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DOUG ENG
(American, born 1954


Replicated Self, 2016


Corrugated Cardboard and foamcore


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
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DOUG ENG
(American, born 1954


Replicated Self, 2016


Corrugated Cardboard and foamcore


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
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ERIC FISCHL
(American, born 1948


Untitled (Dog), 1989


Aquatint on paper


Gift of the American Academy and Institute of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 1991.03


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ERIC FISCHL
(American, born 1948


Untitled (Dog), 1989


Aquatint on paper


Gift of the American Academy and Institute of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 1991.03


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MARSHA HATCHER
(American, born 1956)


"Da Artis" Self-Portrait, 2020


Acrylic on board


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
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MARSHA HATCHER
(American, born 1956)


"Da Artis" Self-Portrait, 2020


Acrylic on board


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
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JOSEPH KONOPKA
(American, 1932-2013)


Marozzitours, 1970


Acrylic on canvas


Gift of Casmera Konopka, 2009.02
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JOSEPH KONOPKA
(American, 1932-2013)


Marozzitours, 1970


Acrylic on canvas


Gift of Casmera Konopka, 2009.02
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ALEX KATZ
(American, born 1927)


January 7, 1993


Color aquatint


Gift of Donald and Maria Cox, 2016.04.40
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ALEX KATZ
(American, born 1927)


January 7, 1993


Color aquatint


Gift of Donald and Maria Cox, 2016.04.40
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CHUCK CLOSE
(American, born 1940)


Lyle, 2003


149-color silkscreen on paper


Gift of the J. Johnson Gallery, 2015.06.01
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CHUCK CLOSE
(American, born 1940)


Lyle, 2003


149-color silkscreen on paper


Gift of the J. Johnson Gallery, 2015.06.01
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STEVE JONES
(American)


Fifties Café, 1988


Oil on canvas


Gift of Jay and Deanie Stein, 2020.05
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STEVE JONES
(American)


Fifties Café, 1988


Oil on canvas


Gift of Jay and Deanie Stein, 2020.05
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JASON JOHN
(American, born 1980)


Professor, 2016


Oil on polyester


Gift of Charles and Marylin Gilman


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JASON JOHN
(American, born 1980)


Professor, 2016


Oil on polyester


Gift of Charles and Marylin Gilman


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DAVID HILLIARD
(American, born 1964)


Boys Tethered, 2008


C-prints back-mounted to Aluminum


Museum purchase through the Acquisition fund and Collectors’ Circle with funds donated in honor of Linda Larkin Smith, 2011.03


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DAVID HILLIARD
(American, born 1964)


Boys Tethered, 2008


C-prints back-mounted to Aluminum


Museum purchase through the Acquisition fund and Collectors’ Circle with funds donated in honor of Linda Larkin Smith, 2011.03


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MARY ANN BRYAN
(American, born 1929)


Portrait of Robert Broward, 1986


Acrylic on canvas


Gift of Robert C. Broward, 2016.05
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MARY ANN BRYAN
(American, born 1929)


Portrait of Robert Broward, 1986


Acrylic on canvas


Gift of Robert C. Broward, 2016.05
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JOSEPH SOLMAN
(Belarusian, 1909- 2008)


Self-Portrait, 1946


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
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JOSEPH SOLMAN
(Belarusian, 1909- 2008)


Self-Portrait, 1946


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
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STANTON MACDONALD-WRIGHT
(American, 1890-1973)


Self-Portrait, 1958


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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STANTON MACDONALD-WRIGHT
(American, 1890-1973)


Self-Portrait, 1958


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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JOHN STEUART CURRY
(American, 1897-1946)


Self-Portrait, 1942


Oil on masonite


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation



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JOHN STEUART CURRY
(American, 1897-1946)


Self-Portrait, 1942


Oil on masonite


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation



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JENNY MORGAN
(American, born 1982)


Brand New, 2014


Oil on canvas


Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.01




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JENNY MORGAN
(American, born 1982)


Brand New, 2014


Oil on canvas


Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.01




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ANGELA STRASSHEIM
(American, born 1969)


