Sarasota

Tampa-based Ya Levy La’ford’s art practice explores journeys pathways space and the metaphysical complexities therein. La’ford’s work seeks to communicate humanity’s unseen experiences within the intricacies of geometric laden layers united through interconnecting lines. As a first-generation Jamaican American she moves between her own heritage and vulnerable communities in an attempt to find a universal language. Her work reflects La’ford’s cultural hybridity through her journey to challenge notions of humanistic patterns and spirituality.

For Skyway 20/21: A Contemporary Collaboration La’ford transformed the gallery space with American/Rōōts (2021) a site-specific installation consisting of gold and black geometric pattern that represents the concept of interconnectedness between all living things. The interwoven lines reference the rhizomatic system of roots found in nature and the two glowing sculptures with gold-chromed surfaces Antimatter and Neutrinos (both 2021) present abstracted views of trees. This work is an invitation to reflect on the collective trauma endured as a result of recent political conflict a global health pandemic and the ongoing climate crisis. Bringing the community together is at the forefront of this work which offers a contemplative space for regeneration inside the museum that seeks to extend beyond its walls.

Ya Levy La’ford (American born 1979) American/Rōōts 2021 (detail). Mixed media installation 336 x 360 inches. Courtesy of the artist. Photo: Lunardi Photography

5401 Bay Shore Road Sarasota FL 34243
941-359-5700

Tampa-based Ya Levy La’ford’s art practice explores journeys pathways space and the metaphysical complexities therein. La’ford’s work seeks to communicate humanity’s unseen experiences within the intricacies of geometric laden layers united through interconnecting lines. As a first-generation Jamaican American she moves between her own heritage and vulnerable communities in an attempt to find a universal language. Her work reflects La’ford’s cultural hybridity through her journey to challenge notions of humanistic patterns and spirituality.

For Skyway 20/21: A Contemporary Collaboration La’ford transformed the gallery space with American/Rōōts (2021) a site-specific installation consisting of gold and black geometric pattern that represents the concept of interconnectedness between all living things. The interwoven lines reference the rhizomatic system of roots found in nature and the two glowing sculptures with gold-chromed surfaces Antimatter and Neutrinos (both 2021) present abstracted views of trees. This work is an invitation to reflect on the collective trauma endured as a result of recent political conflict a global health pandemic and the ongoing climate crisis. Bringing the community together is at the forefront of this work which offers a contemplative space for regeneration inside the museum that seeks to extend beyond its walls.

Ya Levy La’ford (American born 1979) American/Rōōts 2021 (detail). Mixed media installation 336 x 360 inches. Courtesy of the artist. Photo: Lunardi Photography

Effigy : Hemric envisions a parallel existence for a living tobacco farmer in the Yadkin Valley of North Carolina. This region where tobacco growth production and sales once thrived was fractured by the deregulation of the market leaving many of its farmers destitute. This devastating reality experienced by the region as a whole led Danner Washburn (b. 1994 North Carolina) to investigate the lives of various tobacco farmers that endured this “apocalypse.”

Rather than signifying the end of something here “apocalypse” represents a shift in existence. Washburn became interested in what elements and psychologies of the culture remained and changed as a result of this undoing. While some farmers abandoned the trade others such as Hemric adjusted and now sustain their practice through the support of government payments. The farmers adapted mentally as well. In efforts of survival certain attitudes were fortified within the Yadkin Valley such as the distrust of outsiders. This notion of hiding or insularity still pervades the region camouflaging the impact actually withstood.

