In Process

In Process is an exhibition of new works from artists Dustin Juengel, Noelle McCleaf, Nathan Skiles, Sarah Viviana Valdez, and Tom Winchester.

Friday, January 27, 2017 (6PM -8PM)
3080 N Washington Blvd, #40, Sarasota

Media on view include photo-realistic and abstract painting, color and black-and-white photography, and video installation. Each artwork represents the artist’s individual style, as well as the commonality of an investigative approach.

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Meet the Artists

Dustin Juengel
Dustin Juengel earned a BFA in Illustration from Ringling College of Art and Design and a MA in Fine Arts from Chelsea College of Art and Design. He is a visiting Faculty member in the FA department at Ringling College and serves as exhibition curator for Art Center Sarasota. His work has been exhibited in the U.S., UK and Germany.

Dustin Juengel
Dustin Juengel

Noelle McCleaf
For In Process, I will be exhibiting new photographs from the Cassadaga Spiritualist Camp in Cassadaga, Florida. I’ve been fascinated by spiritualism and the metaphysical world for most of my life, and I’ve touched on these themes in previous bodies of work. I plan to return to this vibrant community and explore the landscape and its residents as I build upon this new series.

“Spiritualism is the science, philosophy, and religion based upon the principle of continuous life, demonstrated through mediumship”, (Cassadaga Spiritualist Camp, Rev. Mary Rose Gray).

Modern spiritualism began in the 1840s, and still continues today at the Cassadaga Spiritualist Camp in Cassadaga, Florida. Spirit Doors were used during séances so spirits could enter and exit homes easily. Many of them still remain on homes in Cassadaga, but have been closed due to obvious dangers. Spiritualists do not believe in the concept of ghosts, but spirits, who are allowed to come and go, and are not “stuck” as ghosts are often described.

Noelle McCleaf
Noelle McCleaf

Nathan Skiles
Nathan Skiles lives and works in Sarasota, FL and is an instructor at the Ringling College of and Design. Recent exhibitions include: The Clockmaker’s Apprentice, The Hunterdon Art, Clinton, NJ; Black Forest / White Lightning, Sloan Fine Art, New York, NY; Welcome to Tartarus, Welcome to Valhalla, Greene Contemporary, New York, NY

Nathan Skiles
Nathan Skiles

Sarah Viviana Valdez
Valdez’s work is an investigation on play within order, which has been a common occurrence all throughout her undergraduate work up to present. She currently works in a variety of platforms. The medium of curation allows her to assemble exhibitions as a way to often challenge the institution and its predecessors. She uses live performances combining sound and visuals to explore the malleability of environments, both spatially and on the level of human interaction (the audience-performer relationship). Her primary focus as of late has been the use of digital processes in conjunction with microbial substance, under the loose guise of fashion.

Valdez has been working with unconventional materials that biodegrade in order to merge biology with technology. The proliferation of new technological products assimilated into our daily lives has softened our natural senses and is in the process of divorcing humanity from its very ‘human’-ness. Her use of biological and technological materials proposes a needed identity for herself and to our developing counter-culture — to establish a true connection to the natural decaying world by having a symbiotic exchange with the objects we wear as our second skin. Valdez believes that working with multiple tools and platforms creates pathways within each medium and transforms them into useful objectives to aggregate desire, leisure and productivity for the viewer and herself.

Sarah Viviana Valdez
Sarah Viviana Valdez

Tom Winchester
The Black-and-White series is a collection of traditional, black-and-white photographs, created using thirty-five-millimeter film, that are printed in ways which guide viewers’ interpretations toward theories of postmodernism.

This is accomplished by including nuanced cues that expose the physical elements of the medium, in an attempt to create unique objects that allegorically counteract the infinite reproducibility of digital photographs.

By photographing places and objects that illustrate themes of banality, simulation, and fragmentation, then subsequently printing those images in a traditional process that can degrade, stain, or be subject to arbitrary variations outside of my control, the Black-and-White series utilizes photography’s affinity for depiction in order to convey a sense of lost reality.

Tom Winchester
Tom Winchester

3080 N Washington Blvd, #40, Sarasota, FL

Duke Riley: Flights of Fancy

January 13 – March 4, 2017
USF Contemporary Art Museum

USFCAM will present a solo exhibition of Brooklyn-based artist Duke Riley, known for his ambitious and immersive projects that investigate historical and contemporary social issues, often through subversive performative action. Featuring two projects in our gallery spaces, DUKE RILEY: Flights of Fancy explores and celebrates Riley’s history of examining the role and relationships of humans and nature through his interactions and interventions with pigeons in public space and the nautical landscape.

