Sarasota visual art collective with new exhibit around the theme of the color red. Palmetto Art Center, February 10 – March 9, 2017
February 10 – March 9, 2017
Palmetto Art Center
Opening Reception Friday, February 10 6-9pm
SARTQ: RED exhibition, will fill the beautiful Palmetto Art Center with glowing color. Whether scarlet, crimson, maroon, vermilion, berry, ruby, rose, burgundy, carmine, brick, or cerise – red is both satisfying and exciting. The strong feelings suggested by the color red – passionate love, blood and anger – are always stimulating!
“A thimble full of red is redder than a bucketful.” – Henri Matisse
The 10 artists in the exhibition celebrate the many ways to see the color red. “Red can boost your energy, it exudes confidence and is life-affirming. In addition, this exhibition gives all art lovers something different to do with their sweethearts for their Valentine’s celebration,” says SARTQ co-founder Tim Jaeger.
The artwork in this group show includes printmaking, collage, drawing, video installation, sculpture and painting. In addition, FREE red silk screened prints will be made for the public right before their eyes while meeting the members of SARTQ. Attendees may bring their own clothing items such as t-shirts, pants, scarfs etc., though any item that can lie flat under the screen and will accept ink can be printed on.
SARTQ: RED exhibition is open to the public with no admission fee. Cash bar and live music by Hunter Brown will be provided. Following the opening reception, the Palmetto Art Center gallery will be open Saturday, February 11th from 11AM – 1PM. Also, Mondays, Tuesdays and Thursdays, Noon – 2PM, and by appointment.
Attendees of the March Ringling Underground will encounter three contemporary artists: Emily Elliott, Dustin Juengel, and Zach Gilliland. Artist Liaison Natalya Swanson spoke to each of them about their artwork and process:
“I am constantly tinkering in the studio, trying new things, making new forms, honing my skills and dreaming up the impossible. When I have an idea, I try it. Not all approaches work, but I attempt everything and eventually the dots begin to connect. The key, for me, is to simply be working. As Picasso said, “inspiration exists but it has to find you working”.
I search for the simple and the organic as a jumping off point. Then I find the subtle complexities that give the piece depth. Once a project begins to take shape I send it to the moon and back, building it up and ripping it back apart. This process is extremely important for me to filter out unnecessary information.
My work appears simple at first glance, but upon further inspection questions begin to arise. Thats where, I feel, the magic lies. My ultimate goal is to pull the viewer in from a distance, keep them looking up close and then leave them wondering when they turn away.”
“Painting offers a space to engage with different interests and negotiate experiences. I am not aware of an overarching agenda for my paintings, it’s too complex, I think it’s more of a search.
My recent works include grisaille oil paintings based on photographs. The limited palette allows me to focus on other aspects of technique, for example: modeling of form, economy of paint handling, and scale. The effects of light and the surrounding environment become more apparent on the gray surfaces, creating tension between the illusion of the depiction and the painting as an object in a specific location. I want the viewer to be able to enter into the painting and simultaneously become self-aware of standing in a place looking at this thing.”
“My work is an exploration of emotional and psychological responses to human interaction and the desire for intimacy. I use the body as a metaphorical
battleground where the struggles of the mind take on a physical form. The figures are infected and transformed in reaction to their trauma. Each bump, scar, or mutation represents the fractured sense of self, torn between the desire to connect and need to protect oneself. I am interested in complicating those instincts, creating a dynamic energy between the push and pull of the psyche. This piece captures the moment before separation, where there is no clear victim or perpetrator. Instead they are both at once for and against each other.”
In her upcoming exhibition, Hoffman showcases her images of the unusual, the ordinary, ignored and rejected unintentional still lives she has collected from her expeditions on the region’s back roads far away from her studio.
Most likely you already know who she is, and if not well now is your chance to meet Virginia Hoffman. From public sculpture, to advocating, to writing, to exhibitions, if it’s related to the visual arts in Sarasota, there is a really good chance Virginia Hoffman has been involved in some form or fashion.
As resident of Sarasota for over 40 years, Hoffman, has been a first hand witness to the ever-changing visual landscape of this community and Florida. In her upcoming exhibition, Florida in Context, opening March 1st, Hoffman showcases her images of the unusual, the ordinary, ignored and rejected unintentional still lives she has collected from her expeditions on the region’s back roads far away from her 6th Street Studio. Below, Tim Jaeger interviews Hoffman about her subject matter, digital imaging, and her advice.
sVA: What is it about the subject matter of this exhibition that you find appealing?
VH: Having grown up in Florida with a natural urge to explore I’ve always found the unbeaten paths of this state alluring.
From hiking deep into the jungle of the Fakahatchee Strand, old abandon factories (which I call indigenous polluters) to abandon cracker houses intact with the possessions of the last occupants.
All has its own special narrative but to read that one must ponder what you see by getting up close.
sVA: What do you want your audience to walk away with?
VH: An appreciation for the Old Florida and how it exists in our current time with all its rustic charm and decaying beauty.
sVA: How long did it take to collect these images?
