#: locale=en
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### Multiline Text
HTMLText_5151A367_0607_C2DE_4173_D0C7B95F7D25.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_5574094C_0606_CED2_4176_327FF5CEC0B2.html = DOUG ENG
(American, born 1954
Replicated Self, 2016
Corrugated Cardboard and foamcore
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_5574094C_0606_CED2_4176_327FF5CEC0B2_mobile.html = DOUG ENG
(American, born 1954
Replicated Self, 2016
Corrugated Cardboard and foamcore
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_572D4AEA_0602_C3D6_417B_4DC10E989F64.html = 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
HTMLText_572D4AEA_0602_C3D6_417B_4DC10E989F64_mobile.html = 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
HTMLText_5857BDF0_0605_41B2_417D_6E0AE1A6E918.html = MARSHA HATCHER
(American, born 1956)
"Da Artis" Self-Portrait, 2020
Acrylic on board
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_5857BDF0_0605_41B2_417D_6E0AE1A6E918_mobile.html = MARSHA HATCHER
(American, born 1956)
"Da Artis" Self-Portrait, 2020
Acrylic on board
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_599750B1_060D_3FB2_4142_4253286C2B2F.html = JOSEPH KONOPKA
(American, 1932-2013)
Marozzitours, 1970
Acrylic on canvas
Gift of Casmera Konopka, 2009.02
HTMLText_599750B1_060D_3FB2_4142_4253286C2B2F_mobile.html = JOSEPH KONOPKA
(American, 1932-2013)
Marozzitours, 1970
Acrylic on canvas
Gift of Casmera Konopka, 2009.02
HTMLText_5B166D6A_0603_C6D6_416C_B55B2974EEC6.html = ALEX KATZ
(American, born 1927)
January 7, 1993
Color aquatint
Gift of Donald and Maria Cox, 2016.04.40
HTMLText_5B166D6A_0603_C6D6_416C_B55B2974EEC6_mobile.html = ALEX KATZ
(American, born 1927)
January 7, 1993
Color aquatint
Gift of Donald and Maria Cox, 2016.04.40
HTMLText_5BD3F2D2_060E_C3F6_4159_1C17C8055BC7.html = CHUCK CLOSE
(American, born 1940)
Lyle, 2003
149-color silkscreen on paper
Gift of the J. Johnson Gallery, 2015.06.01
HTMLText_5BD3F2D2_060E_C3F6_4159_1C17C8055BC7_mobile.html = CHUCK CLOSE
(American, born 1940)
Lyle, 2003
149-color silkscreen on paper
Gift of the J. Johnson Gallery, 2015.06.01
HTMLText_5C221072_0606_DEB6_4181_1E581C942D3A.html = STEVE JONES
(American)
Fifties Café, 1988
Oil on canvas
Gift of Jay and Deanie Stein, 2020.05
HTMLText_5C221072_0606_DEB6_4181_1E581C942D3A_mobile.html = STEVE JONES
(American)
Fifties Café, 1988
Oil on canvas
Gift of Jay and Deanie Stein, 2020.05
HTMLText_5CE4AA4D_063E_C2D2_4167_40BCD369DC5C.html = JASON JOHN
(American, born 1980)
Professor, 2016
Oil on polyester
Gift of Charles and Marylin Gilman
HTMLText_5CE4AA4D_063E_C2D2_4167_40BCD369DC5C_mobile.html = JASON JOHN
(American, born 1980)
Professor, 2016
Oil on polyester
Gift of Charles and Marylin Gilman
HTMLText_5D28569B_063D_4276_4162_267E0EB8CFE6.html = 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
HTMLText_5D28569B_063D_4276_4162_267E0EB8CFE6_mobile.html = 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
HTMLText_5D5A1189_063D_3E52_4175_183751D74DC7.html = MARY ANN BRYAN
(American, born 1929)
Portrait of Robert Broward, 1986
Acrylic on canvas
Gift of Robert C. Broward, 2016.05
HTMLText_5D5A1189_063D_3E52_4175_183751D74DC7_mobile.html = MARY ANN BRYAN
(American, born 1929)
Portrait of Robert Broward, 1986
Acrylic on canvas
Gift of Robert C. Broward, 2016.05
HTMLText_5D724B0A_0605_4257_4182_F66EF5F43887.html = JOSEPH SOLMAN
(Belarusian, 1909- 2008)
Self-Portrait, 1946
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
HTMLText_5D724B0A_0605_4257_4182_F66EF5F43887_mobile.html = JOSEPH SOLMAN
(Belarusian, 1909- 2008)
Self-Portrait, 1946
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
HTMLText_5DD61FF3_0602_C1B6_4171_4984F34FC391.html = STANTON MACDONALD-WRIGHT
(American, 1890-1973)
Self-Portrait, 1958
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_5DD61FF3_0602_C1B6_4171_4984F34FC391_mobile.html = STANTON MACDONALD-WRIGHT
(American, 1890-1973)
Self-Portrait, 1958
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_5DE5032D_0603_4252_416B_E446EA214B00.html = JOHN STEUART CURRY
(American, 1897-1946)
Self-Portrait, 1942
Oil on masonite
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
HTMLText_5DE5032D_0603_4252_416B_E446EA214B00_mobile.html = JOHN STEUART CURRY
(American, 1897-1946)
Self-Portrait, 1942
Oil on masonite
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D.
