:Opening Night Reception
DESCRIPTION:Opening Night Reception for new exhibition at the Museum of Art – DeLand \nGary Monroe:  Photographs and Revelations from 6 to 8 p.m.\, 100 N. Woodland Blvd.\, DeLand\, Florida \nMembers:  No Charge \nNon-members:  $10
URL:https://moartdeland.org/event/opening-night-reception-2/
LOCATION:FL
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/02/Untitled-Casadaga-Florida-Silver-gelatin-print-1996.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190216T100000
DTEND;TZID=America/New_York:20190216T130000
DTSTAMP:20260420T202346
CREATED:20190115T193717Z
LAST-MODIFIED:20200219T193051Z
UID:743-1550311200-1550322000@moartdeland.org
SUMMARY:Family Fun Saturdays
DESCRIPTION:Are you looking for an entertaining family activity that will bring out everyone’s artistic side? Family Fun Saturday offers hands-on art activities that highlight the Museum’s exhibitions from 10 a.m. to 1 p.m. on the third Saturday of each month\, at 600 N. Woodland Blvd.\, September through May. Children must be accompanied by an adult\, and admission to both Museum locations is free all day.
URL:https://moartdeland.org/event/family-fun-saturdays-2/
LOCATION:FL
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/family-fun-saturday-or-child-image-website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190214T180000
DTEND;TZID=America/New_York:20190214T200000
DTSTAMP:20260420T202346
CREATED:20190115T201327Z
LAST-MODIFIED:20200219T193111Z
UID:763-1550167200-1550174400@moartdeland.org
SUMMARY:Harlem Renaissance Film Series
DESCRIPTION:A bold\, brilliant artist\, Romare Bearden created collages and paintings of stunning humanity in which he aimed to do nothing less than “redefine the image of man” in terms of the African-American experience. \nThe documentary is narrated by Wynton Marsalis who masterfully draws parallels between jazz and the art of Romare Bearden. The documentary also treats viewers to rare footage of Bearden at work in his studio while he explains\, in his own words\, what he is doing as he creates. \nOther guests and commentators include: Marilyn Kushner\, Curator of Drawings and Prints at the Brooklyn Museum; Robert Blackburn\, Master Printmaker; Jeffrey Bergen\, President of ACA. \nThe film is 30 minutes. Approximately ½ hour before and ½ hour after the film has been allotted for guests to see the exhibition.\nThere are no refreshments served for these films.\nSeating is limited and RSVPs are requested.  Call 386-734-4371 to RSVP.\nMembers:  No Charge\, Non-members $10
URL:https://moartdeland.org/event/harlem-renaissance-film-festival-2/
LOCATION:FL
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Web-banner-Bearden-template-Black-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190208T173000
DTEND;TZID=America/New_York:20190208T183000
DTSTAMP:20260420T202346
CREATED:20190201T170554Z
LAST-MODIFIED:20200219T193212Z
UID:891-1549647000-1549650600@moartdeland.org
SUMMARY:Then and Now: Reflecting on the Harlem Renaissance
DESCRIPTION:Then and Now: Reflecting on the Harlem Renaissance \nJoin us for an interactive panel discussion on the Harlem Renaissance\, an extraordinary time of social\, cultural and artistic energy and movement. This panel\, inspired by the current exhibit African American Art: We Too Dream America\, will feature distinguished teacher-scholars from Stetson University and include interdisciplinary perspectives on the Harlem Renaissance. Panelists will exchange ideas and illuminate how this critical time period still has a significant impact on today’s society. \nThis event is co-organized by Pam Coffman\, Museum of Art-DeLand Curator of Education\, and Dr. Rajni Shankar-Brown\, Stetson University Associate Professor and the Jessie Ball duPont Chair of Social Justice Education. \n5:30 – 6:30 pm \nMuseum of Art DeLand \n600 N. Woodland Blvd.\, DeLand\, Florida \nFree Admission
URL:https://moartdeland.org/event/panel-discussion-then-scriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-join/
LOCATION:FL
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/02/WEB-Museum-of-Art-DeLand-600-100-b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190131T180000
DTEND;TZID=America/New_York:20190131T200000
DTSTAMP:20260420T202346
CREATED:20190115T195419Z
LAST-MODIFIED:20200219T193227Z
UID:749-1548957600-1548964800@moartdeland.org
SUMMARY:Harlem Renaissance Film Series