Washburn’s immersive installation Effigy : Hemric uncovers these hidden realities by imagining how this particular farmer’s lived experiences traumas beliefs and traditions would manifest in a physical space. To construct this domestic shelter Washburn scavenged the local landscape—its roadside piles woods and second-hand stores—for items that recall the culture and familiarities of the Yadkin Valley region. These objects both natural and manufactured were then transformed by the artist to recreate the intimate spaces of Hemric’s home. Characteristics of the shelter such as its size and layout as well as decorations and items placed within act as a visual language for the psychologies of Hemric. While these elements suggest economic position as well as social and political contexts Washburn’s primary interest is how they reflect a person’s attempts to maintain their humanity despite the significant loss and change they have endured. Through this physical representation of a person’s identity and intrapersonal intricacies Washburn asks us to consider how we are meant to cope evolve and survive when destabilized and removed from our realities.

Xaviera Simmons (b. 1974 New York) engages her sweeping practice of photography painting video sound sculpture and installation to explore the construction of landscape language and complex histories in the United States and its empire building globally. Simmons’ trio of massive sculptures The structure the labor the foundation the escape the pause physically makes space for conversations regarding reparations amends and repairs specifically to the descendants of American chattel slavery a debt that is way past due and one that has been systemically denied for centuries. The work also delves deeply into the racial caste system and the construction of whiteness that has upheld this oppression. Simultaneously Simmons engages in monumental forms shapes and texture to construct the work. Drawing on the histories of sculpture plaster and steel work Simmons’ practice both engages formal and sociopolitical concerns.

Simmons’ work is exhibited nationally and internationally and belongs to major museum and private collections including The Museum of Modern Art New York; Deutsche Bank New York; UBS New York; The Guggenheim Museum New York; The Agnes Gund Art Collection New York; The De La Cruz Collection Miami The Museum of Contemporary Art Chicago; The Studio Museum in Harlem; ICA Miami; Perez Art Museum Miami; The Weatherspoon Art Museum Greensboro; The Nasher Museum of Art Durham; The High Museum Atlanta; among others.
Simmons received her BFA from Bard College (2004) after spending two years on a walking pilgrimage retracing the Trans-Atlantic Slave Trade with Buddhist Monks. She was a visiting lecturer and the inaugural 2019 Solomon Fellow at Harvard University and was awarded The Charles Flint Kellogg Award in Arts and Letters from Bard College in Spring 2020 among many honors. Simmons currently has works on view throughout the United States and Europe and she is represented by David Castillo Miami.
Courtesy of the artist and David Castillo Miami; Originally commissioned by Socrates Sculpture Park New York with support from the Ford Foundation.

Felix Gonzalez-Torres (1957-1996 Cuba) used everyday materials such as lightbulbs paper and candy to engage viewers in deeper consideration of intrapersonal and cultural issues. After moving to New York City in the early 1980s Gonzalez-Torres joined Group Material a community-based artist collaborative that repositioned the relationship between artist artwork and viewer through direct involvement and education. Gonzalez-Torres conveyed this intention in his own practice through works that challenged the notion of what defines art and how people should experience it.
“Untitled” (L.A.) is one of the artist’s candy spill works that employs the familiar and alluring material of candy—its eye-catching reflective wrappers irresistible sweetness and comforting nostalgia. The artist invites us to activate our senses to foster a profound corporal relationship with the art object. Gonzalez-Torres insisted there be trust between artist and viewer whereby the artwork serves as the neutral ground between the two. He also trusted in the power of the artwork itself. Rather than dictating a single narrative Gonzalez-Torres left his work untitled allowing viewers the space to see think and feel what is true to their own experience.

The artwork at its core is about human experience and the artist hints at his own with the parenthetical title (L.A.). Los Angeles was home for Gonzalez-Torres and his longtime partner Ross Laycock whom the artist lost to complications with AIDS in 1991 the year this work was created. Gonzalez-Torres’ candy spills began as a representation of Laycock with the depletion of the candy acting as a metaphor for the physical loss of the person but evolved to represent a variety of memories and existences. To honor the artist’s intentions the candy is replenished every so often through which the people places and ideas they represent remain everlasting.

In both the life of the artist and of the college student finding oneself becomes as vital as gaining skills and knowledge. Ringling College graduates Tom and Peggy Root managed to find both themselves and each other. After meeting at and graduating from Ringling College the married pair went on to pursue their art in parallel careers including continued study at Lyme Academy of Fine Arts in Connecticut.

