arts & sciences july 09

WITH MORE ON:

FROM THE MUSEUM OF ARTS AND SCIENCES, IN ASSOCIATION WITH THE SMITHSONIAN INSTITUTESUMMER 2009

MAGICAL GEMS • NEW CHILDREN’S EXHIBITS • RICHARD CURRIERSUMMER EXHIBITIONS • NEW RADIO TELESCOPE

on the coverPepper on Edge, 2006

Richard Currier

vol. 29 no. 3

WITH MORE ON:

FROM THE MUSEUM OF ARTS AND SCIENCES, IN ASSOCIATION WITH THE SMITHSONIAN INSTITUTESUMMER 2009

MAGICAL GEMS • NEW CHILDREN’S EXHIBITS • RICHARD CURRIERSUMMER EXHIBITIONS • NEW RADIO TELESCOPE

contents

5 FROM THE DIRECTOR

8 MEMBERSHIP NEWS

9 VOLUNTEER OF THE QUARTER

10 MAGICAL GEMS

14 NEW & JUST FOR KIDS - THREE NEW EXHIBITS ARRIVE IN TIME FOR SUMMER

18 SUMMER EXHIBITIONS & CALENDAR SECTION

24 VISIBLE STORAGE UPCOMING ADDITION TO THE MUSEUM

28 GUILD NEWS

30 RADIO ASTRONOMY THE MUSEUM IS HOME TO A NEW RADIO TELESCOPE

32 RICHARD CURRIER’S “AMBIGUOUS REALM OF THE UNDETERMINED”

MAGICAL GEMS page 10

FROM THE DIRECTORDear Friends,On the morning of Wednesday, May 20th, as heavy rains continued to pound Daytona Beach, we found several small leaks in the Center for Florida History. Staff members followed water intrusion protocol by securing objects, sandbag-ging, and attempting to keep all areas as dry as possible with wet vacuums. We held an emergency meeting mid-morning after it became apparent that we could not internally contain the water that was coming up from the ground through the museum’s foundation. A professional water removal and restoration company was on-site before noon that day.

By early afternoon, the Navy Canal along Museum Boulevard consumed the street and our entire south parking lot. The following day all retention ponds surrounding the museum overflowed. Despite all efforts to remove water, including an industrial pump delivered from Jacksonville, by late-night Thursday the museum’s lower galleries and offices had taken on con-siderable amounts of water. The flooding was contained to the west wing which is the area of the museum that is built much lower than the more recent additions. MOAS staff and disaster recovery contractors worked 24 hours a day to keep water levels at a minimum and ensure absolutely no objects were damaged during the flooding.

All water was removed by mid-day on Monday, May 25th. Emergency crews pumped an estimat-ed 50,000 gallons of water from the museum’s lower galleries. The cleanup, still taking place as I write this, has been extensive. Drywall, carpet-ing, and all furniture have been removed. Built-in exhibit casework, all contained to the Center for Florida History, has been heavily damaged. The damaged areas include the Elaine and Thurman Gillespy, Jr. Gallery, the Center for Florida History, the Karshan Gallery, the Marzullo Gallery, the Cuban Foundation Museum Gallery, the planetarium, 10 staff offices, and some storage space. These areas represent about 25% of the museum’s 100,000 square feet of space.

Having to close for nearly four weeks for cleanup has had a severe impact on the museum’s already strained budget. We have operated for at least three weeks of 24 hour shifts to clean up the museum and the staff and contractors are to be commended for their excellent teamwork. The curatorial staff has ensured that all art and artifacts within the museum’s vast collections have remained undamaged during this entire cleanup.

We are in the process, with the kind assis-tance of County Council Chair Frank Bruno and Senator Evelyn Lynn, both of whom were among the earliest officials to come to the museum’s aid, along with support from Mayor Glenn Richey, to come up with both short term and long term solutions to the museum’s problem. This is the fourth time in the past 10 years that the west wing of the museum has flooded. The floor of the west wing galleries is 36 inches below current building code.The time has come for us as a community to determine how we move forward. As Florida’s only AAM accredited museum between Jack-sonville and Orlando and as the state’s only general museum, we know the significance of our institution. We are obligated to do the best job possible for not only our residents and members today, but for the generations that will follow. Rebuilding the museum’s west wing, in some way, shape, form, or location is the only option.