DESCRIPTION:Explore the lives of visual artists who made the Harlem Renaissance one of the 20th century’s richest artistic moments. Archival footage\, newsreels\, and photographs recall the influential force of exhibitions\, Harlem’s vibrancy in the Roaring Twenties\, and significant personalities such as William E. Harmon\, W. E. B. Du Bois\, and Alain Locke. Watch African-American artists triumph over formidable odds to create lasting beauty. \nThe film is 60 minutes. Approximately ½ hour before and ½ hour after the film has been allotted for guests to see the exhibition.\nThere are no refreshments served for these films.\nSeating is limited and RSVPs are requested.  Call 386-734-4371 to RSVP.\nMembers:  No Charge\, Non-members $10
URL:https://moartdeland.org/event/harlem-renaissance-film-festival/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Featured,Other Events
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/film-festival-against-the-odds.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190126T100000
DTEND;TZID=America/New_York:20190324T160000
DTSTAMP:20260420T202346
CREATED:20181220T211503Z
LAST-MODIFIED:20200219T193309Z
UID:126-1548496800-1553443200@moartdeland.org
SUMMARY:Sandy Winters
DESCRIPTION:Sandy Winters:  Creation and Destruction features contemporary works from Winters\, whose career has spanned over four decades. Winters\, a nationally-recognized artist with awards from across the country\, has a distinct and unique mixed media approach to her art for which she has become synonymous. \nSandy Winters\, Seven Deadly Sins\, 2010\, Oil on wood\, 72 x 96 inches \n  \nZEITGEIST:  THE WORLD OF SANDY WINTERS \nEssay by George S. Bolge \nCEO\, Museum of Art  – DeLand \nIn 1817\, Goethe wrote that all cultures go through four stages.  The first is one of community and powerfully shared symbols and visions.  The second and third become progressively analytical and abstract.  And the fourth stage is characterized as follows:  “Human need\, aggravated by the course of history\, leaps backwards\, confuses priestly folk\, and religious beliefs\, grabs now here\, now there\, at traditions\, submerges itself in mysteries\, sets fairy tales in the place of poetry\, and elevates these to articles of belief.” 1 \nIn this exhibition\, of Sandy Winter’s work completed during the past several years\, one can sense the artist’s sudden shift in sensibility.  The analytical and the formal are rejected\, and strange new kinds of historicism\, primitivism\, and expressionism are embraced.  There is a demi-allegory here that seemingly has not made up its mind whether to persuade\, as in an argument\, or to dissemble\, like art; whether to consort with pain and despair\, or to yield to an irrepressible desire to affirm humane values in man’s all-to-brief existence on Earth.  With a seeming will of its own\, the mixed media work in this exhibition cheerfully subverts its illusion to come down on the artist’s side as an unexpected\, purely creative affirmation\, perhaps attaining\, thereby\, an even more persuasive impact than by restating the familiar miseries and visual clichés of man’s solitary fate. \nIn Sandy Winters’ poetic creations\, it is not a question of overcoming the material\, as the futile aesthetics extolled by so many people would have it\, but of freeing the materials.  Paintings\, drawings and prints undergo a transformation as soon as they enter into the sphere of her art work.  They change their nature; they embody something that transcends and governs them.  Without losing their first values\, they acquire\, thanks to pictorial art\, a great importance and\, at the same time\, constitute a sort of flash that opens access to another world to us. \nThis artist’s touch is purely and simply what it is – rhythm\, color\, composition – and\, at the same time\, something else\, another creative power of forms\, a transparent material.  The “touch” is the creation that goes further than the materials. \nParadoxically\, what goes further than the mixed media elements can be achieved only by mixed media elements\, and surpasses the simple and happy inventions of technique:  it is a creation of forms.  Winters gives back to the very being of her material its original nature.  As a good servant of pictorial art\, she transforms it into a contradictory method.  Her art constantly surpasses its history and its style.  It becomes the result and the sum of all these elements:  experience\, feeling\, emotion\, intuition\, unconscious thought\, and looking. \nWinters’ art is primitive in a higher way.  