Peggy’s body of work picks up right where the original plein air painters left off though she shies away from the label because of differences in practice and aesthetics. As the painter Jerry Weiss wrote so aptly in the Art Students League of NY publication Linea: “These are in total a sustained meditation and celebration of the Southern landscape that is rare in American painting. They are among the best plein air work done in this country in the last few decades.”

Tom’s paintings focus primarily on portraits and figures with an exquisite understanding of the subject borne of his uniquely thorough process of observation. “I paint solely from life from live sittings with real people or out in the open-air landscape” he says “and I require a considerable degree of freedom in executing my work.” Often traveling with his portrait subjects to get a feel for their life and spirit his work sidesteps the sometimes contrived aesthetic of commercial portrait paintings in favor of a more organic personal response.

In-person viewings are free and open to the public Monday-Friday 9am-3pm. The Thompson Alumni Skylight Gallery is located at 2621 Bradenton Road on the first floor of the Keating Center.

This exhibition was made possible by the Ringling College Library Association and in part by WUSF 89.7 and paid for in part by Sarasota County Tourist Development Tax revenues.

The Sarasota John & Mabel Ringling Museum is pleased to present the exhibition Eleanor Merritt: Remembrance which celebrates the life and art of Eleanor Merritt (1933 -2019.) opening February 18th 2022. This exhibition is dedicated to her indomitable spirit and creativity and represents a small sample of a significant body of work the artist created over her long career. Beginning with early work from the 1950s Untitled (Seated Figure) and concluding with her last painting Blue Embrace of 2018 the exhibition highlights her creative use of materials movement between figuration and abstraction and her commitment to women’s rights.

Born in Harlem in 1933 Eleanor’s talent in drawing and painting led to her acceptance to the prestigious High School for Music and Art in New York. She excelled as a student receiving the school’s top art award the St. Gaudens Medal. She then attended Brooklyn College for undergraduate and graduate studies where she studied with some of the most influential artists of the time including Mark Rothko Ad Rhinehart Kurt Seligmann Burgoyne Diller and Jimmy Ernst. She absorbed the energy and physicality of her teacher’s work into her interests in figuration and symbolism.

Merritt’s expansive body of work explored the interrelatedness of society spirituality and gender employing the figure rendered in a range of styles derived from a vast cultural matrix inclusive of her African and Caribbean roots and the Abstract Expressionist education she received at Brooklyn College in the 1950s. Her mixed media practice alternated between oils acrylics inks and black paper as a platform to describe narratives of strength agency and empowerment. Merritt’s commitment to the relevancy of her context as a woman of color allowed her to evolve in style and expression over her six-decade career. Her work was displayed nationally in galleries and museums in Florida California Colorado Texas and internationally to Shimoneski Japan.

Arriving in Sarasota in the 1980s Eleanor exhibited widely in Florida. In addition to Merritt’s art practice she was an essential early advocate within national and regional art organizations such as her role as the program manager for the Women’s Caucus for Arts’ Women of Color (WOCA) Slide Project influencing the careers and more equitable opportunities of other women artists of color on a national level.

Within the Sarasota arts community Merritt was the Ringling Museum’s first African American female Board Member and well-recognized leader in the local arts community including chairing the Art in Public Places Committee serving on various Arts boards. She was named “Artist of the Year” in 1994 by the Sarasota Visual Arts Center and received the Women’s Caucus for Art Lifetime Achievement Award in 2005. In 2013 she received national recognition with an exhibition at the Houston Museum of African American Culture. Her final exhibition in 2017 at the Arts & Cultural Alliance celebrated her 60 years of painting. We are pleased to announce along with this exhibition the acquisition of three works into the permanent collection of The Ringling.

The works in the exhibition come from the artist’s estate and a few prestigious private collections. The artist’s daughter Dr. Lisa Merritt and artist Mike Solomon were critical guides in the development of this exhibition.