Untitled (Lucian and Katherine), 2005
Archival pigment print


Museum purchase from the Acquisition Fund and contributions from the Collector’s Circle, 2015.05
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ANGELA STRASSHEIM
(American, born 1969)


Untitled (Lucian and Katherine), 2005
Archival pigment print


Museum purchase from the Acquisition Fund and contributions from the Collector’s Circle, 2015.05
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KEVIN PETERSON
(American, born 1979)


Street Light, 2012
Oil on panel with metal


Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.02
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KEVIN PETERSON
(American, born 1979)


Street Light, 2012
Oil on panel with metal


Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.02
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WOLF KAHN
(American, 1927-2020)


Self-Portrait, 1953


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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WOLF KAHN
(American, 1927-2020)


Self-Portrait, 1953


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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LEFT SIDE RIGHT SIDE
JUNE 24, 2021 – MARCH 6, 2022


Left Side Right Side considers the genre of portraiture and its articulation in 20th century art, through works in the permanent collection of the Museum of Contemporary Art, Jacksonville. Also on view is a special selection of works on loan from the Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation, of self-portraits by notable American masters that offer a historical view of this subgenre.


Taking its title from the late Joan Jonas’ early exploration of the self-portrait through video, the exhibition relates directly to one of the thematic directions that guides the MOCA permanent collection which, under the rubric (Re)presentation, pays homage to the Realist art movement, yet elevates a variety of art-making practices, including video, photography, prints, painting, and sculpture. Many of these works resist the notion of having any explicit protagonist or message, leaving them largely open to interpretation by the viewer.



This exhibition was curated by Ylva Rouse. Support for this exhibition was made in part by the City of Jacksonville, the Cultural Council of Greater Jacksonville, the Florida Division of Cultural Affairs, The National Endowment of the Arts, and the University of North Florida. Special thanks to Diane Jacobsen and Heidi Cleaves Smith.



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LEFT SIDE RIGHT SIDE
JUNE 24, 2021 – MARCH 6, 2022


Left Side Right Side considers the genre of portraiture and its articulation in 20th century art, through works in the permanent collection of the Museum of Contemporary Art, Jacksonville. Also on view is a special selection of works on loan from the Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation, of self-portraits by notable American masters that offer a historical view of this subgenre.


Taking its title from the late Joan Jonas’ early exploration of the self-portrait through video, the exhibition relates directly to one of the thematic directions that guides the MOCA permanent collection which, under the rubric (Re)presentation, pays homage to the Realist art movement, yet elevates a variety of art-making practices, including video, photography, prints, painting, and sculpture. Many of these works resist the notion of having any explicit protagonist or message, leaving them largely open to interpretation by the viewer.



This exhibition was curated by Ylva Rouse. Support for this exhibition was made in part by the City of Jacksonville, the Cultural Council of Greater Jacksonville, the Florida Division of Cultural Affairs, The National Endowment of the Arts, and the University of North Florida. Special thanks to Diane Jacobsen and Heidi Cleaves Smith.



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JOAN JONAS
(American, born 1936)


Left Side Right Side, 1972


In her early work Left Side Right Side, Joan Jonas makes use of a mirror and the properties of the medium of video to investigate her own body and self image. Left Side Right Side is built up out of close-ups. Jonas points with her hand to indicate what is right and what is left: 'This is my right eye, this is my left eye.' Due to a complex construction, we can see, at the same time, a monitor image to the left and a mirror image to the right, both filmed by a single stationary camera.
In this way, Jonas duplicates her own self. Before the viewer’s very eyes, a complex and confusing game unfurls between right and left, and between video image and mirror image. What is video image and what is reflection? Not until we can see the ‘real’ Jonas is the mystery solved: Jonas is seated with her face turned towards both the monitor and the mirror, which are placed side-by-side. A camera, placed directly opposite her, behind the mirror and the monitor, is filming her movements and transmits this image directly to the monitor. A second camera, standing diagonally behind her, records the image that shows both the monitor and the mirror. During the playing time of the videotape, the image we see alternates between that of the monitor and mirror and the direct shots of Jonas.
(Description courtesy LIMA, Amsterdam, NL)


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JOAN JONAS
(American, born 1936)