The creation of another rhythm\, imitation\, a copy of the true idea\, madness\, ecstasy\, a childlike expression of the animal depths\, nostalgia for a hidden world\, the asceticism and sensuality of the game\, a visionary moment\, universal harmony – her art shows all faces.  One of the faces it shows is the absurd megalomania of all human aspirations – the portrait. \nWhen this artist invents a manner or a style\, she ceases to be a creator and turns into a designer fabricating products of applied art.  Style is an external\, decorative element.  Sometimes Winters is governed or defeated by a style that does not belong uniquely to her but belongs to the period.  In a sense\, she has no style; she is the servant of her material and transcends it with absolute freedom. \nIn her most recent work\, physicality\, for example\, is expressed simply as technical prowess; at other times\, it is ritualized action\, a psychosexual event.  A corollary to the expression of human nature as savage or childlike can be seen\, also\, in pieces such as these; civilization and civilized skills exist as a thin\, artificial veneer. \nWinters reaction to recent art is a provocation thoroughly in the modern tradition.  As Marshall Berman observed\, “to appropriate the modernities of yesterday can be at once a critique of the modernities of today and an act of faith in the modernities… of tomorrow”.2 \nThe themes pursued in this artist’s work\, however\, are not as simple as that.  The artist seems to be paraphrasing the statement that the Conceptualist\, Douglas Huebler\, made as a work of art in 1969:  “The world is full of objects\, more or less interesting; I do not wish to add any more.  I prefer simply to state the existence of things…”  Winters appears to be expressing a similar feeling – not toward objects\, but toward images.  As another Conceptualist\, Joseph Kosuth\, observed in 1982\, the rebirth of painting is “not simply painting but a reference to painting as if the artists are using the found fragments of a broken discourse.” 3     \nEarlier in our century\, when Expressionist and Surrealists explored the subjective and the “subconscious\,” it was in a spirit akin to the then-new science of psychoanalysis and in an age of rational ideals.  Sandy Winters has different motives.  Acting out the compulsions of the psyche physically instead of dissecting them analytically\, she is attempting to retrieve or\, at least\, to represent atrophied instincts as well as critiquing the images bequeathed us from styles of the modern past.  Her work seems to be less involved with abstract forms than with representing the externalized images of abstract forms by “mark-making”. \nAlthough identity may have been a central concern of the seventies\, nonentity is more pertinent now.  When a work of art is inhabited by pre-existing images and forms\, or simulates emotional gestures to express an angst of emptiness\, it is the lack of identity that comes to the fore.  That is one of the consequences of the loss of faith in the modernist ethos of originality.  But when the reactionary is seen as the radical\, the past as the future\, the old as the new\, and the spurious as the genuine\, broader issues of individuality and authenticity crop up.  The present retreat\, with its desire for falsity\, for manipulated images\, repossessed styles\, prepackaged forms\, is an ambivalent attempt to return to old values.  As modernist belief systems are becoming increasingly inadequate\, artists are exposing awful truths and giving profound warning. \nIn the late stage of a culture which is cast adrift in contradictions\, haunted by myths of history and style and by omens of vulnerability\, Sandy Winters is uneasily grabbing hold of traditions\, however spurious they may be\, and elevating them to stave off disbelief.  She draws upon the elementary symbolism that has accompanied human history.  For her\, the work of art is not so much an ideal product as an activity through which the individual asserts her sense of life.  Her art can be compared to a process\, a living tracing of the ceaseless activity of the imagination.  We can think about her art in terms of a new Zeitgeist\, a sudden break with the past\, an unexpected reversal of taste\, or we can call it a last waltz with modernism. \nFootnotes \n\nQuoted from Kathleen Agena\, “The Return of Enchantment\,” The New York Times Magazine\, Nov. 27\, 1983\, pp. 79-80.\nMarshall Berman\, All That Is Solid Melts Into Air: The Experience of Modernity.  (New York:  Simon & Schuster\, 1982)\, p.36.\nJoseph Kosuth\, “Necrophilia Mon Amour\, “Artforum\, May 1982.\n\n  \n  \n  \n  \n 