For those of you who are able to help the museum at this time, your financial support to help ongoing operations is vital. For those of you who are able to assist with a long term solution, that will include considerable construction and remediation costs, this community and its future residents thank you beyond what you can imagine.

Finally, we encourage you to visit the museum this summer with your friends and family. The majority of the museum is open and ready for visitors including the new Charles and Linda Williams Children’s Museum featuring three new exhibits, the Root Family Museum, the Schulte Gallery of Chinese Art, the Bouchelle Gallery of International Decorative Arts, the Dow Gallery of American Art, and the Ford gallery which features the newly opened exhibition Ringling Retro: Selections

of Modern and Contem-porary Works of Art from the John and Mable Ring-ling Museum of Art.

2009 BOARD OF TRUSTEES

Deborah B. Allen, PresidentBarbara Coleman, Vice President

Cici Brown, Past PresidentBarbara Young, Assistant Vice President

Julie Freidus, Assistant Vice PresidentAllison L. M. Zacharias, Secretary

Christine Lydecker, TreasurerDr. Kim Klancke, Assistant Treasurer

Thomas Hart, Legal AdvisorBill Rambo, Representative

Rabbi Barry AltmanDaniel Ambrose

Melinda Dawson GrosklosDr. Donald Keene

Dr. Thurman Gillespy, Jr.Forough HosseiniHarvey Morse

Ellen O’ShaughnesseyCarol Lively PlatigRose Ann Tornatore

Diane WelchTerrence WhiteLinda WilliamsAndrew YoungThomas Zane

Executive Director Emeritus, Gary R. Libby

HONORARY TRUSTEES

Miriam BlickmanAnderson Bouchelle (Deceased)

J. Hyatt BrownAlys Clancy (Deceased)

Tippen Davidson (Deceased)Susan FeiblemanHerbert Kerman

Chapman Root (Deceased)Jan Thompson (Deceased)

REPRESENTATIVES

Museum GuildJanet Jacobs, President

Junior LeagueJill Mannino Peck

Cuban FoundationGary R. Libby

Root FoundationJohn Root

MAJOR SPONSORS

GOLDAT&T Real Yellow Pages ®

Brown & Brown, Inc.Mr. and Mrs. J. Hyatt Brown

Thomas and Peggie HartStuart and Lisa SixmaTravel Host MagazineWDSC Channel 15

Zgraph, Inc.

SILVERBenedict Advertising

Daytona International SpeedwayEncore Catering of Central FloridaDr. and Mrs. Thurman Gillespy, Jr.Halifax Community Health Systems

NASCAR ®

BRONZECobb & Cole

Coca-Cola Bottling Company of Daytona BeachConsolidated Tomoka Land Co.

Embry-Riddle Aeronautical UniversityFlorida Hospital Ormond Memorial

Guild of the Museum of Arts and SciencesHilton Garden Inn

Houligan’s - A Spirited Sports GrillDr. and Mrs. Kim Klancke

Gary R. LibbyMercedes-Benz of Daytona Beach

David and Toni SlickTrustees of the Museum of Arts and Sciences

University of Central Florida

4 ARTS & SCIENCES MAGAZINE

From top: Waterlogged tree in Tuscawilla; layer of water covering the west wing hallway; early exterior flooding

Post-flood clean up - from left: Bill Rambo, Barbara Coleman, Wayne Atherholt, and County Chair, Frank Bruno in the Cuban Foundation Museum; Senator Evelyn J. Lynn, and Legislative Assistant Charlyn Thompson in the Center for Florida History.

WAYNE DAVID ATHERHOLTExecutive Director

Administration Staff

PATTIE PARDEE, Administrative Assistant to the Executive DirectorCHRISTINA LANE, Marketing and Communications Director

ERIC GOIRE, Operations DirectorBONNIE L. TREMBLAY, Membership and Volunteer Coordinator

LINDA IPPOLITO, Finance and Human Resource ManagerISRAEL TAYLOR, Physical Plant Assistant

DAN MAYNARD, MaintenanceLYDIA KENNEDY, BookkeeperMARGE SIGERSON, Librarian

PATRICIA COURNOYER, Visitor ServicesJENNIFER GILL, Visitor ServicesBETTY TURCO, Visitor ServicesLEE ASHTON, Head of Security

JAMES ALFORD, SecurityDOMINICK USTICA, SecurityAMANDA EMERICK, Security

MARK LINSKENS, Security

Curatorial

CYNTHIA DUVAL, Chief Curator and Curator of Decorative ArtsJAMES “JAY” WILLIAMS, Gary R. Libby Curator of Art