Duke Riley

CAM’s Lee and Victor Leavengood Gallery will feature a re-configuration of Duke Riley’s project, Trading with the Enemy (2013), where Riley bred and trained fifty homing pigeons to fly one-way from Havana to Key West, Florida. Half of the pigeons carried Cuban Cohiba cigars, the other twenty-five carried video cameras documenting the journey across the Florida Straits. The exhibition includes a pigeon loft, the smuggled cigars, and videos filmed by the birds, which Riley refers to as the “smugglers” and the “filmmakers”, as well as research material related to the historic flight training of the pigeons. This project specifically references the US trade embargo on Cuba and contributes to the evolving dialogue and diplomatic relationship between the countries as well as referencing the State of Florida’s history of trade with Cuba and its direct influence on the development of the cigar industry and socio-political landscape of Ybor City and West Tampa.

CAM’s West Gallery will include photographs from Riley’s most recent work and largest project to date, Fly By Night (2016), produced for the New York-based public art organization Creative Time. Expanding on his history of working with pigeons, Riley converted a former naval ship into a floating pigeon loft and trained 2000 pigeons, outfitted with small illuminated LED bands, to fly in orchestrated performances above New York City’s East River. Captured during evening performances over the six-week run of the project, the time-lapse photographs document the flight patterns of the birds, swirling, twirling and swooping as moving constellations in the night sky. Paying homage to the waning culture of pigeon fanciers, Riley’s Fly By Night reimagines the role of the pigeon from a nuisance dweller within the urban landscape to a celebrated and revered messenger, companion and collaborator.

Riley’s work encompasses drawing, printmaking (the artist will be in residency at Graphicstudio to create two prints over the course of 2017), mosaic, sculpture, video and performative interventions. His signature style interweaves historical and contemporary events with elements of fiction and myth to create allegorical histories. His re-imagined narratives, presented in his distinct scrimshaw and maritime aesthetic, comment on a wide range of issues, from the cultural impact of overdevelopment and gentrification of waterfront communities, to contradictions within political ideologies as well as commerce and the role of the artist in society and at war.


January 13, 6pm
USF School of Music Barness Recital Hall (MUS107)
Artist Duke Riley joins curator Sarah Howard for a conversation about his work prior to the opening reception.

January 13, 7-9pm
USF Contemporary Art Museum

January 26, 6-8pm
USF Contemporary Art Museum
Join USFCAM Curator Sarah Howard for a tour of Duke Riley: Flights of Fancy.

February 2, 6-8pm
USF Contemporary Art Museum
Come learn about the fascinating world of pigeons with world-class pigeon fancier and “Legend of the Sport” Erio Alvarez from Tampa’s own Alvarez Lofts. Alvarez will discuss the breeding and racing of pigeons and the history of the sport in the Tampa Bay region.

February 17, 7-9pm
USF Contemporary Art Museum
This two-hour concert will feature the students and faculty of USF’s Composition and Electronic Music Studio performing original compositions inspired by the artworks in CAM’s exhibition Duke Riley: Flights of Fancy.

February 23, 6-8pm
USF Contemporary Art Museum
Learn more about Fly By Night, artist Duke Riley’s public artwork of unprecedented scale and beauty produced by Creative Time, a NY-based public art agency that works with artists to contribute to the dialogues, debates and dreams of our times. Creative Time’s Director of Public Projects Jean Cooney will share insights to the unique challenges presented from her experiences with temporary projects in public space.

*American Sign Language Interpreters will be available at these events.


USFCAM Hours: Mon-Fri 10am-5pm, Thurs 10am-8pm, Sat 1-4pm.
Closed Sunday and University holidays (January 16)
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.

Duke Riley: Flights of Fancy is supported in part by a grant from the Arts Council of Hillsborough County, Board of County Commissioners, and by the USFCAM Art for Community Engagement (ACE) Fund Patrons. The USF Contemporary Art Museum is recognized by the State of Florida as a major cultural institution and receives funding through the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture, and the National Endowment for the Arts. The USF Contemporary Art Museum is accredited by the American Alliance of Museums.