Foundation
HTMLText_5DFD6538_063F_46B2_4179_27FB1C28FB75.html = JENNY MORGAN
(American, born 1982)
Brand New, 2014
Oil on canvas
Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.01
HTMLText_5DFD6538_063F_46B2_4179_27FB1C28FB75_mobile.html = JENNY MORGAN
(American, born 1982)
Brand New, 2014
Oil on canvas
Museum Purchase, Acquisition Fund with contributions from
the Collector's Circle, 2015.01
HTMLText_5F02A6BA_0607_43B6_416B_D0956D04B1B7.html = 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
HTMLText_5F02A6BA_0607_43B6_416B_D0956D04B1B7_mobile.html = 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
HTMLText_5FE40F6D_0605_42D2_4170_D0CC983ED75C.html = 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
HTMLText_5FE40F6D_0605_42D2_4170_D0CC983ED75C_mobile.html = 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
HTMLText_60E22F42_0607_42D6_415F_378008E05FD2.html = WOLF KAHN
(American, 1927-2020)
Self-Portrait, 1953
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_60E22F42_0607_42D6_415F_378008E05FD2_mobile.html = WOLF KAHN
(American, 1927-2020)
Self-Portrait, 1953
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_610DFC79_0602_C6B2_4175_BEC4524BA4BA.html = 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.
HTMLText_610DFC79_0602_C6B2_4175_BEC4524BA4BA_mobile.html = 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.
HTMLText_61D0DF2D_061E_C252_4166_17CC7F364BF2.html = 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)
HTMLText_61D0DF2D_061E_C252_4166_17CC7F364BF2_mobile.html = 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)
HTMLText_620F74E2_060F_47D6_4184_F1EF06396604.html = HIRAM WILLIAMS
(American, 1917-2003)
Two Seated Women, 1976
Oil on canvas
Mr. and Mrs. Robert B. Mautz, 1978.24
HTMLText_620F74E2_060F_47D6_4184_F1EF06396604_mobile.html = HIRAM WILLIAMS
(American, 1917-2003)
Two Seated Women, 1976
Oil on canvas
Mr. and Mrs. Robert B. Mautz, 1978.24
HTMLText_6292CDBB_0606_C1B6_4169_AB0128A8DAB0.html = PHILIP EVERGOOD
(American, 1910-1973)
Self-Portrait, 1960
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_6292CDBB_0606_C1B6_4169_AB0128A8DAB0_mobile.html = PHILLIP EVERGOOD
(American, 1910-1973)
Self-Portrait, 1960
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_62A954D7_0602_C7FE_4170_FCBC398ABC18.html = HIRAM WILLIAMS
(American, 1917-2003)
Man's Head, 1977
Oil on canvas
Mr. and Mrs. Robert B. Mautz, 1978.21
HTMLText_62A954D7_0602_C7FE_4170_FCBC398ABC18_mobile.html = HIRAM WILLIAMS
(American, 1917-2003)
Man's Head, 1977
Oil on canvas
Mr. and Mrs. Robert B. Mautz, 1978.21
HTMLText_62AFFEFD_0602_C3B2_4173_D505964F21AA.html = HIRAM WILLIAMS
(American, 1917-2003)
Head Before Red Ground, 1971
Mixed media on paper
Mr. and Mrs. Robert B. Mautz, 1978.18
HTMLText_62AFFEFD_0602_C3B2_4173_D505964F21AA_mobile.html = HIRAM WILLIAMS
(American, 1917-2003)
Head Before Red Ground, 1971
Mixed media on paper
Mr. and Mrs. Robert B. Mautz, 1978.18
HTMLText_62D670CC_0603_5FD2_4178_F490306843C6.html = 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
HTMLText_62D670CC_0603_5FD2_4178_F490306843C6_mobile.html = 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
HTMLText_6373E33C_060E_C2B2_415A_0C8E277E89C6.html = THOMAS POLLOCK ANSHUTZ
(American, 1851-1912)
Self-Portrait, 1910
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_6373E33C_060E_C2B2_415A_0C8E277E89C6_mobile.html = THOMAS POLLOCK ANSHUTZ
(American, 1851-1912)
Self-Portrait, 1910
Oil on Canvas
Courtesy of Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation
HTMLText_6B4D8770_0607_C2B2_415B_F3B98B3ACC00.html = 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_6B4D8770_0607_C2B2_415B_F3B98B3ACC00_mobile.html = 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.
HTMLText_6D56128B_0605_C256_4175_6A66B8494661_mobile.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.
HTMLText_70AFC293_0605_4276_4137_E7BDEBA38948.html = 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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The gallery you are about to enter is in a seperate exhibition. If you continue and would like to return to the exhibition you are currently viewing you will have to navigate back manually.
The gallery you will be redirected to:
Heirloom: Weaving Memory with the Now
HTMLText_8129E867_0607_4EDE_418A_8584A8BB84D9_mobile.html = Redirect Notice
The gallery you are about to enter is in a seperate exhibition. If you continue and would like to return to the exhibition you are currently viewing you will have to navigate back manually.
The gallery you will be redirected to:
Heirloom: Weaving Memory with the Now
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