URL:https://moartdeland.org/event/seven-deadly-sins/
LOCATION:Museum of Art – DeLand Downtown\, 100 N. Woodland Blvd.\, DeLand\, 32720\, United States
CATEGORIES:Exhibitions,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2018/12/SEVEN-DEADLY-SINS-FIN.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190126T100000
DTEND;TZID=America/New_York:20190126T130000
DTSTAMP:20260420T202346
CREATED:20190115T193547Z
LAST-MODIFIED:20200219T193331Z
UID:736-1548496800-1548507600@moartdeland.org
SUMMARY:Family Fun Saturdays
DESCRIPTION:  \n\n\n\n\nAre you looking for an entertaining family activity that will bring out everyone’s artistic side? Family Fun Saturday offers hands-on art activities that highlight the Museum’s exhibitions from 10 a.m. to 1 p.m. on the third Saturday of each month\, at 600 N. Woodland Blvd.\, September through May. Children must be accompanied by an adult\, and admission to both Museum locations is free all day.
URL:https://moartdeland.org/event/family-fun-saturdays/
LOCATION:FL
CATEGORIES:Featured,Other Events
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/family-fun-saturday-or-child-image-website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190125T170000
DTEND;TZID=America/New_York:20190125T190000
DTSTAMP:20260420T202346
CREATED:20190111T170841Z
LAST-MODIFIED:20200219T193434Z
UID:521-1548435600-1548442800@moartdeland.org
SUMMARY:Opening Reception: Sandy Winters
DESCRIPTION:$20 Non-members\nMembers No Charge
URL:https://moartdeland.org/event/opening-reception-sscriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-joinqu/
LOCATION:Museum of Art – DeLand Downtown\, 100 N. Woodland Blvd.\, DeLand\, 32720\, United States
CATEGORIES:Exhibit Openings,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2018/12/The-Night-Shift.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190121T100000
DTEND;TZID=America/New_York:20190121T160000
DTSTAMP:20260420T202346
CREATED:20190111T170705Z
LAST-MODIFIED:20190114T164739Z
UID:518-1548064800-1548086400@moartdeland.org
SUMMARY:Museum Free Admission
DESCRIPTION:
URL:https://moartdeland.org/event/museum-free-admission/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibit Openings,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Insta-MLK-Day.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190120T130000
DTEND;TZID=America/New_York:20190120T160000
DTSTAMP:20260420T202346
CREATED:20190111T170352Z
LAST-MODIFIED:20190114T190939Z
UID:516-1547989200-1548000000@moartdeland.org
SUMMARY:Opening Reception: African American Art
DESCRIPTION:$20 Non-members\nMembers No Charge
URL:https://moartdeland.org/event/opening-reception-african-american-art/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibit Openings,Featured
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2018/12/Ringgold-Jazz-Stories.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190120T100000
DTEND;TZID=America/New_York:20190317T160000
DTSTAMP:20260420T202346
CREATED:20181204T214028Z
LAST-MODIFIED:20200219T193511Z
UID:91-1547978400-1552838400@moartdeland.org
SUMMARY:African American Art
DESCRIPTION:MASTERPIECES OF AFRICAN AMERICAN ART  \nA world-class exhibition of more than 85 pieces on view including works from Faith Ringgold\, Romare Bearden\, Jacob Lawrence\, Purvis Young.  Comprised of two significant collections; African American Art:  We Too Dream America\, curated by Dorian Bergen\, co-owner of the ACA Galleries in New York\, and Purvis Young: Overtown’s Visual Poet\, selected from the Museum’s permanent collection at its galleries located at 600 N. Woodland Blvd. in DeLand\, Florida. \n  \nFaith Ringgold\,Jazz Stories: Mama Can Sing\, Papa Can Blow #1: Somebody Stole My Broken Heart 2004\, Acrylic on canvas with pieced fabric border\, 80 ½ x 67 inches \nAfrican American Art:  We Too Dream America \nEssay by Geroge S. Bolge \nCEO\, Museum of Art- DeLand \nMany of the Work Progress Administration (WPA) murals have decayed\, been demolished\, or got lost; and of the survivors\, few are of much esthetic interest.  Indeed\, it may be that the most powerful American work of art produced under the auspices of social commitment in the 1930s and 1940s was not a mural at all\, but a narrative series of sixty small paintings\, done on store-bought panels through 1941 by an African American artist\, Jacob Lawrence.  