J.”ZACH” ZACHARIAS, Senior Curator of Education and Curator of HistoryKRISTEN MILLER, Curatorial Assistant & Group Tour Coordinator

LUIS ZENGOTITA, Children’s Museum CoordinatorSETH MAYO, Planetarium Coordinator

ERIC MAUK, Collections Manager and RegistrarBONNIE JONES, Conservator – PaintingsED VAN HOOSE, Conservator – Furniture

Dow Museum of Historic HousesLENORE WELTY, Administrator

Executive DirectorWAYNE DAVID ATHERHOLT

EditorCHRISTINA LANE

Contributing WritersCYNTHIA DUVAL

JOANNE EATON-MORRISSBONNIE TREMBLAY

HUGH C. WARD, JR. ED.DJAY WILLIAMS

TERESA WRIGHT

Art DirectorsNICOLE MASTANDO

KELLI WITH AN EYE MARKETING & PROMOTIONS

ABOUT THE MUSEUM OF ARTS AND SCIENCESThe Museum of Arts and Sciences is a not-for-profit educational institution, chartered by the State of Florida in 1962 and accred-ited by the American Association of Museums. Museum collections and research include Cuban and Florida art, American Fine and Decorative Arts, European Fine and Decorative Arts, pre-Colum-bian and African artifacts, Pleistocene fossils, Florida history and regional natural history. Permanent and changing exhibitions, lectures, classes, and Museum trips highlight educational pro-grams. The Museum houses changing arts and sciences exhibition galleries, permanent collection galleries, a gallery of American art, paintings, decorative arts and furniture, a Prehistory of Florida wing, Cuban Fine and Folk Art Museum, a planetarium, library, the Frischer Sculpture Garden, maintains nature trails in a 90-acre preserve in adjacent Tuscawilla Park, and operates a Historic House Museum on a 150-acre preserve.

Major museum programs and activities for members, school children and the general public are supported by grants from the Institute of Museum and Library Services, an agency of the Federal Government; the National Endowment for the Arts; Florida Arts Council, Division of Cultural Affairs and Division of Historical Resources, Florida Department of State; the Volusia County School Board; the Guild of the Museum of Arts and Sciences; and the Junior League of Daytona Beach, Inc.

MUSEUM HOURS:9 a.m. - 5 p.m. Tuesday through Saturday11 a.m. - 5 p.m. Sundays

A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE, WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, AP-PROVAL OR RECOMMENDATION BY THE STATE. THE TOLL FREE NUMBER IS 1.800.435.7352.

The Museum of Arts and Sciences is committed to the Americans with Disablities Act by making our facility and programs accessible to all people. If you have any special requirements, suggestions, or recommendations, please contact our representative, Wayne D. Atherholt, at 386.255.0285. If you prefer, you may contact the Volusia County Cultural Advisory Board representative at 386.257.6000, or the Division of Cultural Affairs, The Capitol, Tallahassee 850.487.2980, or TT 850.488.5779. If you do not receive a reply within two weeks, you are encouraged to call the Division of Cultural Affairs in Tallahassee.

The Museum of Arts and Sciences is recognized by the State of Florida as a major cultural institution and receives major funding from the State of Florida through the Florida Department of State, the Florida Arts Council, the Division of Historical Resources and Division of Cultural Affairs.

Arts & Sciences is published quarterly by the Museum of Arts & Sciences, 352 S. Nova Road, Daytona Beach, Florida 32114,

telephone 386.255.0285, web site www.moas.org. Income from contributors helps offset a portion of the expense involved in the

production of this publication.

ADVERTISING INQUIRIESAll inquiries regarding advertising should be directed to

Nerve Marketing at (386) 257-3030 or [email protected].


Through the generous support of our members, the museum was able to raise over $10,000 in our most recent fund-raiser, It’s My Party, which was held May 16th at the mu-seum. The event was held as a celebration of the Ringling Retro exhibit which can be seen now through November 1. Austin Powers provided memorable entertainment as guests enjoyed the evening in 60’s attire. The winner of the ‘Mod Money’ raffle was MOAS board member, Melinda Daw-son Grosklos. Congrats, Melinda!

It’s My Party was made possible by the Daytona Beach News-Journal, National City Bank, Digital Press, and My Bliss Magazine.