Left Side Right Side, 1972



In her early work Left Side Right Side, Joan Jonas makes use of a mirror and the properties of the medium of video to investigate her own body and self image. Left Side Right Side is built up out of close-ups. Jonas points with her hand to indicate what is right and what is left: 'This is my right eye, this is my left eye.' Due to a complex construction, we can see, at the same time, a monitor image to the left and a mirror image to the right, both filmed by a single stationary camera.
In this way, Jonas duplicates her own self. Before the viewer’s very eyes, a complex and confusing game unfurls between right and left, and between video image and mirror image. What is video image and what is reflection? Not until we can see the ‘real’ Jonas is the mystery solved: Jonas is seated with her face turned towards both the monitor and the mirror, which are placed side-by-side. A camera, placed directly opposite her, behind the mirror and the monitor, is filming her movements and transmits this image directly to the monitor. A second camera, standing diagonally behind her, records the image that shows both the monitor and the mirror. During the playing time of the videotape, the image we see alternates between that of the monitor and mirror and the direct shots of Jonas.
(Description courtesy LIMA, Amsterdam, NL)


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HIRAM WILLIAMS
(American, 1917-2003)


Two Seated Women, 1976


Oil on canvas


Mr. and Mrs. Robert B. Mautz, 1978.24




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HIRAM WILLIAMS
(American, 1917-2003)


Two Seated Women, 1976


Oil on canvas


Mr. and Mrs. Robert B. Mautz, 1978.24




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PHILIP EVERGOOD
(American, 1910-1973)


Self-Portrait, 1960


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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PHILLIP EVERGOOD
(American, 1910-1973)


Self-Portrait, 1960


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation



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HIRAM WILLIAMS
(American, 1917-2003)


Man's Head, 1977


Oil on canvas


Mr. and Mrs. Robert B. Mautz, 1978.21



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HIRAM WILLIAMS
(American, 1917-2003)


Man's Head, 1977


Oil on canvas


Mr. and Mrs. Robert B. Mautz, 1978.21



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HIRAM WILLIAMS
(American, 1917-2003)


Head Before Red Ground, 1971


Mixed media on paper


Mr. and Mrs. Robert B. Mautz, 1978.18
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HIRAM WILLIAMS
(American, 1917-2003)


Head Before Red Ground, 1971


Mixed media on paper


Mr. and Mrs. Robert B. Mautz, 1978.18
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MARY ANN BRYAN
(American, born 1929)


Portrait of Charlie Brown, 1978


Acrylic on canvas


Gift of Elizabeth Brown Wendel, Harriet Woodward Burton, Frederick W. Woodward III, and


Adalyn Quinn Woodward, 1989.0041


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MARY ANN BRYAN
(American, born 1929)


Portrait of Charlie Brown, 1978


Acrylic on canvas


Gift of Elizabeth Brown Wendel, Harriet Woodward Burton, Frederick W. Woodward III, and


Adalyn Quinn Woodward, 1989.0041


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THOMAS POLLOCK ANSHUTZ
(American, 1851-1912)


Self-Portrait, 1910


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation


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THOMAS POLLOCK ANSHUTZ
(American, 1851-1912)


Self-Portrait, 1910


Oil on Canvas


Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation


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What is a portrait? Since time immemorial, humankind has tried to record their presence in the world, often striving to capture the likeness of a person in the form of portraiture. Following the critique of representation in 20th century art, however, the genre experienced a transformation. The development of psychoanalysis in the early 20th century heightened the interest in the subconscious, its role in defining the individual, and the imagined interior life of the subjects depicted. In this way, likeness as such often becomes subordinate to other concerns - artistic, spiritual, or symbolic - and thus, the “portrait” may simply describe a mood, become representative of an archetype, or serve as a comment to social realities such as gender, race or class.
In the exhibition we also explore the evolution of the self-portrait, a genre that arose due in part to the increased access to the domestic and technologically improved mirror. In more recent years, the advent of photography in the Digital Age has led to a new revolution, with the self-portrait turned into the ubiquitous selfie on social media. This new, democratic medium has rapidly become the universal way of not only defining ourselves to the outside world, but also reaching to give shape and meaning to our lives, exponentially expanding the meaning and significance of the self-portrait