At twenty-three\, he was too young for the WPA.  His work was called the “The Migration of the Negro\,” later retitled\, “The Migration Series”.  Its subject was significant\, and probably only a Black artist could have handled it with the depth of feeling it required.  The migration of Blacks from the rural South to the industrial North of America in the first decades of the 20th century was the biggest internal migration in American history and\, in the words of Herry Louis Gates\, Jr.\, “the largest movement of Black bodies since slavery.”  It involved at least a million people.  It went largely uncommemorated\, except by historians and sociologists.  No novel\, in or out of the African-American tradition\, has handled it on the scale it deserved.  No monuments commemorate it\, no documentary films were made about it.  Lawrence simply picked up the subject and made it his own. \nThe Great Migration had an epic character – a collective Odyssey to match the Iliad of the Civil War.  It was precipitated by the Southern White reaction that came in the wake of Reconstruction\, plunging the Black population of the Southern states – all poor\, and nearly all rural workers – into a purgatory of abrogated rights.  Moreover\, most of the work available to “free” Blacks depended on the cotton industry; and\, the invention of cotton-picking machines knocking the bottom out of their labor market.  Deprived of work\, unable to vote\, and powerless to change their political status\, Southern Blacks voted with their feet and started flocking to the Mid-Atlantic\, Northeastern\, and Midwestern cities\, repeating en masse the old perilous journey on the “abolitionists” Underground Railroad\, north out of bondage in the 19th century.  They were looking for a better America than they had known – not a hard one to find\, one might have thought except that racism and unemployment were also endemic in Chicago\, Boston\, and New York.  Those who imagined they were heading for the Promised Land were sharply disappointed\, especially after 1929\, when they arrived in a North economically devastated by the Depression\, with little work and less chance of finding any. \nThus the South was drained of its Black proletariat\, while the North acquired a new one\, out of which grew a radically altered conception of Black culture in America; distinctively urban\, but still Southern in its origins and collective memory.  This was the culture whose synthesis\, in New York\, produced the Harlem Renaissance; and through it\, American Blacks reinvented themselves. \n  \n  \nThe Harlem Renaissance \nAn Essay by Pam Coffman. \nCurator of Education\, Museum of Art – DeLand \nHistorically the Harlem Renaissance denotes the period from the end of World War I in the early 1920s through the middle of the Great Depression in the 1930s.  It is difficult to assign an exact date because the factors that brought it to fruition had been brewing for decades. \nAlthough “renaissance” refers to a rebirth or renewal the Harlem Renaissance or “New Negro Movement” was the birth\, rather than the rebirth of a cultural\, social\, political and urban revolution. The term “New Negro” was coined by sociologist and critic Alain LeRoy Locke\, after the title of his book by the same name. The Harlem Renaissance was a time when many Blacks seized the opportunity to repudiate the White man’s version of their history and write a new chapter celebrating their struggles\, triumphs\, strengths\, achievements\, racial pride\, dignity\, and intellectual and artistic contributions to society.  It was a time when\, as a people\, Blacks confronted the slave narrative\, segregation\, Jim Crowe\, and the “other than” label laying the foundation for the Civil Rights Movement of the 1950’s and 60s. \nThere were several factors that contributed to the Harlem neighborhood in New York City\, being the epicenter and cultural mecca of this movement.  