This exhibition was paid for in part by Sarasota County Tourist Development Tax revenues. Support for this exhibition was provided by the William G. & Marie Selby Foundation and Ringling Museum Endowment.

The term “metadata” is used to describe the information that travels with a digital image file but is unseen within the image itself. This data includes the details about the digital photograph’s creation its ownership and how it is situated within structures of order. In our networked digital environment metadata is accessed by both human users and artificial intelligences. Software algorithms orchestrate what images we see and exchange while collecting the valuable data generated by our interactions. In our moment dominated by image-based social media and surveillance we are becoming increasingly aware that understanding the information that circulates unseen around photographic images is just as important as seeing what they depict on their surface. Metadata: Rethinking Photography from the 21st Century is an exhibition that explores new paradigms for understanding the ecology of the photographic image.

The exhibition features work from the past decade by an international selection of artists and visual activists that are working to make palpable the unseen information or metadata that undergirds the image regime. This includes not just the tags or descriptors attached to image files but the power relationships biases and economic interests that are not always visible in the image itself. The exhibition emphasizes an expanded concept of photographic practice that includes research-based projects installation conceptual work and activism as well as analog and digital photographs. Artists featured are Mohsen Azar Viktoria Binschtok Mladen Bizumic Joy Buolamwini Ali Feser Jason Lazarus Rafael Lozano-Hemmer Lilly Lulay Trevor Paglen and Penelope Umbrico. Metadata: Rethinking Photography in the 21st Century will be held at The John and Mable Museum of Art Sarasota Florida from March 6 through August 28th 2022. The exhibition is curated by Christopher Jones Stanton B. and Nancy W. Kaplan Curator of Photography and Media Art.

Art Exhibition | 03/05/22 – 08/28/22
Rethinking Photography from the 21st Century | Metadata

Sarasota

John Ringling Museum
5401 Bay Shore Road Sarasota FL 34243
941-359-5700

Art Exhibition | 03/19/22 – 09/25/22
Deco & Desire in Japan’s Jazz Age | Ballroom Florida

Sarasota

John Ringling Museum
5401 Bay Shore Road Sarasota FL 34243
941-359-5700

Ballroom Florida was the most dazzling of Tokyo’s jazz-age dance halls. A new kind of venue in Japan in the 1920s–30s dance halls offered a stylish space for young people to hear the latest music performed by live bands practice dance steps with a skilled partner and mix with like-minded peers.

Established in 1928 the Florida surpassed competitors with its capacious Art Deco interior top-tier jazz musicians from Japan and abroad and alluring “taxi dancers” — professional dancers employed as partners for clientele. The Florida attracted the patronage of Tokyo’s cultural and economic elites and served as muse to writers film makers and artists.

This exhibition celebrates a recent gift of six paintings by Enomoto Chikatoshi (1898–1973) and a photograph by Hamaya Hiroshi (1915–1999) from Mary and Robert Levenson depicting the women of the Florida and its chic décor. The exhibition is augmented with loans that elaborate on themes that define this group of artworks: Art Deco design the exotic and elegant pleasures.

Art Exhibition | 04/01/22 – 05/06/22
Pulse | JUDE ZAWAIDEH

Sarasota

Basch gallery ringling college
2363 Bradenton Rd Sarasota FL 34234
941-359-7563

Surrealist artist and Ringling College Undergraduate Jude Zawaideh captures the essence of the self in response to the physical body overtime. Zawaideh’s work serves as a reflective medium that pushes towards notions of self awareness and exploration. “I am made aware of the consequence of the body how every circumstance is felt experienced and endured by the body”

In Pulse Zawaideh explores the duality of impermanence and permanence within one’s reality. The very nature of the continuously distinctive self is challenged by the various contexts it is placed within uncovering invasive truths. Some with physical connotations and others intangible similar to the way a memory evokes a physical response from the body. The series invites the viewers to let go of every quintessential version of themselves and become immersed in the unknown.

