School of Thought – Mounting Frustration: The Art Museum in the Age of Black Power

Talk and book signing with author Susan E. Cahan
Tuesday 14 November 5:30pm
The Works, 891 South Tamiami Trail
$10 admission; Free for Museum donors and Ringling College students, faculty & staff
Get Tickets

Mounting Frustration: The Art Museum in the Age of Black Power
Mounting Frustration: The Art Museum in the Age of Black Power
In her book Mounting Frustration: The Art Museum in the Age of Black Power, Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and direction of New York City’s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York’s museums.

Susan E. Cahan is a scholar and curator who specializes in contemporary art and the history of museums. She has held positions at the Museum of Modern Art and the New Museum of Contemporary Art, was Senior Curator for the contemporary art collection of Eileen and Peter Norton and Arts Program Director for the Norton Family Foundation. Currently the Dean of the Tyler School of Art, she has held positions at Yale University, Bard College, The University of California, Los Angeles, and the University of Missouri, St. Louis.

Limited copies of the book will be available for purchase and signing by the author.

The Sarasota Museum of Art

The Works, 891 South Tamiami Trail


August 21 – October 28, 2017
USF Contemporary Art Museum

USF Contemporary Art Museum (USFCAM) presents a solo exhibition of video installations and drawings by Belgian artist David Claerbout. Throughout his career, Claerbout has investigated the conceptual impact of the passage of time through his use of video and digital photography.
David Claerbout
David Claerbout, Oil workers (from the Shell company of Nigeria) returning home from work, caught in torrential rain, 2013
single channel video projection, HD animation, color, silent
© David Claerbout
Courtesy of the artist and Sean Kelly, New York
(video installation on Vimeo
As scholar David Green has explained, “Claerbout’s work subtly proposes a relationship of similitude between film and the objective world that lies outside and beyond the narrative space of cinema. In doing so he poses a set of questions about how we experience film and about the nature of the medium itself.”
Specifically, Claerbout manipulates both moving and still imagery to suggest an otherworldly level of existence, something that might refer to a specific place or event, but the timeline of which is not clear, oscillating between both past and present. The element of sound is critical in many of the works, often used as either a narrative device or a “guide” for the viewer to navigate the architectural space in the film.
Claerbout’s oeuvre is characterized by a meticulous attention to production details, painstakingly created often over a period of years. The resultant works are immersive environments in which the viewer is invited to engage both philosophically and aesthetically.
David Claerbout is curated by Margaret Miller; organized by USFCAM.
For more information, please visit the artist’s website.
Further reading, The Silence of the Lens by David Claerbout, e-flux Journal #73 – May 2016.
Claerbout studied at the Nationaal Hoger Instituut voor Schone Kunsten in Antwerp from 1992 to 1995 and participated in the DAAD: Berlin Artists-in-Residence program from 2002 to 2003. Claerbout’s work is included in major public collections worldwide, including: Centre Pompidou, Paris, France; Pinakothek der Moderne, Munich, Germany; Art Gallery of Ontario, Toronto, Canada; The Museum of Contemporary Art, Los Angeles; Walker Art Center, Minneapolis and many others. He has been the subject of numerous solo exhibitions internationally, including: Kunsthalle Mainz, Mainz, Germany (2013); Secession, Vienna, Austria (2012); Tel Aviv Museum, Tel Aviv, Israel (2012); SFMOMA, San Francisco (2011); WIELS, Brussels, Belgium (2011); Museum De Pont, Tilburg, The Netherlands (2009); Centre Pompidou, Paris, France (2007); Kunstmuseum, St. Gallen, Switzerland (2008); and Van Abbemuseum, Eindhoven, The Netherlands (2005). David Claerbout lives and works in Antwerp, Belgium and Berlin, Germany.
Friday August 25
6pm, USF School of Music Concert Hall
NY-based critic Christian Viveros-Fauné will speak on the work of artist David Claerbout celebrating CAM’s fall exhibition David Claerbout. American Sign Language Interpreters will be available at this event.
7–9PM, USF Contemporary Art Museum
Thursday, September 14
6–8pm, USF School of Music Barness Recital Hall
Watch the Trailer on Vimeo
Join us for a free screening of this French New Wave masterpiece. USFCAM Director Margaret Miller will lead a discussion with USF faculty about the film and its pertinence to the David Claerbout exhibition, including a short introductory presentation and a post film conversation in the lobby with refreshments.
Thursday, October 5
6–8pm, USF Contemporary Art Museum
Thursday, October 12
12pm, USF Contemporary Art Museum
Thursday, October 26
6–8pm, USF Contemporary Art Museum
Photography students in the USF School of Art and Art History will respond in various ways to the David Claerbout exhibition.
USF Contemporary Art Museum (USFCAM) organizes and presents significant and investigative exhibitions of contemporary art from Florida, the United States and around the world. Serving as a teaching laboratory, USFCAM’s curatorial and socially engaged initiatives and educational programs are designed to present the students, faculty, and community with current issues of contemporary art practice, and to explore the role of the arts in society. USFCAM publishes relevant catalogues, presents critically recognized traveling exhibitions and commissions new projects by national and international artists. USFCAM maintains the university’s art collection, comprising more than 5000 contemporary art works.
USFCAM Hours: Mon-Fri 10am-5pm, Thurs 10am-8pm, Sat 1-4pm. Closed Sunday and University holidays
Admission to the Museum is free; however a USF parking permit ($5.00 daily) or pay-per-space parking is required. Please visit our website <> for parking, directions, or more information on events associated with the exhibitions. Groups and organizations interested in tours should contact USFCAM to schedule at least two weeks in advance. Call (813) 974-4133 for additional information.
CONTEMPORARY ART MUSEUM | Institute for Research in Art
4202 East Fowler Avenue CAM 101
Tampa, Florida 33620

