The Goods: Sarasota Visual Art Weekend News (9.23.11)

Sarasota Visual Arts summary report of exhibitions and events for the upcoming weekend. This features the weekend of Friday, September 23 through Sunday, September 25.

Sarasota Visual Arts summary report of exhibitions and events for the upcoming weekend. This features the weekend of Friday, September 23 through Sunday, September 25.

Saturday, September 24th (7pm)
Ringling College of Art’s Illustration majors are putting on a fundraiser for their annual Illest of Illustration show. Hosted downtown at Sarasota’s, Word of Mouth Restaurant with live music. Posters will be available for purchase. Live silk screening by Clothesline.

Tampa Museum of Art (closes Sunday, September 25)
Syntax: Text and Symbols for a New Generation. 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.

Englewood Art Center (thru October 12)
Erik Groff is on display, exploring the paradigms of reuse, deification of capital and a society locked into ever deepening cycles of overconsumption, Groff reorients his creativity toward furthering the cause of art, rather than that of finance and the product driven. The result is an art which seeks to bridge the void between ’respectable’ gallery art and art made from discarded materials.

Ringling Museum of Art (thru January 29)
The Amazing American Poster: The Strobridge Lithography Company presents eigthy  “brilliantly colored, boldly bombastic posters” on display through the new year. Originally organized by the Cincinnati Art Museum and The John and Mable Ringling Museum of Art.

Museum of Fine Arts, St. Petersburg (thru November 13)
Four Portfolios of the Twentieth Century showcasing Archipenko, Gropper, Evans and Doisneau. This exhibit brings together two lithographic and two photographic portfolios by four important artists. Robert Doisneau and Alexander Archipenko are European, photographer Walker Evans and artist William Gropper  are Americans.

Four Portfolios of the Twentieth-Century: Archipenko, Gropper, Evans, and Doisneau

July 16-November 13
Museum of Fine Arts, St. Petersburg, FL

We bring together two lithographic and two photographic portfolios by four important artists. The portfolios by Alexander Archipenko and Robert Doisneau are European, while those of the photographer Walker Evans and artist William Gropper are decidedly American.

Archipenko’s Sixteen Lithographs, known as the Wasmuth portfolio (1921), is an outstanding early body of work. Commissioned by the noted publisher Ernst Wasmuth of Berlin, the prints were created soon after the modernist sculptor departed from the Paris art world and broke with the Cubists.

Gropper’s portfolio of color lithographs, the Watergate Suite (1973), was given to the Museum in 2010 and is being shown for the first time. Gropper was a social realist whose art came of age during the Great Depression. Here he addresses the congressional hearings on the Watergate scandal, which led to Richard Nixon’s resignation.

Doisneau’s photographs capture Paris and its environs from 1944-1972. They reveal his love for the city, as well as his abundant sense of humor and humanity. Among the 15 images is his famous Kiss of the Hôtel de Ville (1950). Doisneau’s photographs have been instrumental in creating the vision of Paris in the popular imagination.

Evans’s posthumously published portfolio contains some of his earliest photographs, including a rarely-printed image of the Brooklyn Bridge (about 1928). The 14 others include signature photographs of the South, created under the auspices of the Works Progress Administration (WPA) during the 1930s, as well as works from the late stage of his career. These diverse portfolios encourage us to explore the past century through documentary and street photography, modernist experimentation, and political imagery and commentary. They also reflect the vitality of the Museum’s collection of works on paper.