The core piece Circulation contextualizes the multiplicity of the bodily self by examining how aspects of a complete whole could feel disconnected despite their apparent connection. Every piece serves as a reflection of the artists reality at different moments in time within different spaces which all contribute to the experience of a self.

This exhibition will be on view from April 1-May 6 2022. In-person viewings are free and open to the public Monday-Friday 9am-3pm. PS340 is located at 340 Central Avenue on the first floor of the Arcos building in downtown Sarasota.

WHERE: Project Space 340 (PS340) 340 Central Avenue Sarasota

WHEN:

· April 1 – May 6 2022 Monday- Friday 10-3pm

· Public reception meet the artist: April 1 6-8pm PS340 340 Central Ave. Sarasota FL 34234

ABOUT THE GALLERY: Project Space 340 located on the bottom floor of Arcos is Ringling College’s newest gallery is conveniently located in the historic Rosemary District in the heart of downtown Sarasota. Abbreviated as PS340 this off-campus gallery features exhibitions and events by Ringling College students alumni faculty and visiting artists with a variety of opening receptions and programming.

Art Exhibition | 04/02/22 – 09/25/22
| The Marvellous Marbling of Matsui Kōsei
Sarasota

John Ringling Museum
5401 Bay Shore Road Sarasota FL 34243
941-359-5700

Matsui Kōsei (Japanese 1927–2003) is known for his delicately marbleized unglazed vessels. Techniques of neriage or agateware as these ceramics are known were used from China’s Tang dynasty (618–907 C.E.) but have few precedents in Japan.

Kōsei pursued his passion for ceramics while serving as the head priest of a Buddhist temple in Ibaraki prefecture. He built a kiln on the temple grounds and studied by attempting to replicate the effects he found in prototypes from China Korea and Japan. At the urging of his mentor the ceramic artist and professor Tamura Kōichi (1918–1987) he specialised in neriage. In recognition for developing eight new and highly complex neriage techniques Kōsei was designated a Living National Treasure in 1995.

Kōsei would typically begin with several pieces of clay stained different colors with powdered pigments. Depending on the desired outcome these would be kneaded or layered together or cut into small pieces and assembled like a mosaic to form a richly patterned slab of clay. This was used to hand-build vessels or rolled into a cylinder and shaped on the wheel. To preserve the crisp definition of the colors Kōsei applied pressure from the inner surface of the cylinder as it spun and trimmed the outside surface to a smooth finish. The split and crackled textures of some of these vessels result from the clays shrinking at different rates as they dry.

This small exhibition presents five ceramics by Matsui Kōsei from the collection of Carol and Jeffrey Horvitz.

The name María has various meanings. Depending on the language and context María can mean both of the “sea” (Latin; mare) and “rebellious” (Hebrew; Miryam). For the people of Puerto Rico this duality is deeply understood.

On September 20 2017 Hurricane Maria made landfall in Puerto Rico. Its winds were vicious upwards of 115-mph its thunder rattling and its rains torrential. As a result the Island experienced 84 days without power 68 days without water 41 days without cell service and 4600 lives lost. With no access to electricity people on the Island were completely detached from reality—not knowing when the storm would end how severe the damage was and when or if to expect help.