One was the Great Migration\, when large numbers of African Americans left the economically depressed and repressive South and moved to the industrial North to take advantage of the employment opportunities created by World War I. This shift in population attracted many African American intellectuals who were distressed by the rise in violence against Blacks. Among these intellectuals were Black historians and sociologists like W.E.B. DuBois and Marcus Garvey whose calls for racial equality and Black pride precipitated the formation of the National Association for the Advancement of Colored People (NAACP) and the Universal Negro Improvement Association (UNIA) in New York. \nIn addition to Locke\, DuBois\, and Garvey\, other influential individuals who contributed to this intellectual\, literary\, artistic and performing arts movement included: James Weldon Johnson\, A. Phillip Randolph\, Cyril Briggs\, Walter Francis White\, Zora Neale Hurston\, Effie Lee Newsome\, Countee Cullen\, Langston Hughes\, Meta Fuller\, Aaron Douglas\, Augusta Savage\, Lois Mailou Jones\, Jacob Lawrence\, Romare Bearden\, Paul Robeson\, Louis Armstrong\, Count Basie\, Eubie Blake\, Cab Calloway\, Duke Ellington\, Billie Holiday\, Josephine Baker\, Fats Waller\, Jelly Roll Morton\, and  many others. \nPhylisophical ideologies dominated the cultural and artistic landscape of the Harlem Renaissance\, although both focused on racial consciousness and pride the approaches differed.     W. E. B. Du Bois\, James Weldon Johnson\, Alain Locke\, Charles Spurgeon\, and others supported the idea that the Black fight for equality should be championed by the artistically talented and culturally privileged African Americans whose works\, inspired by racial heritage and experience\, would validate the beauty of their race and its crucial contribution to American culture\, and demonstrate that the\nBlack educated class was the equal to the White educated class. \nThe second concept was in opposition to the elite art-as-propaganda view. Aaron Douglas\, Zora Neale Hurston\, Claude McKay\, Langston Hughes and other artists argued against portraying only “cultured” and “high-class” African Americans who reflected the standards of White society.  They believed artists should create work for its own sake. \nDespite these differing philosophical views and the fact that many of the writers\, philosophers\, artists and musicians of the Harlem Renaissance were ardent individuals in their creative vision and did not view themselves as part of a movement\, they were united by the concept of portraying the uniqueness of what it meant to be Black in America\, racial pride\, African heritage\, rural southern history\, and social and political equality. \nThe legacy of the Harlem Renaissance and the “New Negro” Movement is often debated\, but there are certain points of agreement.  It was the first time that mainstream Black artists\, writers and musicians were taken seriously and attracted significant attention from the art world at large. It marked a period when a sense of Black identity\, pride\, and self-determination was beginning to change the way African Americans thought about themselves and their cultural and intellectual contributions to American society.  It redefined White Americas’ perception of African American culture and promoted awareness that the struggle of Blacks in the United States was connected to that of Blacks around the world.  These factors could no longer be ignored and acting as a catalyst for the Civil Rights struggles in the 1950s and 1960s they had a lasting influence on American history and culture. \n 
URL:https://moartdeland.org/event/african-american-art/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2018/12/Ringgold-Jazz-Stories.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190119T070000
DTEND;TZID=America/New_York:20190119T220000
DTSTAMP:20260420T202346
CREATED:20190111T162949Z
LAST-MODIFIED:20200219T193530Z
UID:513-1547881200-1547935200@moartdeland.org
SUMMARY:A Night in Harlem
DESCRIPTION:Thanks to: \nPresenting Partner\nMainstreet Community Bank \nSignature Sponsor\nMrs. Robin May \nContributing Sponsors \nAdvent Health\nR George & Associates\, Inc.\nJudy Thompson\nIan Williams and Nancy Hutson
URL:https://moartdeland.org/event/a-night-in-harlem/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Other Events
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/A-night-in-Harlem.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181102T100000
DTEND;TZID=America/New_York:20190113T160000
DTSTAMP:20260420T202346
CREATED:20190110T205450Z
LAST-MODIFIED:20200219T193559Z
UID:482-1541152800-1547395200@moartdeland.org
SUMMARY:Full Circle