Interview with Andrea Dasha Reich by Pamela Beck

Reich was born in the Czech Republic in 1946 to a progressive and creative family. Intellectually at odds with prevailing Communist ideologies, the family emigrated to Israel in 1960 where Reich studied at the Bezelel Academy in Jerusalem before moving to NYC in 1966. Her early success and travels as a corporate executive and designer in the fashion/textile business, exposed Reich to unusual hand crafts, exotic objects and a variety of colors and textures that later appeared in her art work.

Pamela Beck

Pamela Beck

There are as many ways to think about art as there are to create it. Join Pamela Beck in her column, ARTdart, as she explores and considers the different perspectives that define the art world.

Andrea Dasha Reich Artist Statement:
“I’m as affected by the frog I saw yesterday, sitting on the lit globe of my outside light as I am by the distant memories of a gray hut I once saw in China or a blue mosaic tile I saw 30 years ago when I lived in Israel. My biggest influences come from the many cultures I’ve deeply experienced, from nature and from the legacy of art and invention passed through the DNA in the women of my family to me. These join together and feel like an invisible hand guiding me in my work, where it’s as if colors take over my whole being.” – Andrea Dasha Reich

Most recent Commission – Andrea Dasha Reich, “Tess’s Paradise” 2012 – 4′ x 10′ (with the artist)

Reich was born in the Czech Republic in 1946 to a progressive and creative family. Intellectually at odds with prevailing Communist ideologies, the family emigrated to Israel in 1960 where Reich studied at the Bezelel Academy in Jerusalem before moving to NYC in 1966. Her early success and travels as a corporate executive and designer in the fashion/textile business, exposed Reich to unusual hand crafts, exotic objects and a variety of colors and textures that later appeared in her art work.