The artwork of Daniel Lind-Ramos (b. 1953 Puerto Rico) recalls these experiences through collected objects from the aftermath of Hurricane Maria as well as items given to him by members of his town Loíza. Through the combination of organic and industrial materials Las Tres Marías echo the experiential elements of the hurricane—wind rain thunder and lightning— as well as the detrimental impact of Hurricane Maria that is still visible on the Island and felt in its collective consciousness.
But rather than resting on this fear and loss Lind-Ramos’ Las Tres Marías recall Puerto Rico’s resiliency—a resiliency that feels ancient and core to the Island’s identity as a people who have endured colonialism cultural erasure and catastrophe for the last 500 years but have proved time again that the power of survival lies in community. While each of Lind-Ramos’ Marías has a unique appearance and meaning they unite as a constellation of these histories memories and lived experiences.
El nombre María tiene diferente significados. Dependiendo del contexto y del idioma María puede significar “mar” (Latin; mare) y “rebelde” (Hebrew; Miryam). Para la gente de Puerto Rico esta dualidad es entendida completamente.
El 20 de Septiembre del 2017 el Huracán María tocó tierra en Puerto Rico. Con vientos viciosos de hasta 115-mph con truenos estruendosos y con lluvias torrenciales. Como resultado la Isla estuvo 84 dias sin electricidad 68 dias sin agua 41 dias sin servicio de celular y con 4600 vidas perdidas. Sin accesso a electricidad las personas de la Isla estuvieron totalmente desconectadas de la realidad—sin saber cuando la tormenta terminaria que tan severo era el daño y cuando esperar por ayuda (si alguna llegaria.)
El arte de Daniel Lind-Ramos (nacido en 1953 Puerto Rico) hace recuerdo a estas experiencias por medio de objetos recolectados despúes de la devastación del Huracán María. Algunos objetos recolectados fueron donados por miembros de su ciudad Loíza. Al combinar materiales industriales y orgánicos Las Tres Marías hacen eco a los elementos traidos por el huracán—viento lluvia trueno y relámpagos—al igual que el impacto visible que todavia habita en la Isla y en la mente colectiva de sus habitantes.
En vez de lamentarse en la pérdida y el miedo Las Tres Marías de Lind-Ramos hace memoria a la resilíencia de Puerto Rico—a la resilíencia que se siente parte de la identidad de la Isla la cual ha soportado colonialismo erradicación de cultura y catástrofes de los últimos 500 años que han demostrado que el poder de sobrevivencia habita en la comunidad. Mientras cada una de las Marías de Lind-Ramos tiene una apariencia y significado único lo que las une son las constelaciones de estas historias memorias y experiencias compartidas.

Art Exhibition | 04/11/22 – 04/15/22
VANISHING POINT | Alexi Johnstone Autumn Sinor and Samuel del Corral

Sarasota

Basch gallery ringling college
2363 Bradenton Rd Sarasota FL 34234
941-359-7563

Vanishing Point captures the ephemerality of nature time and place. The exploration of the relationships between the natural world and humanity the emotional connection found in the tendrils of the environment and the loss of fading moments. Sinor captures cherished yet transient memories of loved ones as they interact with the environment around them exploring the beauty in a moment shared and personal. Johnstone explores the intangible experience of being surrounded by Mother Nature and the melancholy of these fading aspects vital to humanity. Del Corral shows the change in the landscape and the loss that occurs with the impact of development with each new generation. Together Sinor Johnstone and del Corral ask the viewer to investigate the relationship they have with their surroundings how people and the land relate to each other in fleeting moments or gradually over centuries.

Art Exhibition | 04/15/22 – 05/07/22
The Queue: Beyond The Surface | Nneka Jones
Sarasota

SPAACES (exhibit)
2087 Princeton St Sarasota FL 34237
941-374-3492

In this exhibition Nneka Jones comments on topics such as identity stereotypes and the digital age. Jones embeds and camouflages portraiture making some of her subjects almost unrecognizable. Contrasting technological symbols such as barcodes and QR-codes with the soft edges and skin tones of the figure Jones creates a timely discussion on humanism vs. futurism. She brings to light a growing struggle to maintain true identity in the face of our highly influential social media sites. Jones believes social technologies create a digital mask ultimately causing issues with mental health and social segregation. She aims to magnify these issues in the hope of starting conversations surrounding identity and unity.
Nneka Jones grew up in the Caribbean Trinidad and Tobago. She uses embroidery to create moving representational images usually portraits to reflect on social issues. Her astounding love for color and special attention to detail as influenced by her culture is prominent in her work. The twenty-three-year old artist graduated with a Bachelors in Fine Arts and a minor in Marketing from the University of Tampa in May 2020. She created a commission for TIME magazine to produce the cover artwork for the August 31st/ September 7th issue 2020 and now speaks at events like Adobe MAX inspiring others to make their dreams a reality. https://www.artyouhungry.com/