University of South Florida
4202 E. Fowler Ave. CAM101, Tampa, FL 33620

(813) 974-4329
fax (813) 974-5130


SCF Fine Art Gallery to Feature “Petrichor” by Swoon

February 28 – April 3, 2013
SCF Fine Art Gallery, Bradenton, FL

State College of Florida, Manatee- Sarasota (SCF) Fine Art Gallery will feature the exhibit “Petrichor” by Swoon in an opening reception from 6 – 8 p.m., Feb. 28, at the Fine Art Gallery at SCF Bradenton, 5840 26th St. West.

"Petrichor" by Swoon
“Petrichor” by Swoon

Prior to the reception, Swoon will host an artist’s talk at 5 the Fine Art Gallery. The SCF Chamber Choir, under the direction of Melodie Dickerson, will honor Swoon with a performance of Eric Whitacre’s “Water Night.”

“Petrichor” is the scent of the first rain upon the earth after a long dry spell and derives from the Greek name of the fluid that flows through the veins of the gods. Swoon selected “Petrichor” as the title of her new site-specific installation, which exalts ordinary life as it unfolds.

For the last 14 years, Swoon has been involved in an ongoing exploration of people’s relationships to their environments. The artist’s initial impetus to create interventions in the urban landscape continues to unfold in a variety of ways.

From 2006-2009, she constructed and navigated flotillas of rafts made from recycled materials down the Mississippi and Hudson rivers and across the Adriatic Sea from Slovenia to Venice, Italy.

Since 2008, Swoon has been working independently and in collaboration with Transformazium, a group of artists and activists, on community-based projects in the town of Braddock, Penn.

She has partnered with the group Konbit Shelter since 2010 for an ongoing project to construct a community center and a home in earthquake-devastated Haiti, bringing her creativity to the reconstruction effort.

Swoon also is currently working on the construction of a musical house called “Dithyrambalina” with the New Orleans Airlift.

In addition to her community-based work, the artist maintains a studio and installation-based practice of drawing, printmaking and the construction of architectural installations and sculptures around the world.

Swoon is a resident of Brooklyn, New York, where she attended the Pratt Institute from 1998 to 2001.

On Feb. 28 at 8 p.m., the SCF Symphony Orchestra will present “Vive la France!” and music by French composers.

Exhibit dates are Feb. 28 – April 3. Gallery hours are Monday – Friday, 10 a.m. – 3 p.m. The gallery will be closed for Faculty/Staff Professional Development Day on March 1. For more information, call Joe Loccisano, gallery manager, at 941-752-5225.

5840 26th St W, Bradenton, FL 34207

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Take a Seat, A Hundred Years – A Hundred Chairs by Danny Olda

While the innocuous nature of chairs could’ve condemned the exhibit as boring, it was rather used as a strength. The banality of objects such as chairs also allows them to especially bear the stamp of their respective times.

by Danny Olda

Through endless episodes of Frasier (thanks Netflix) I find myself fixating on the props. Specifically on a single prop, near the back of the living room, a single chair and matching footstool that exudes an uncanny quantity of comfort. Similarly, the ubiquity of chairs can relegate them to becoming background props in real life as well: I can easily forget I’m sitting in one while I type this.

Image Courtesy of Tampa Museum of Art

That “background prop”, though, was designed by Charles and Ray Eames; perhaps America’s greatest designers. It had roots in New York’s MoMA, made of materials born out of necessity and war time innovation, and offered a new middle class comfort and aesthetic that it was previously not allowed it. Arguably, this “background prop” helped invent the image of the American middle class. And it’s one of 100 in the Tampa Museum of Art’s current exhibit A Hundred Years – A Hundred Chairs.

TMoA Chairs
Image Courtesy of Tampa Museum of Art

The exhibit features 100 chairs from the collection of the Vitra Design Museum as a survey of 100 years of design. Predictably, the survey serves to illustrate modern design and its evolution throughout the 20th century. However, the exhibit does much more than that. While the innocuous nature of chairs could’ve condemned the exhibit as boring, it was rather used as a strength. The banality of objects such as chairs also allows them to especially bear the stamp of their respective times. Each chair doesn’t so much express its context as much as it involuntarily manifests it. A Hundred Chairs does an excellent job of highlighting this.

Image Courtesy of Tampa Museum of Art

For example, the exhibit addresses the socio-political views of plastic as they evolved throughout the 20th century. That is heavy. Plastic begins to appear at one end of the gallery, not only as a technological advance but also as a rebellion against modernism and continental design. Near the other end, it begins to disappear with the onset of the 1970’s oil crisis.