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What is a portrait? Since time immemorial, humankind has tried to record their presence in the world, often striving to capture the likeness of a person in the form of portraiture. Following the critique of representation in 20th century art, however, the genre experienced a transformation. The development of psychoanalysis in the early 20th century heightened the interest in the subconscious, its role in defining the individual, and the imagined interior life of the subjects depicted. In this way, likeness as such often becomes subordinate to other concerns - artistic, spiritual, or symbolic - and thus, the “portrait” may simply describe a mood, become representative of an archetype, or serve as a comment to social realities such as gender, race or class.
In the exhibition we also explore the evolution of the self-portrait, a genre that arose due in part to the increased access to the domestic and technologically improved mirror. In more recent years, the advent of photography in the Digital Age has led to a new revolution, with the self-portrait turned into the ubiquitous selfie on social media. This new, democratic medium has rapidly become the universal way of not only defining ourselves to the outside world, but also reaching to give shape and meaning to our lives, exponentially expanding the meaning and significance of the self-portrait





HTMLText_6D56128B_0605_C256_4175_6A66B8494661.html =
Since the 15th century, when the German Renaissance painter Albrecht Dürer began creating images of himself, artist self-portraiture has proliferated, eventually becoming its own genre. The impulse was sometimes practical, where funds were lacking to pay for models; or a statement of defiant self-affirmation; or elsewhere, simply a record of the life of the artist. Most famously, the Dutch Baroque master Rembrandt van Rijn created nearly 100 self-portraits through-out his career, from youth to old age. In more recent times, self-portraits by artists such as Frida Kahlo or Andy Warhol, have transcended as iconic images into the cultural mainstream, while artists such as Barkley L. Hendricks utilized self-portraits to challenge the inherent biases of the art historical canon.
The self-portraits displayed here are by American masters born between the end of the 19th century and beginning of the 20th century, with the majority portrayed in a three-quarter, frontal angle; a familiar pose for self-portraits since Dürer’s time. The different treatment of the paint and brushstrokes, however, helps to place them historically, reflecting the various 20th century styles andinfluences that inspired each individually. Artists’ self-representation today, for example, as demonstrated by local artists Doug Eng and Marsha Hatcher in the preceding gallery, dispense with the classical pose and explore instead the contemporary notion of the self as a construct.


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Since the 15th century, when the German Renaissance painter Albrecht Dürer began creating images of himself, artist self-portraiture has proliferated, eventually becoming its own genre. The impulse was sometimes practical, where funds were lacking to pay for models; or a statement of defiant self-affirmation; or elsewhere, simply a record of the life of the artist. Most famously, the Dutch Baroque master Rembrandt van Rijn created nearly 100 self-portraits through-out his career, from youth to old age. In more recent times, self-portraits by artists such as Frida Kahlo or Andy Warhol, have transcended as iconic images into the cultural mainstream, while artists such as Barkley L. Hendricks utilized self-portraits to challenge the inherent biases of the art historical canon.
The self-portraits displayed here are by American masters born between the end of the 19th century and beginning of the 20th century, with the majority portrayed in a three-quarter, frontal angle; a familiar pose for self-portraits since Dürer’s time. The different treatment of the paint and brushstrokes, however, helps to place them historically, reflecting the various 20th century styles andinfluences that inspired each individually. Artists’ self-representation today, for example, as demonstrated by local artists Doug Eng and Marsha Hatcher in the preceding gallery, dispense with the classical pose and explore instead the contemporary notion of the self as a construct.
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ENZO TORCOLETTI
(Italian-American, born 1943)


Dream, 1970


Georgia Marble


Gift of Dr. Gulnar Bosch, 1984.03
HTMLText_70AFC293_0605_4276_4137_E7BDEBA38948_mobile.html =
ENZO TORCOLETTI
(Italian-American, born 1943)


Dream, 1970


Georgia Marble


Gift of Dr. Gulnar Bosch, 1984.03
HTMLText_72C6945D_0605_46F2_4186_52E4A3370EEE.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
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