Art Exhibition | 05/02/22 – 06/11/22
“Ah Who Run Dis” A Solo Exhibit | Krystle Lemonias
Sarasota

SPAACES (exhibit)
2087 Princeton St Sarasota FL 34237
941-374-3492

This work explores personal and political intersections of power that govern how people interact daily through an immigrant lens. It creates an entry point to consider the impact larger systems have on people from colonized nations. A subject is used to examine access privilege misuse and obstruction to the status quo when one wields power. Each piece reflects the complexity of being resilient through society’s exploitive structure then using this understanding to get over and ahead for one’s self. What is the cost of resilience? Who really has the power? This body of work shows intimate views of video installation prints and performance.

Krystle Lemonias’ work is grounded in principles of painting sculpture and drawing and features diverse representations of Black immigrant women. This work shows women of the African diaspora as multifaceted individuals with agency individuals that are documented and undocumented serving as essential participants to America’s workforce. She uses found materials patios printmaking methods and iconography to stitch together themes with personal narratives. Lemonias was born in Jamaica in 1989 and is currently working towards her Masters in Fine Arts at University of South Florida Tampa. She has received several grants and scholarships including: 2020 Art of Protest Grant 2020 Larsen & Palmer MFA Scholarship 2020/22 WLP/Ann McKeel Ross Scholarship 2017 Esther Barsh Scholarship and the 2016 NJCU Presidential Scholarship. https://www.krystlelemonias.com/

The exhibition’s title, The world is just so small, now, is borrowed from the first stanza of a poem by Brazilian artist Abraão Batista. Bringing together additional prints, watercolors, and drawings by artists working on paper, the exhibition highlights the medium as fundamental to the artists’ practice. Assembled from The Ringling’s collection of contemporary works on paper, most of the pieces are on display for the first time since their recent acquisition through purchase or donation. Shown along with these are several rarely seen lithographs, woodblocks, and a relief print on glass acquired between the early 1960s and late 1990s. The works on view grant us an intimate look into the artists’ lived experiences and their unique observations on the state of the global community, as well as offer insight into the printing and drawing processes from an up-close perspective.

This exhibition is located in the Keith D. and Linda L. Monda Gallery for Contemporary Art and features the work of Abel Barroso, Abraão Batista, Romare Bearden, Sandra Cinto, Francesco Clemente, Elisabeth Condon, Mary Beth Edelson, Leon Hicks, Corita Kent, Hung Liu, Jason Middlebrook, Ibrahim Miranda, Duke Riley, John Scott, David Alfaro Siqueiros, Cauleen Smith, Linda Stein, Howie Tsui, and William Villalongo.

Image: Linda Stein, American, born 1943, Profile Solid 383.033, 1975, acrylic on paper, 7 1/2 × 9 in., Gift from The Raymond Learsy Collection, 2021, 2021.41.8

Generous support provided by The Ringling Museum General Fund and the Peter and Mary Lou Vogt Exhibition Fund.

Paid for in part by Sarasota County Tourist Development Tax revenues.

Students from elementary middle and high schools throughout Sarasota County will show their creativity at the North County K-12 Spring Art Show May 10-21. Students from 16 elementary schools seven middle schools and six high schools will be among the exhibitors.

On View June 2 – Aug 6 2022
Regional Juried Show: Faces and Places
Opening Night Reception Thursday June 2 6-8 pm

Juried Exhibitions
We regularly showcase local and regional artists in one of our four galleries open to the public and available for purchase. Each show is titled but submissions are artist’s choice and vary in theme and media.

We invite you to join us for the opening reception and awards.

