Graphicstudio’s 14th Annual Benefit Sale

Friday, October 12, 2012

Hundreds of original, artist-signed, fine art prints and sculpture multiples are available at discounts from 10-60% off the regular list price. All sales benefit Graphicstudio¹s artists¹ residencies, continuing research and educational programming.

Friday, October 12, 2012

10am – 9pm | Sale (6pm ­Reception)

The Graphicstudio Benefit Sale is a one-day-only event that will take place on Friday, October 12, 2012. Hundreds of original, artist-signed, fine art prints and sculpture multiples are available at discounts from 10-60% off the regular list price. All sales benefit Graphicstudio’s artists’ residencies, continuing research and educational programming. This once a year event includes work from world-renowned artists including Los Carpinteros, Chuck Close, Lesley Dill, Alex Katz, Robert Mapplethorpe, Christian Marclay, Vik Muniz, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Janaina Tschäpe, William Wegman, and many others. There will be a FREE drawing at 8pm for St. Petersburg artist Robert Stackhouse’s Blue 5606!

Philip Pearlstein, View of Rome, 1986, Direct gravure/aquatint with roulette work, 41 ½” x 52”, Edition: 60, Images courtesy of Graphicstudio/USF, Photo Credit: Will Lytch

Some prints are the last available in inventory, with just one impression remaining. Techniques include traditional hand-printing processes such as relief, etching, photogravure, and lithography; digital printmaking; and technically advanced sculpture fabrication methods. Subject matter ranges from portrait to still life, representational to abstract, and all sizes Something for everyone at one-day-only prices. This event is free and open to the public. All major credit cards accepted, and all sales must be completed the day of the sale! Save the date: October 12th! Do you want to begin a collection of works by major contemporary artists, or maybe expand your current collection? Even if you just want to be an art collector one day a year! This is it! You don¹t want to miss the 14th Annual Graphicstudio Benefit Sale!

Please contact Kristin Soderqvist, Director of Sales and Marketing, for more information at (813) 974-5871 or at

About Graphicstudio

Graphicstudio is a university-based atelier engaged in a unique experiment in art and education. Founded in 1968 as a non-profit art making facility, Graphicstudio is committed to research and the application of traditional and new techniques for the production of limited edition prints and sculpture multiples.

James Rosenquist, Robert Rauschenberg, Ed Ruscha, Vik Muniz, Kiki Smith and other leading contemporary artists have been invited to work in collaboration with expert artisans in our studios to create works on paper and editions of sculptures in a variety of materials. Ongoing research by Graphicstudio has been remarkably productive and many new processes and treatments of traditional methods have been developed such as waxtype (encaustic screen printing) and heliorelief (a photographic woodblock process). Graphicstudio editions have been acquired by leading museums including the Museum of Modern Art, the New York Public Library and the Whitney Museum of American Art. The National Gallery of Art in Washington, D.C., and the USF Contemporary Art Museum maintain complete archives of Graphicstudio editions. Graphicstudio also offers a Subscription Program.

Graphicstudio with the Contemporary Art Museum and the Public Art Program form the Institute for Research in Art in the College of The Arts at the University of South Florida.


GRAPHICSTUDIO | Institute for Research in Art
3702 Spectrum Boulevard,Suite 100
Tampa, Florida 33612
Info Line: (813) 974-3503 / fax: (813) 974-2579

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Olda Reviews: Art After Dark – On the Record

Had I done anything fun this weekend? Yes. I went to the museum. The Tampa Museum of Art hosts a quarterly event called Art After Dark. The event opened the museum’s doors well past its usual bed time for a vinyl record themed party.

by Danny Olda

My students looked at me as if they always thought I might be a nerd and I had just confirmed their suspicions. Had I done anything fun this weekend? Yes. I went to the museum.

To be fair to my street cred, my visit to the museum did include alcohol, a DJ, and night-time schmoozing (oh, I hate that word, but it’s too accurate to substitute). The Tampa Museum of Art hosts a quarterly event called Art After Dark. The event opened the museum’s doors well past its usual bed time for a vinyl record themed party.

