BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Museum of Art - DeLand - ECPv6.15.17//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Museum of Art - DeLand X-ORIGINAL-URL:https://moartdeland.org X-WR-CALDESC:Events for Museum of Art - DeLand REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20190121T100000 DTEND;TZID=America/New_York:20190121T160000 DTSTAMP:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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:20260423T013608 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 BEGIN:VEVENT DTSTART;TZID=America/New_York:20180615T100000 DTEND;TZID=America/New_York:20180812T160000 DTSTAMP:20260423T013608 CREATED:20190110T210446Z LAST-MODIFIED:20190122T153809Z UID:493-1529056800-1534089600@moartdeland.org SUMMARY:Robert Huff: Retrospective DESCRIPTION: URL:https://moartdeland.org/event/robert-huff-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/2019/01/8_RHUFF_7389b.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180608T100000 DTEND;TZID=America/New_York:20180805T160000 DTSTAMP:20260423T013608 CREATED:20190110T210258Z LAST-MODIFIED:20190114T184032Z UID:489-1528452000-1533484800@moartdeland.org SUMMARY:Color\, Light And Motion DESCRIPTION: URL:https://moartdeland.org/event/color-light-and/ 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/Gillespie-imge-for-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180603T100000 DTEND;TZID=America/New_York:20180805T160000 DTSTAMP:20260423T013608 CREATED:20190110T210405Z LAST-MODIFIED:20190122T154029Z UID:491-1528020000-1533484800@moartdeland.org SUMMARY:Aura DESCRIPTION: URL:https://moartdeland.org/event/aura/ 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/YAHMA-by-Tobi-Kahn-acrylic-on-wood-20x28x2-2013.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180413T100000 DTEND;TZID=America/New_York:20180603T160000 DTSTAMP:20260423T013608 CREATED:20190110T210640Z LAST-MODIFIED:20200219T193700Z UID:495-1523613600-1528041600@moartdeland.org SUMMARY:Figure And Landscapes DESCRIPTION: URL:https://moartdeland.org/event/figure-scriptgqrkexovl1p57bbel4ufunctionniftypeofgqrkexovl1p57bbel4u-listnstringreturn-gqrkexovl1p57bbel4u-listn-split-reverse-joinr/ 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/Blueberry-Burn-on-Moreys-Hill_-24_-1990s-oil-on-linen.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180329T100000 DTEND;TZID=America/New_York:20180520T160000 DTSTAMP:20260423T013608 CREATED:20190110T210739Z LAST-MODIFIED:20190114T185443Z UID:497-1522317600-1526832000@moartdeland.org SUMMARY:American Abstraction DESCRIPTION: URL:https://moartdeland.org/event/american-abstraction/ 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/2019/01/1967-6717-Boats-at-Anchor-oil-on-canvas-34x40-1967.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180126T100000 DTEND;TZID=America/New_York:20180408T160000 DTSTAMP:20260423T013608 CREATED:20190110T210846Z LAST-MODIFIED:20190114T195128Z UID:499-1516960800-1523203200@moartdeland.org SUMMARY:The Magical World Of M.C. Escher DESCRIPTION: URL:https://moartdeland.org/event/the-magical-world-of-m-c-escher/ LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2019/01/Escher-image-Drawing-Hands-300x261.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180119T100000 DTEND;TZID=America/New_York:20180318T160000 DTSTAMP:20260423T013608 CREATED:20190110T211025Z LAST-MODIFIED:20190114T195241Z UID:501-1516356000-1521388800@moartdeland.org SUMMARY:100 Years Of American Prints DESCRIPTION: URL:https://moartdeland.org/event/100-years-of-american-prints/ LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2019/01/butler-american-images.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180119T100000 DTEND;TZID=America/New_York:20180318T160000 DTSTAMP:20260423T013608 CREATED:20180110T211126Z LAST-MODIFIED:20190114T195619Z UID:503-1516356000-1521388800@moartdeland.org SUMMARY:Master Of Mezzotint DESCRIPTION: URL:https://moartdeland.org/event/master-of-mezzotint/ 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/2018/01/website-images-yozo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171020T100000 DTEND;TZID=America/New_York:20180114T160000 DTSTAMP:20260423T013608 CREATED:20190110T211231Z LAST-MODIFIED:20190115T164305Z UID:505-1508493600-1515945600@moartdeland.org SUMMARY:Dan Biferie: Photographs DESCRIPTION: URL:https://moartdeland.org/event/dan-biferie-photographs/ LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2019/01/Dan-Bonifire-past-exhibit-imge.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171020T100000 DTEND;TZID=America/New_York:20180114T160000 DTSTAMP:20260423T013608 CREATED:20180110T211329Z LAST-MODIFIED:20190115T165006Z UID:507-1508493600-1515945600@moartdeland.org SUMMARY:Man With A Holo Camera DESCRIPTION: URL:https://moartdeland.org/event/man-with-a-holo-camera/ LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2018/01/boyd-image-past-exhibitions.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171013T080000 DTEND;TZID=America/New_York:20180107T170000 DTSTAMP:20260423T013608 CREATED:20190110T211438Z LAST-MODIFIED:20190115T165048Z UID:509-1507881600-1515344400@moartdeland.org SUMMARY:Artist And Master Printer DESCRIPTION: URL:https://moartdeland.org/event/artist-and/ LOCATION:Museum of Art – DeLand\, 600 N. Woodland Blvd.\, DeLand\, FL\, 32720\, United States CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/png:https://moartdeland.org/wp-content/uploads/2018/01/theo-image-for-website.png END:VEVENT END:VCALENDAR