Call to Artists
Experience art that exposes us to different perspectives new ideas and the experiences of others. Artists of all levels of expertise are encouraged to submit work and be a part of the community! All submissions are online and are open to all artists and mediums unless otherwise mentioned. Please call 941-365-2032 if you need assistance submitting work.

Call to Artists: Annual Regional Juried Show
Juror: Amanda Cooper Chief Curator at the Morean Arts Center in St. Petersburg

SUBMIT ART
Submission Deadline: May 6 at midnight
On View June 2-August 6 2022
Opening Reception: Thursday June 2 6-8 pm
About Juror Amanda Cooper

Born and raised in St. Petersburg Florida Amanda Cooper received a BA in Art History from the University of Florida in 1997. Since 1999 she has worked as Curator of Exhibitions (now Chief Curator) at the Morean Arts Center in St. Petersburg organizing over 400 exhibitions including works in all media by students established and emerging artists and children. She has also served as juror for various art exhibitions including Dunedin Art Harvest the Scholastic Art and Writing Awards exhibition Gasparilla Festival of the Arts FolkFest St. Pete Melbourne Arts Festival ArtFest Fort Myers Ocala Arts Festival and the Pinellas Association of Visual Artists Cool Art Show. She has served on art panels for Pinellas County and the State of Florida awarding several public art projects and individual artist grants and has been a member of the steering committee for the SHINE Mural Festival since 2015. She lives in St. Pete with her husband three children and two cats.

Women Contemporary Artists (WCA) is an organization of over 100 women ranging from beginners to professionals. WCA’s mission is to provide visibility, support and inspiration to women artists. Membership is open to all working artists and exhibitions are juried by qualified outsiders.

This juried exhibition shows the variety of original art work done by active WCA members.

This exhibition will be on view from June 3 – June 24, 2022. In-person viewings are free and open to the public Monday-Friday, 9am-3pm. The Lois and David Stulberg gallery is located at 1188 Dr Martin Luther King Way, on the Ringling College of Art and Design campus

WHERE: Lois + David Stulberg Gallery, 1188 Dr Martin Luther King Way, Sarasota

WHEN:

·    June 3 – June 24, 2022, Monday- Friday 9 – 3pm

·    Opening reception, meet the artist: June 10, 5-7pm

ABOUT THE GALLERY: Located in the Richard and Barbara Basch Visual Arts Center in the heart of campus, The Lois and David Stulberg Gallery is Ringling College’s premier on-campus exhibition space. The gallery presents lively, rotating displays of contemporary painting, photography, printmaking, sculpture, and experimental work by student, faculty, emerging and established artists.

MORE INFO: Please 941.359.7563 or email galleries@ringling.edu

Steven and William Ladd create collaboratively, pulling from childhood stories and experiences to transform materials, such as textiles and beads, into microcosms of memory.

Underpinning Steven and William Ladd’s imaginative creations are their three core principles:

• Spend your life doing what you love.
• Be focused and disciplined.
• Collaborate.

Staying true to these core principles has enabled Steven and William Ladd to create—focused, yet freely—a spectrum of works that vary in technique, color, texture, and form. The exhibition will include past works, as well as new works being exhibited for the first time, that embody this range and the artistic evolutions along the way.

This exhibition is made possible, in part, with generous support from:

Gold Sponsor
John and Mary Ann Meyer

Silver Sponsor

Ernie Kretzmer and the Kretzmer Family Charitable Foundation

John and Charlotte Suhler

“Black & White” showcases the incredible provocative range and beauty found in art that tells its stories without color. Submissions are welcome in all media including painting, drawing, photography, printmaking, mixed media, digital arts, and sculpture.

In this monochrome themed show, at least 90% of the artwork should be black and white. Outside of the artwork being Black & White, there are no other thematic restrictions on this exhibition.

Prizes Details: 
1st Place Prize receives $500
2nd Place Prize receives $300
3rd Place Prize receives $200