VH: Been capturing these sorts of images since I was a teen-ager but this exhibition consists of a collection of images taken within the last two years and within a days drive from Sarasota.
sVA: When did you realize that you wanted old Florida to be your subject matter?
VH: Last year, I spent a week in the Big Cypress Swamp with my husband. During this trip I captured many environmental landscapes, but after returning from a long trip into the swamp I came upon a failed development in the midst of all that beauty, the irony of failing economy I assumed. Before me sat a man made lake, an old dilapidated construction trailer, with barren land that had been scraped to sandy dirt as far as the eye could see. A rainstorm was coming on so I snapped some quick images of an abandon dragline and crushed galvanize culvert pipes. When I got these images into my computer and started to process them I realized before me were two iconic images representing the destructive character of urban sprawl. I call these sort of images “Boom and Bust Relics” This is when I realized there subtle message of presenting images in a fine art context would be a subtle message in support of historical preservation, smart growth and awareness of a disappearing old Florida heritage. Subtle but profound, there are two pieces in the exhibition called “Dead Elephants” and “Boom and Bust Relic” were shot at this Everglades epiphany.
sVA: When you look through the viewfinder, what are you looking for?
VH: I never look for my subjects through the viewfinder. I see what is before me, taking it all in and then I decide what view intrigues me. I always work a shot; examine all of its potential. I never am really sure what I have until I look more closely later on. The best images are generally a surprise, a discovery.
sVA: How do you feel about the incorporation of digital imaging into photography? How has it changed your take on the art of photography?
VH: Digital photography is its own universe with many doors and paths towards creative expression. A person can be very superficial and capture random accidental images, which have a special allure, which I liken to outsider art. Then you can go all the way to the masters who capture amazing images technological unavailable to analog photographers.
I’ve done both and love both, but digital is now my obsession with it’s an endless universe of possibilities.
sVA: Of the many places you’ve photographed, what makes Florida so special to you?
VH: Florida is a secretive subject, it only tells you what you want to hear, but if you look beneath its surface beyond the interstate you can find a diverse terrain unique in north American and a renegade heritage that threads its way to the here and the now.
sVA: What advantages (if any) do you see in working with black and white photography?
VH: As an artist who creates sculpture I look at photography in that way. I am not really capturing my subject par say, I am capturing the light. The way I choose to look at the light in my minds eye is simply sculpting with light. I try to emulate this in my photography and black and white and all the new methods for expresses this classic genera this is my favorite challenge. I believe to fully understand your subject you must view it in monochrome.
sVA: Have you missed any images and kicked yourself for it?
VH: Happens every dusk and dawn when I am not out to shoot the glory.
sVA: What mistakes do you believe are made by newcomers to photography? What advice would you give?
VH: Take your camera off of automatic, turn off your flash, and take the time to learn how to work your camera. Even the simplest camera is capable of great work, explore the plethora of free and readily available information on the Internet and in no time your ability to capture memories in a more profound manner will evolve.
Presented by The Sarasota County History Center, Florida in Context, a photography exhibition by Sarasota-based artist Virginia Hoffman, is March 1-31, at Sarasota County Visitor Information Center and History Center Museum, 701 North Tamiami Trail, Sarasota. An opening reception with the artist is Friday, March 1, 5:30-7:30 p.m. A portion of sales will be donated to the Friends of Sarasota County History Center. For more information, call 941-400-5217.
Sarasota County Visitor Information Center and History Center Museum
701 N. Tamiami Trail, Sarasota, FL 34236
October 4, 2012 (8pm-11pm)
Ringling Museum of Art, Sarasota
Ringling Underground is a series of one night only events that invites emerging contemporary artists to exhibit sculpture, installation, performance and interactive media in the courtyard of the Ringling Museum of Art.
October 4, 2012 (8pm-11pm)
Ringling Museum of Art, Sarasota
Ringling Underground is a series of one night only events that invites emerging contemporary artists to exhibit sculpture, installation, performance and interactive media in the courtyard of the Ringling Museum of Art. This series encourages artists to push the boundaries of their practice by exhibiting without the luxuries of gallery walls or lighting, while also transforming the function of the Museum. The Ringling transcends its role as an archiving and collecting institution, into one that seeks to actively engage the contemporary artists and patrons within its community. Ringling Underground is proud to present these outstanding artists currently working in the Sarasota and Tampa Bay area, and is excited to feature many more throughout the season.
Artists: Carol Alexander, Jeph Cange, Francis Marquez, Yanuary Navarro
Musicians: Vacationer, The Wallies, DJ David Curran
Thursday, October 4th
8pm – 11pm
$10 (free for college students / members)
On Friday, March 30, his newest installation will be available to the public at Ringling Museum. Biggers will also be presenting, “Speaking of My Work” in the Ringling College Auditorium (Free and Open to the Public). We were fortunate to have a discussion with him, and are pleased to share it here.
The show will include early and current work by gallery artists highlighting their artistic evolution. A variety of media will be showcased including oil, acrylic, and watercolor paintings, as well as, mixed media works on paper, photography, and sculpture.