Though the security guards in the upstairs galleries were as vigilant as usual in regards to my camera toting, the visitors were generally much more at ease. This is saying a lot – few places can be as uptight as museum halls. I could hear opinions on various exhibits expressed more freely and finally above a whisper. The chilled out gallery walkers predictably converged on the playful John Cage exhibit 33 1/3: Performed by Audience.

Images by Danny Olda

While seriously ruminating over the Don Zanfagna exhibit like a responsible art critic I found myself bobbing my head to what sounded like Tupac as accompanied by a Rossini aria. Inside the John Cage installation twelve record players were arranged in a circle, visitors changing records, choosing songs, playing with speeds. Others had fingers flipping through records chosen by the likes of Jack White, John Baldessari, and Yoko Ono among many others. Museum goers lounged on the couches nearby, discussed album selections, and laughed about their sonic results. After spinning a few records myself, I sat back and enjoyed the cacophony. Multiple melodies drifted in and out of harmony as rhythms caught up with each other and synchronized for a moment before parting again. Watching and listening, it was simple to understand Cage’s intentions and pleasant to see it realized.

However, downstairs is where the party was – had the cash bar been situated near the Cage installation the mischief that would have ensued can only be imagined. People posed playfully with record sleeves while others snapped photos. Even recent Golden Lion winner, Christian Marclay was spotted chatting with the DJ Brian Taylor.

A first floor gallery featured art from Susan Janvrin and Craig Kaths. Janvrin modifies vinyl records and arranges them in large hypnotic patterns that at once invoke religious symbolism and basic concepts of graphic design. In a very literal way, for Janvrin’s art “the medium is the message”. Kath’s expert prints break down stereos, turntables, etc. into their many basic parts. Layers are piled onto layers of colorful electronic components transforming what can be assumed to be a familiar and benign original image into something alien and visually overwhelming. The work of both artists fit snug into the overall theme of the party, and as with the rest of the event could be as informal or heavy as the viewer allowed it.

Really, the entire party was similar to the noise floating away from the John Cage exhibit. Along with the music, casual conversation flowed into serious discussion, contemplation into goofing around. The relaxed nature of the event encouraged more interaction and conversation than a museum visit generally affords. In a way, it was the schmoozing that set the event apart and above a usual trip to the museum.

Danny Olda is our Tampa Correspondent and publisher of
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John Cage’s 33-1/3 – Performed by Audience

January 28 – May 6, 2012
In celebration of his enduring legacy and the 2012 centenary of his birth, the Museum is pleased to present John Cage’s 33-1/3 – Performed by Audience – an interactive installation guest curated by Jade Dellinger.

January 28 – May 6, 2012
Tampa Museum of Art

A Celebration of the Centenary of the Composer’s Birth

One of the most influential artists of the 20th century, John Cage (1912- 1992) created sound and performance works that broke through boundary after boundary. In celebration of his enduring legacy and the 2012 centenary of his birth, the Museum is pleased to present John Cage’s 33-1/3 – Performed by Audience – an interactive installation guest curated by Jade Dellinger.

Conceived in 1969 as an “audience participation” work, John Cage’s original “score” simply stipulated that the gallery be filled with about a dozen record players and two- to three-hundred vinyl records. Museum visitors were encouraged to act as DJs and create a musical mix by playing records freely and thus performing the work.

According to guest curator Jade Dellinger, “when the work was first installed at the University of California in Davis, a local record store graciously volunteered the hundreds of necessary records. However, as Cage never discussed condition or specified titles, the store promptly sent over the most common and undesirable, damaged and utterly unsalable records in their inventory.” Dellinger was inspired by a line from a letter he received in the 1980’s from Cage in which the composer noted that “I am not interested in the names of movements but rather in seeing and making things not seen before.”