Reich has shown in solo exhibitions in Miami, Aspen, New York City, Boston and Denver and many group shows including MASS MoCa, North Adams, MA; Zimmer Museum, Los Angeles; and State of the Arts Gallery in Sarasota that represents Reich locally. Reich is represented by Etra Gallery in Miami and Pismo Gallery in Aspen and Denver. Studio Director, Anastasia Maracle, runs Reich’s large Sarasota studio, allowing Reich to concentrate on her creating her art. Reich will be showing at Artexpo & Solo in Miami, Dec. 5-9, 2012.

Andrea Dasha Reich, “Sarasota” 2012 -48″ x 54″

1. Your work is many layered and looks 3D. Please explain how you create this effect:

It’s impossible to see the layers of my work in a photograph because it’s multi dimensional. If you think of a BLT sandwich, it’s a similar idea- one thing placed on top of another. I have the image of the final work in my mind before I begin. It can be up to 5 layers of epoxy resin that I work on one layer at a time. I start with the first layer of epoxy resin into which I put shapes, acrylic textures, metals, painting with inks and dyes and clays. Then I do another layer on top of the last. Between each layer are many materials. I continue this layering and filling in between the layers until I think the work is done. The result is an artwork that resembles glass both visually and tactically, but unlike glass, it’s virtually indestructible.

2. Both your personal style and your art are bright, colorful, bold and whimsical- are these traits that you think describe you?

Although I can be quite serious, I prefer to laugh about life and enjoy humor in others. When I work, it’s truly a pleasure for me to be in my studio. I love working. I know other artists who find it painful to make their art. But why would I want to do something that hurts me? I’m not a masochist.

3. Why do you think people are often afraid to live with bright colors?

Color affects a person emotionally. It’s easier to live in a white or cream-colored room. Colors cause bold reactions and it might be difficult for some people to have such strong feelings. It can scare them. I think certain colors can connect you with emotions you didn’t know you had. Many people don’t know what to do with those emotions once they surface.

4. What does the process of working on one of your pieces feel like to you?

I converse with my paintings all the time. I feel like a conductor. I have to keep those colors in line or encourage them: this one may be too strong, that one too shy. It’s difficult to work with color. I have to keep them all in constant balance.

Andrea Dasha Reich, “Gray Tess” 2012 -36″ x 54″

5. You lived in NYC for 33 years, mainly in TriBeCa. What’s the difference working there versus Sarasota?

There’s a big difference. It’s obviously brighter here. This led me to choosing brighter colors. Also, I incorporated nature more fully into my work and exchanged house images for flowers.

6. You often work on commission. People ask you for a particular size, feeling or color palette. Please explain how this worked in your most recent commission:

My last commission was the largest I’ve ever done: 10 feet x 4 feet. That’s the size the client asked me to do. She saw my work in a Miami exhibition and fell in love with two of the pieces. She asked if I could combine the colors of one with the images of the other. Of course, it’s not a science, but I tried to respect the essence of what she wanted and render that in this last piece. She just received the work and is very happy, which makes me feel the same as well. It’s very satisfying for me to make someone else happy. If I can do that with my art, that’s the best.

7. What would be your fantasy commission?

I would like to design a piece for a huge airport lobby. People have so much time while they’re waiting there. I would enjoy knowing that people were looking at my work without rushing. Because my work is so complex and intricate, it takes many viewings to see all that is going on. People always tell me that they see things they’ve never seen before each time they look at the same work.

8. What do you see as the role of the artist today in society?

I can’t generalize as every artist does what he or she wants. Some like to express anger, ugliness or other social inadequacies that ail us. I paint for beauty in the world and for myself most of all. I like people to be happy and touched by my art- for it to evoke emotions they may not even understand. People see different things in my work, like religious letters or special messages. I always agree, as it’s great that they see something they find important. If I would attach a specific meaning to my work, I would be taking away their imagination.