Thank You!On behalf of the Board of Trustees, staff, volunteers, and docents, we would like to say thank you for your member-ship. Your membership and support is the key component in the success and growth of the museum. Every time you mention the benefit of museum membership or attendance to a friend or family member, you have made an invaluable ‘donation’ to MOAS!

MEMBERSHIP NEWSBy Bonnie Tremblay, Membership & Volunteer Coordinator

Lynn WilloughbyLynn was born in Chattanooga, Tennessee and visited Day-tona Beach, Ormond by the Sea, and Flagler Beach many times on family vacations. After graduating from college, he lived in Atlanta, Georgia, San Francisco, and Stinson Beach, California before moving to Ormond by the Sea in 1998.

Lynn has been a Visitor Service volunteer at MOAS for 3 ½ years. He has also volunteered for 5 years doing HIV test-ing and counseling for Volusia and Flagler counties and has volunteered at the Halifax Humane Society and the Daytona Beach International Festival.

Lynn worked in the travel industry before retirement and trav-eled as much as possible. His trips include a safari in Kenya and trekking the Inca Trail in Machu Pichu, Peru. He has visited many museums around the world, but his favorite is Musee D’Orsay in Paris, France for their extensive collection of Impressionist Art.

While at home, Lynn enjoys his dog Sparky, working on his landscaping, reading, and watching football and tennis.

Thank you Lynn for your continued support of MOAS!

VOLUNTEER OF THE QUARTER


BECOME A MOAS MEMBER!3 Ways to Join...

Online - www.moas.orgIn Person - 352 S. Nova Rd. Daytona Beach, FL 32114

By Phone - 386.255.0285

For more information on membership level benefits, please visit our website at www.moas.org and click on Membership.

MEMBERSHIP LEVELS AND FEES$ 20.00 Student$ 25.00 Senior Citizen Single$ 30.00 Single$ 35.00 Senior Citizen Couple$ 60.00 Family (up to 2 adults and children in same household)$ 100.00 Family Plus (up to 4 adults and children in same household)$ 125.00 Friend of MOAS$ 250.00 Corporate

RENAISSANCE SOCIETY LEVELS AND FEES$ 200.00 Galileo$ 500.00 Copernicus$ 1,000.00 Michelangelo$ 5,000.00 DaVinci$10,000.00 Medici Lifetime Membership (one time donation)

A new installation in the Anderson C. Bouchelle Study Center and Gallery for

the International Decorative Arts focuses on the history, glow and

sparkle of a grouping of impressive contemporary jewelry on loan from the

Gary R. Libby Charitable Trust.

Chosen for their technical achievement, internationalism and their range of colors, and to highlight beauty, the gems are simply set; the majority of the rings in classic hoops, the bracelets and neck-laces designed to resemble flowing rainbows and ribbons of col-ored light.

One demi-parure (necklace, bracelet and earring set) in particu-lar stands out; a dramatic tour-de-force of almost-opaque Asian Indian rubies. It claims attention with stones of exceptional color and haunting depths of lavender and rose, only visible on the clos-est of inspections. The most beautiful rubies in the world are from Kashmir and Burma, and these July birthstones bring luck to all who wear them, historically protecting the wearer from plague and ban-ishing sadness. They were once further thought to darken in color when danger threatened; resuming their natural hue when danger passed. These and similar opinions regarding the talismanic mean-ings and magical properties of colored stones come down to us from a variety of early sources since the days of ancient Babylon and Egypt, where colored stones were also associated with the colors of the planets; thus astrologically significant.


EXHIBIT FEATURE

By: Cynthia DuvalChief Curator and Curator of Decorative Arts

Faceted Indian Ruby and Sterling Silver Necklace; part of a demi-parure, consisting of a necklace, bracelet, and earrings.


Recipes which not only included powdered rubies but also powdered emeralds, sap-phires and other precious stones spiked with herbs and honey and sometimes dissolved in wine formed the basis of many formulas and remedies in the world of Europe’s alchemists until quite late in the 18th century, when their sheer expense gradually caused them to go out of use. When not reduced to medicinal powders or simply worn as objects of beauty colored gems have also been traditionally used as decorative elements on such items as goblets; thought to bring luck to all who drank from them. One such goblet was given by Louis XI (1423-1483) to his brother the duc de Guienne after a family quarrel as a token of their renewed friendship and love. Love plays a major role in the history of gems and jewels, and the collection on display whispers romance through its range of sap-phire blues, its emerald greens, amethysts both delicate and richly purple, its delicious garnets, opals and diamonds of great clarity and beauty.