DESCRIPTION:ON INFINITY:  DRAWINGS BY BARBARA NEIJNA \nAn essay by George S. Bolge \nCEO\, Museum of Art – DeLand \nEvery culture and society has a few brave souls who live out their lives at the absolute frontiers of their age – who\, while there\, probe into and speculate upon what lies beyond – and then somehow manage\, with the help of talent\, logic\, intuition\, and faith to encapsulate symbolically what they suspect the vision might be. \nThese frontiers may be science\, mathematics\, philosophy\, metaphysics\, the arts – and any number of other disciplines or in combinations of them all. \nOne such combination fuses art with metaphysical speculation and infinity\, and produces an art that is both profoundly physical and highly suggestive.  An art that combines sensitivity with hue\, color\, texture\, form – with intimations of immortality\, spiritual intuitions\, a sense of the awesomeness of the infinite unknown\, and an ache for universal meaning and significance.  An art\, in other words\, that possesses an eager openness toward any and all hints of what might lie beyond human knowledge\, definition\, or classification.  It also raises questions about\, and suggests\, alternative interpretations of the reality we see\, touch\, smell\, hear – or think we understand so well. \n \nPoints of View (Book#1)\, 2017\, Mixed media\, collage\, gold leaf\, oil bar\, 8 1/4 x 8 1/2 inches \nAlthough most artists\, by the very nature of their creative focus\, feel this sense of wonderment and awe before the unknown\, artists like Barbara Neijna who devote themselves specifically to the search for pictorial approximation of these concepts are extremely small.  And for good reason:  art and metaphysics\, while close in spirit\, are far apart as disciplines\, and call for vastly different talents and commitments. \nIt is the rare artist who has the talent and the inclination for both.  Among those few who have\, however\, none managed more successfully than Barbara Neijna to fuse art and metaphysics into a perfectly unified and integrated pictorial image.  In her recent drawings\, the largest possible vision of reality was symbolically represented through the interaction of absolutely vertical and horizontal lines in conjunction with simple combinations of the primary shapes. Her drawings are perfect icons of infinity\, albeit a highly rarefied and dogmatic version of it. \nNeijna’s drawings emphasize art’s role as an evoker of subtle moods and other worldly musings and intimations – which can be seen as an aid to meditation\, rather than as a pictorial presenter of physical facts or as a shrewd organizer of nonrepresentational shapes\, colors\, patterns or designs. \nAn exhibition of Neijna’s work presents us with the extraordinary feeling that we are observing an exquisitely honed\, creative sensibility waiting\, with watchful urgency\, at the frontier of human knowledge for something to “pass by.”  And then when something does (or appears to)\, we see it take shape through her art. \n \nIt may be something so intangible and fleeting that to capture it on paper becomes as difficult as capturing the flash of a golden fish deep within muddy waters\, or the bursting into momentary light of a firefly.  But whatever it is\, Neijna is the contemporary best suited by talent and temperament to register its presence and its appearance on paper. \nThis is her unique talent\, and the one that has kept her facing outward (as well as inward) toward the unknown at a time when most of her contemporaries were concerning themselves with the formal and physical stretching of the art of creating. \nThis artist hunts and fishes for evidence of the divine; she is a follower of its spoor and traces.  If anyone will ever register even the gentlest caress of an angel’s wing\, it will be she.  And\, if intimations and intuitions ever take physical form\, she will be among the very first to recognize them for what they are. \nNeijna’s art exists between the present and actual and the imminent and possible.  Her images\, as often as not\, are in transition from one state to another\, from one dimension of reality to another.  Reality for this artist is an eternally ongoing process of question and transformation\, a dynamic\, ever fluctuating series of overlapping images and appearances. \nTo peel off one layer of meaning is to reveal the next one in depth – or at least to catch a fleeting glimpse of where it might be found. \nArt\, to such a creative spirit\, is neither a feast for the eyes nor an arena for the emotions.  It is\, rather\, a launching pad for the spirit and a landing area for truths wishing to make themselves known. \n 
URL:https://moartdeland.org/event/full-circle/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Barbara-Neijna-Origins-92437-SM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181026T100000