As “a tribute and in celebration of Cage’s centennial, the exhibition’s goal is both to honor and reinterpret Cage’s score with the assistance of a few rather special friends. The show aimed to create a broad spectrum of vinyl recordings as source material for visitor-participants to access at the Museum, and a prominent group of visual artists and performers (even a few Rock n’ Roll Hall of Famers) have been invited to submit Top 10 picks or album playlists to fill record bins. The participating visual and performing artists include:

Yoko Ono ,Iggy Pop, Graham Nash, David Byrne (Talking Heads), Bryan Ferry (Roxy Music), Jack White (The White Stripes), Lee Ranaldo (Sonic Youth), Richie Ramone (The Ramones), Jad Fair (Half-Japanese), Alex James (Blur), Meredith Monk, Arto Lindsay (DNA & Lounge Lizards), Blixa Bargeld (Einsturzende Neubauten), Mike Kelley (Destroy All Monsters), S.A. Martinez (311), David Harrington (Kronos Quartet), Emil Schult (Kraftwerk), Pauline Oliveros, The Residents, Vito Acconci, The Art Guys, John Baldessari, Matthew Barney, Christian Marclay, Jim Rosenquist, Ed Ruscha, William Wegman

John Cage 33-1/3 – Performed by Audience is ©1969 by Henmar Press Inc. Used by permission of C.F. Peters Corporation. All Rights Reserved. The Museum is grateful to Ms. Laura Kuhn, executive director of The John Cage Trust at Bard College, for her enthusiastic support of this project. For more about the 2012 John Cage Centennial celebrations worldwide, please visit


Tampa Museum of Art
Final Day – September 25

Last weekend for Sytax (Selections from the Hadley Martin Fisher Collection),  an exhibition that examines the current generation of artists’ interest in text, symbolism, and means of information transference. Drawn from the Hadley Martin Fisher collection in Miami, this project is the first opportunity to experience the depth of this fascinating new collection of contemporary art.

The 20th century began with the inclusion of written text within the collages of Pablo Picasso and Georges Braque. As the century progressed, text remained an important presence within the art world. With the appearance of Pop Art, textual references reappeared in staggering fashion. Conceptual art, with all of its challenges to the nature of the art object, relied heavily on text as a vehicle to express its desire to rupture and overturn accepted forms of expression. By the 1990s and early 2000s, artists began to reposition text and symbolic matter into new formats and to increasingly expanding ends. In addition to the experiments within the art world, reassessments continued in the philosophical and linguistic discourse about what constitutes meaning within textual references.

In Syntax, the Museum has chosen an important theme that is central to the Hadley Martin Fisher (HMF) Collection: text-based work created by a new generation of conceptual artists. This exhibition highlights several key early works in the text-based genre within the HMF Collection (by artists such as John Baldessari, Mel Bochner and Joseph Kosuth) against a wide array of younger artists who revisit the importance of word, symbolism, communication and information transference. Together, these artists show that text-based art is a vital and vibrant presence. More than 30 artists are featured in this exhibition, including Fiona Banner, Natalie Djurberg, Tracey Emin, Olafur Eliasson, Robert Gober, Sean Landers, Christian Marclay, Seth Price and Jason Rhoades.

Syntax marks the first time that the HMF Collection has been shown in such depth and demonstrates the collector’s belief that in his new home, Florida, thought-provoking contemporary visual art plays a key role in defining the cultural conversation. Budding collector Hadley Martin Fisher, it has been said, “has art collecting in his genes.” Mr. Fisher’s passion for art and collecting can be attributed to his interaction with the collection of iconic modern masterworks that his grandmother, Emily Fisher Landau, assembled over the last four decades. Her longstanding contributions to the artistic and philanthropic worlds are evident in her grandson’s efforts today.

Hadley Fisher’s commitment to the bridging of arts and education was further inspired by the life of his late brother, Andrew Fisher, a young art student destined for a promising artistic career. Launched in 2007, the Hadley Martin Fisher Collection is an ever-advancing compilation of contemporary and emerging artists that firmly supports Umberto Eco’s belief that “every cultural phenomenon can be studied as communication.” The Collection seeks to understand the changing nature of text, symbolism and means of communication in art of our time.

Based in Miami, Hadley Martin Fisher is involved in real estate and development with his family’s business, Fisher Brothers Corporation. He serves on the board of the Fisher Alzheimer’s Research Foundation and the Film and Photography Acquisitions Committee of the Whitney Museum of American Art. Mr. Fisher has recently become engaged with the philanthropic community in Miami with his support of the Museum of Contemporary Art and the Lotus House Women’s Shelter. Fisher holds a Bachelor of Science degree from New York University. Along with a passion for science and art collecting, he pursues his love for the theatre by devoting much of his spare time to studying literature, poetry, and plays, as well as various forms and methods of acting.