Image Courtesy of Tampa Museum of Art

The exhibit asks us to revisit the aesthetic of chairs. Each section clearly shows fascism, capitalism, environmentalism, prosperity and poverty, war and peace emerging into the design of the furniture. In a way, it implies an invitation to pick up where A Hundred Chairs leaves off, to deconstruct everyday design. While simple furniture, the chairs are presented as thumbnails to the world scene that created it.

Image Courtesy of Tampa Museum of Art

In a way these chairs do make good background props, subtle reflections of the world that needed them. They may not be a profound and imposing symbol of the world around them like much of the art that adorns the galleries of the TMoA. The story chairs tell is much quieter and acute. The venue of a museum gives us a chance to read it.

Danny Olda is our Tampa Correspondent and publisher of
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Tampa Museum of Art
120 W Gasparilla Plz Tampa, FL 33602
(813) 274-8130

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The Farther South You Go the Further North You Are

What does it mean to be Floridian and how would this manifest itself in art? It’s only in recent years that St. Petersburg, for example, has been able to shed the rep as “God’s waiting room”. The one shared aspect of an identity for many was (how to say this nicely?) a proximity to expiration. This didn’t exactly translate into a collective artistic identity (and God help us if it did).

by Danny Olda

“The farther South you go the further North you are” – a sentiment you’ve probably heard referring to the geography and soul of Florida. While reading a recent issue of the Southern lit mag, Oxford American, I noticed scant mention of Florida, the Southernmost of the contiguous forty-eight. Apparently it takes more than South to be Southern – something Florida hasn’t got. Not that Florida pines to be Southern all that much anyhow.

If not Southern, though, what does it mean to be Floridian and how would this manifest itself in art? It’s only in recent years that St. Petersburg, for example, has been able to shed the rep as “God’s waiting room”. The one shared aspect of an identity for many was (how to say this nicely?) a proximity to expiration. This didn’t exactly translate into a collective artistic identity (and God help us if it did).

WPA kids
WPA: FAP: kids involved in painting and sculptures based upon spirituals: Jacksonville, Florida, Extension Art Gallery

Think of American art history in terms of region: The “Cool School” of Southern California, The New York School, Taos, New Mexico, and so on. Did our contemporary tradition come into existence by way of immaculate conception? Where is our old school?

At this point the Highwaymen likely come to mind. The group of artists known as the Highwaymen is, of course, distinctly Floridian. I’m not going to hate on the group – though their work doesn’t exactly suit my taste, their story and conditions they worked under is fascinating. The history of Florida’s Highwaymen says a lot about race relations, art world economics, class concerns, and so on. However, I’d sooner regard the group as a cultural phenomenon than a cultural heritage. The group began, was exclusive, and ended with nary a tie to Florida’s current contemporary art scene.

Highwaymen Artist Group
Mary Ann Carroll - Highwaymen Artist
To be clear, however, what it means to be Floridian is not the bothersome part. What’s bothersome is the seeming absence of any distinctly Floridian artistic identity. It has taken most of my mental fortitude to avoid the nagging feeling that Florida is America’s identity miscellany file. Think of a record shop, for instance. Vinyl records are separated into a jazz section, rock, R & B. Then there is us: the three for a dollar section. Not that Florida is worth less. Rather, in our section one just has a better chance of finding Marching Band Classics beside The Best of Styx. I hate to say “the one thing we have in common is we’re all different”. It sounds like a meaningless hippy maxim but in this case it may be true or at least all we’ve got.

In his novel Citrus County, Author John Brandon describes Florida, and by extension Florida’s art community, accurately. Florida is a seriously wild state. Otters poke their heads out of sewers while alligators are constantly found in pools. It feels like the forests are waiting for the cities to turn their backs in order to reclaim what’s theirs. Our Sunshine State only has the appearance of being settled; Florida is a state of perpetual struggle. Not only naturally, but sociologically, politically, religiously, financially, and, of course, artistically.

I understand this could sound disparaging. However, isn’t art dialectic, the parade of ideas down through art history, only a centuries long magnificent argument? Maybe in this way, through struggles of all sorts, our peculiarly Floridian identity is a moving target – not so much the sum of our parts as the difference of our differences.

Though Florida may not be included among them, New York, California, Paris, and the rest should be proud of their monolith of an artistic heritage. And even if the South would have us, likely we’d politely excuse ourselves anyhow. I like to think that Pascal’s words are peculiarly Floridian, that “The struggle alone pleases us.”

Danny Olda is our Tampa Correspondent and publisher of
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