As seen in the gallery, the most preferred mounting for colored gems today - as well as for diamonds, is sterling silver, white gold or platinum (the silver is sometimes backed with gold to give stability); the pale silvery color specifically chosen so as not to detract from the stones themselves. This simplicity belies their true sophistication.

Technically, the installation runs the gamut of the jeweler’s art of stone-cutting from domed cabochons to multi-faceted brilliant and trillian-cut gems. Table-cut stones with step-sides contrast with others cut in the form of hearts, pentagons, ovals, triangles, lozenges and marquises. Most of the gems are anony-mously designed and cut, but look for the delicate leaf inspired bracelet in diamonds and sapphires by Cartier, and the Renais-sance-form rings of David Yurman, “jeweler to the stars.” Through their quality, technical achievement and elegant designs, the rings, necklaces and bracelets on display highlight and emphasize the continued importance of the Bouchelle Gallery as the museum’s Deco-rative Arts Study Center and add a modern glow to the antique objects already on exhibition.

Love plays a major role in the history of gems and jewels, and

the collection on display whispers romance through its range of sapphire blues, its emerald

greens, amethysts both delicate and richly purple, its delicious garnets, opals and diamonds

of great clarity and beauty.

David Yurman Renaissance Inspired Rings

Cartier diamond and sapphire leaf-formbracelet set in 18-carat gold

Cornflower blue and white sapphire ring set in white gold

Cornflower blue sapphire necklace set in white gold


KIDS

NEW & JUST FOR

NEW EXHIBIT FEATURE

Three New Children’s Museum Exhibits Arrive in Time for Summer!

A PLACE for InfAntS AnD toDDLErS At MoASBy Christina Lane, Marketing & Communications Director

With the opening of the children’s museum in Novem-ber, MOAS has welcomed many new sounds, including the sounds of children squealing, laughing, and some-times even crying when the time comes to go home. A day at the museum now provides something for the en-tire family to do, well everyone except the baby that is. Through a partnership with the Early Learning Coalition of Flagler and Volusia, the museum was able to fulfill the growing need for an exhibit that focused on engaging our youngest visitors. The Early Learning Play Center, which opened in June, has already been one of the most popular exhibits at MOAS.

The center provides a bright, colorful, safe place for chil-dren ages 6 to 36 months to learn through play with a family member or caregiver. Comprised of five stations, the play area challenges infants and toddlers to engage in activities that develop motor skills, encourage early literacy, and build critical cognitive processes. Each center is accompanied by an adult-height text panel that gives adults cues on how to interact with children at each station and encourage new levels of exploration.

EARLYLEARNING

PLAYCENTERPresented in partnership

with theLook for this sign at the

bottom of the ramp just to

the right of the entrance

to the Charles and Linda

Williams’ Children’s

Museum to enter the Early

Learning Play Center from

inside the museum!

noW oPEn!


Magical Gem

nEW CSI ExhIBIt WouLD MAKE ShErLoCK hoLMES ProuDBy Zach Zacharias, Senior Curator of Education

A new CSI exhibit in the Charles and Linda Wil-liams Children’s Museum, sponsored by Thomas Zane, will focus on careers in law enforcement and forensic investigation. As they learn about this exciting field, children will learn the basics of crime investigation, and, perhaps, be attracted to law enforcement as a career.

Four elements of scientific investigation will be highlighted in the exhibit: DNA analysis, witness investigation, fingerprint investigation, and fiber analysis. Interest in criminal investigation has increased with the soaring popularity of police and crime scene investigation television shows. Since the premiere season of the well known CSI television series was broadcast in 2000-2001, a few pioneering schools and museums have ad-dressed these interests in courses and hands-on exhibits. While many children may have seen these techniques used by television and movie actors, the real science of criminal investigation goes far beyond what children might see in the media. The CSI exhibit will give them a deeper understanding of the actual science that supports crime scene investigation.