DTEND;TZID=America/New_York:20190106T160000
DTSTAMP:20260420T202346
CREATED:20190110T205332Z
LAST-MODIFIED:20190114T182639Z
UID:480-1540548000-1546790400@moartdeland.org
SUMMARY:Recent Gifts: Permanent Collection
DESCRIPTION:
URL:https://moartdeland.org/event/recent-gifts-permanent-collection/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/7-Gary-Erbe-Bust-on-a-Pedestal-1982-Oil-on-canvas-58x40in-SM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181026T100000
DTEND;TZID=America/New_York:20190106T160000
DTSTAMP:20260420T202346
CREATED:20190110T205207Z
LAST-MODIFIED:20200219T193625Z
UID:478-1540548000-1546790400@moartdeland.org
SUMMARY:Jim Houser:  Retrospective
DESCRIPTION:JIM HOUSER:  FOCUSING ON THE IRREDUCIBLE \nAn essay by George S. Bolge \nMuch of the art of this century deals with reduction and elimination\, and conjures up an image of a man taking apart a boat in the middle of the ocean in order to determine the minimum support he requires to stay afloat. \nOr an image of a writer trying to distill all he knows into one perfect sentence with which to begin his book. \n \nRed Swings II\, Undated\, Acrylic on canvas\, 50 x 50 \nAlthough Jim Houser\, like other American artists\, was influenced by Cubism as well as by Constructionism – and was also anxious to create art of cultural significance\, he could never quite rid himself of the notion that art began in reality.  And not only in the reality of the mind and spirit\, but in the reality encountered through sight\, touch\, and smell.  Even his most abstract-looking paintings are so drenched in naturalistic associations that one immediately senses and perceives the seascape or objects from which the picture is derived.  All hues\, shapes\, forms\, textures and colors in his art have their point of origin in the everyday world. \nJim Houser built his paintings from the ground up.  Nothing was left to chance\, everything was meticulously planned and ordered with almost mathematical precision.  And yet\, his oeuvre is rich in association.  We don’t just see the painting\, we are flooded by memories and feelings triggered by what we see “in” the painting:  by our memories and feelings about comfortable\, seaside vacation homes\, sitting on the beach with the one you love\, and lunch at the boardwalk sandwich shop. \nStand Flags\, Undated\, Acrylic on canvas\, 36 x 60 inches\nDepending on our interest in the formal aspects of art\, we may or may not also be aware of how beautifully the various elements in his compositions play against one another and how delicately the curve of a boat’s hull completes a highly complex series of thrusts into space. \nIf we are aware of these things\, a period of adjustment between small tensions and balances takes place.  The associative elements are weighed against the formal.  And since Houser was an artist\, and was able to steer a central course between both realities\, the end result of the viewing experience is a wonderful feeling of completeness\, harmony and balance. \nThe Jim Houser paintings that comprise this exhibition represent a centuries old tradition\, which includes Vermeer\, Chardin and Cezanne.  He has updated it by modifying it in the light of 20th century formal discoveries and attitudes\, but it is solidly traditional nonetheless.
URL:https://moartdeland.org/event/retrospective-2/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Bait-and-Tackle-54x48in-1998-SM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180825T100000
DTEND;TZID=America/New_York:20181021T160000
DTSTAMP:20260420T202346
CREATED:20190110T205633Z
LAST-MODIFIED:20190114T182725Z
UID:484-1535191200-1540137600@moartdeland.org
SUMMARY:Janet Siegel Rogers: Retrospective
DESCRIPTION:
URL:https://moartdeland.org/event/janet-siegel-rogers-retrospective/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/janet-siegel-rogers-retrospective.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180818T100000
DTEND;TZID=America/New_York:20181014T160000
DTSTAMP:20260420T202346
CREATED:20190110T210205Z
LAST-MODIFIED:20190122T153856Z
UID:487-1534586400-1539532800@moartdeland.org
SUMMARY:Ring Of Fire
DESCRIPTION:
URL:https://moartdeland.org/event/ring-of-fire/
LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://moartdeland.org/wp-content/uploads/2019/01/Eliot-OHara-Mountain-Village-Bolivia-1933-Watercolor-15x22in.jpg
END:VEVENT
END:VCALENDAR