Andrea Dasha Reich, “Miami Red” 2011 – 70″ x 50″

9. What is one thing that disturbs you about the art world?

I don’t doubt the importance of museums, curators, critics, artists and dealers challenging people’s minds to understand art. What I don’t like and am impatient about is the change in art criticism. Historically, the “value” of art was the gold standard in art. Today the question of “value” has been replaced by “what does it mean?”. This opens a Pandora’s Box of endless chatter by those who have no way of knowing what an artist is thinking. (Often even the artist him/herself doesn’t know.)

10. Who are people you would enjoy spending time with and why?

Georges Sand, because she was an independent, creative woman and lived her life as she wished. Yoko Ono and Antonia Fraser for the same reasons. And Woody Allen because he shows us how to laugh at ourselves.

Andrea Dasha Reich website:

To read more about Pamela, view these links:


March 30, 2012 – October 14, 2012
On view at Ringling Museum – Sanford Biggers uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics.

March 30, 2012 – October 14, 2012
Ringling Museum of Art

Featured Visiting Artist – View Interview ‎Friday, March 30 at 3:30 pm, Sanford Biggers will present “Speaking of My Work,” in the Ringling College Auditorium. This talk is FREE and open to the public.

A native of Los Angeles, California, and current New York resident, Sanford Biggers uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics. An accomplished musician, Biggers often incorporates performative elements into his sculptures and installations, resulting in multilayered works that act as anecdotal vignettes, at once full of wit and clear formal intent. Biggers has won several awards including: The Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award in performance art/multidisciplinary work, the Lambent Fellowship in the arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award, Rema Hort Mann Foundation Award Grant, James Nelson Raymond Fellowship from the School of the Art Institute of Chicago, and a Camille Hanks-Cosby Fellowship.

Mr. Biggers has also participated in several prestigious national and international artist residencies and fellowships including; Akademie Schloss Solitude, Stuttgart, Germany, Ujazdowski Castle, Warsaw, Poland, Headlands Center for the Arts, Sausalito, California, ARCUS Project Foundation, Ibaraki, Japan, and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary. He has been a fellow of the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program, and the Skowhegan School of Painting and Sculpture residency.

Sanford Biggers
"Sweet Funk—An Introspective" at the Brooklyn Museum

Sanford Biggers’ installations, videos, and performances have appeared in venues worldwide including the Tate Britain and Tate Modern, London, the Whitney Museum and Studio Museum in Harlem, New York, and the Yerba Buena Center for the Arts, San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. Sanford has been included in several notable shows such as Prospect 1/ New Orleans Biennial, Illuminations at the Tate Modern, Performa 07, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. He has also had solo exhibitions at Grand Arts, Kansas City, Mary Goldman Gallery, Los Angeles, Kenny Schachter’s ROVE gallery, London, Triple Candie, New York, D’Amelio Terras Gallery, New York, Contemporary Art Museum, Houston, Matrix/Univ.of Berkeley Museum, Berkeley, Zamek Ujazdowski, Warsaw as well as venues in Hungary, Indonesia, Japan.

This exhibition is the result of the Greenfield Prize commission awarded in 2010 by the Hermitage Artist Retreat and the Greenfield Foundation.

Contemporary Contrast: Works by Robert Baxter and Beatrice del Perugia

March 2 – March 31, 2012
Beatrice del Perugia – “My offbeat way of seeing things makes me laugh. I hope it makes you wonder and smile.”

March 2 – March 31, 2012
Dabbert Gallery, 76 S. Palm Ave, Sarasota

Dabbert Gallery
"Summer Solsice" by Robert Baxter, oil on canvas 28" x 39"

Robert Baxter was educated at the Chouinard Art Institute in Los Angeles and worked in New York as an illustrator. He is on the faculty of two art schools: Silvermine School of Art Silvermine, Connecticut and Rowayton Art Center Rowayton, Connecticut. His paintings in both oil and watercolor have won major awards in France and New York City.

Dabbert Gallery
"La Via en Bleu" by Beatrice del Perugia, watercolor 28" x 18"

Beatrice del Perugia – “My offbeat way of seeing things makes me laugh. I hope it makes you wonder and smile.”