Children will learn about the complicated science behind DNA analysis, including how samples are collected and the time needed to process them. Fingerprint and fiber analysis activities will challenge them to match fingerprints and fibers to reference samples. In another activity center,

children will learn to give police-style descrip-tions of persons under observation, comparing their notes with actual persons. These real CSI training activities will excite children’s senses and sharpen their thinking skills, giving par-ents yet another reason to bring their kids to our popular Children’s Museum.

four elements of scientific investiga-tion will be highlighted in the ex-

hibit:

DnA AnALySIS

WItnESS InvEStIGAtIon

fInGErPrInt InvEStIGA-tIon

fIBEr AnALySIS

Imagine seeing a note being played for as long as that note is held … this visual enhancement to music is now available at MOAS for children when they sit down and play the Bubble Keyboard in the children’s museum.

This new exhibit, designed and built locally by Ocean-ariums, LLC, will offer the museum’s youngest visitors the opportunity to strike a note on the keyboard and cause one of eight bubble tubes to light up and bubble. Each bubble tube has a corresponding note on the keyboard. When that note is struck, its bubble tube will bubble and light up, showing the engraved letter note of the key.

The designing and building of this exhibit has been a great project for Oceanariums, LLC to further our sup-port of education and the arts. The cut-away window in the exhibit will enable kids to see the electronic and air pump applications utilized to create music on this Bubble Keyboard.

The goal of the exhibit is to enable a visual connection for children, enhancing the musical experience and en-abling an additional sensory association. A simple song played by a visitor will be a delight to the eyes, as well as the ears.

oCEAnArIuMS BuBBLE KEyBoArD ConnECtS MuSIC WIth LIGhtBy Teresa Wright, Vice President of Sales & Marketing for Oceanariums, LLC

Imagine seeing a note being played for as long as that note is held … this visual enhancement to music is now available at MOAS for children when they sit down and play the Bubble Keyboard in the children’s museum.

From left: Zach Zacharias, Perry Wright, Oceanariums, Teresa Wright, Oceanariums, and Wayne Atherholt, rendering of Bubble Keyboard.

oPEnS JuLy 25th!

oPEnS JuLy 3rd!

Let’s Advertise!The Thomas H. Davis Collection Of 19th

Century Lithographic Advertising Cards

April 17 – July 19, 2009Chapman S. Root Hall

Ringling Retro: Selections of Modern and Contemporary

Works of Art from the John and Mable Ringling

Museum of Art

April 24 - October 25, 2009Edward E. and Jane B. Ford Gallery

JULYJuly 3 Talk and Walk - Dow Gallery of American Art: The Art of Early American Portraits and George Washington1:30pmFree to members or with paid admission

July 7 Meet The Collector: Let’s Advertise!2:00pm Join collector Tom Davis as he walks you through one of the museum’s newest exhibitions.Free to members or with paid admission

July 11 Gallery Walk: Ringling Retro2:00pmFree to members or with paid admission

July 14 Meet Me in the Gallery: Ringling Retro1:30pmJoin one of the museum’s curators as you walk through this important art collection on loan from the John and Mable Ringling Museum of Art.Free to members or with paid admission.

July 16 Meet The Collector: Let’s Advertise!2:00pm Join collector Tom Davis as he walks you through one of the museum’s newest exhibitions.Free to members or with paid admission

July 23 Meet the Curators: Coffee, Chocolates and Collections2:00pmJoin the Curators of MOAS to learn about the museum’s fascinating collections and exhibitions.Free to members or with paid admission

exhibits

summerModernist Art from Southern CollectionsApril 24 – August 30, 2009

Coming Soon!Reflections: Paintings of Florida 1865 – 1965From the Collection of Hyatt and Cici Brown

November 20, 2009 – May 17, 2010


MUSEUM OF ARTS & SC IENCES SUMMER 2009 CALENDAR

PuLL

out

CALE

nDAr

SECt

Ion

AUGUSTAugust 4 Talk and Walk: Ringling Retro2:00pmFree to members or with paid admission

August 11 MOAS 4-6 Year Old Preschool: Shark World 1:30pm – 3:00pmLearn about one of the oldest meat eaters on earth while we help you start your own collection of shark’s teeth.$10 for members or $15 for nonmembers

August 13 Meet the Curators: Coffee, Chocolates and Collections1:30pmJoin the Curators of MOAS to learn about the museum’s fascinating collections and exhibitions.Free to members or with paid admission

August 18 MOAS 4-6 Year Old Preschool: Build Me a Sculpture1:30pm – 3:00pmUse your creative mind to make crazy, wacky sculptures out of everyday items.$10 for members or $15 for nonmembers

August 20Meet Me in the Gallery: Ringling Retro: Selections of Modern and Contemporary Works of Art from the John and Mable Ringling Museum of Art1:30pmJoin one of the Museum’s curators as you walk through this important art collection on loan from the John and Mable Ringling Museum of Art.Free to members or with paid admission

August 25 MOAS 4-6 Year Old Preschool: Meat Eating Dinosaurs Please 1:30pm – 3:00pmCheck out the museum’s collection of meat-eating dinosaur teeth and bones.$10 for members or $15 for nonmembers

August 25 Talk and Walk: Ringling Retro: Selections of Modern and Contemporary Works of Art from the John and Mable Ringling Museum of Art1:30pmFree to members or with paid admission

August 27 9-14 Year Old Science: Mass, Energy and Light1:30pm – 3:30pmUse the museum’s exhibits and resources to explore the wide world of physics.$10 for members or $15 for nonmembers

SEPTEMBERSeptember 1 Talk and Walk: Ringling Retro: Selections of Modern and Contemporary Works of Art from the John and Mable Ringling Museum of Art1:30pmFree to members or with paid admission

September 8 Curator Walkthrough: Ringling Retro: Selections of Modern and Contemporary Works of Art from the John and Mable Ringling Museum of Art2:00pmFree to members or with paid admission

September 8 MOAS 4-6 Year Old Preschool: China - Art, History, and Inventions1:30pm – 3:00pmTake a trip to ancient China and learn about the culture of this far-away country. You will also make your own Chinese landscape to take home.$10 for members or $15 for nonmembers

September 10 9-14 Year Old Science: Ultrasound - The Science of Sound 1:30pm – 3:30pmUse the museum’s exhibits and resources to explore the world of sound energy.$10 for members or $15 for nonmembers

September 15 MOAS 4-6 Year Old Preschool: I Want To Be Like Picasso 1:30pm – 3:00pmCreate your own art in the style of Picasso using a variety of artistic media.$10 for members or $15 for nonmembers

September 17 Tuscawilla Preserve Nature Walk1:00pmFree to members or with paid admission

MUSEUM OF ARTS & SC IENCES SPR ING 2009 CALENDAR

September 22 MOAS 4-6 Year Old Preschool: My Five Senses1:30pm – 3:00pmUse art and nature to discover the world around you.$10 for members or $15 for nonmembers

September 22Gallery Walkthrough: Root Family Museum with Preston Root2:00pmFree to members or with paid admission

September 29 MOAS 4-6 Year Old Preschool: I Want To Be a BuilderBuild your very own structure using several different materials.$10 for members or $15 for nonmembers

September 30 Meet the Curators: Coffee, Chocolates and Collections1:30pmJoin the Curators of MOAS to learn about the museum’s fascinating collections and exhibitions.Free to members or with paid admission

MUSEUM OF ARTS & SC IENCES SPR ING 2009 CALENDAR

Calendar


vISIBLE StorAGE in the HELENE B. ROBERSON BUILDING

The Upcoming Addition to the MuseumBy Wayne D. Atherholt, Executive Director

MOAS is fortunate to have one of the greatest collections of art and art objects within the state of Florida. However, our ability to show all 50,000 pieces of the collection at any given time in our galleries is virtually impossible. Through the new Visible Storage Facility, we shall be able to present a greater number of pieces than ever before. This facility will be built through a generous donation from Helene B. Roberson and named after her, as well as with matching money from the Volusia County ECHO program. A number of members have asked me to explain the difference between an exhibition and a visible storage display, and I think it is appropriate to expound on this theme, outlining the differentials. Exhibitions are based on curatorial-inspired storylines; in open storage, the visitors are free to enjoy the art without guidance or restrictions.

There are various types of storage facilities in museums, as John D. Hilberry explained in a 2002 article in the American Association of Museums’ Museum News. The first type of facility is very similar to our very own Bouchelle Study Center for Decorative Arts. In fact, one of the models for Bouchelle was the American Wing of the Metropoli-tan Museum of Art in New York, as outlined in a past issue of our Arts and Sciences magazine. In Bouchelle, MOAS objects are used as study pieces with minimal written information.

Morrison H. Hecksher, Lawrence A. Fleischman Chairman of the American Wing of the Metropolitan Museum, in charge of the Luce Open Storage Gallery since its incep-tion in 1988, is currently in the throes of upgrading the facility. This was set up with the then avant-garde installation of a bank of research computers. Today, when computers are an everyday aid to research for the average student and member of the public, the technical aspect of open storage is currently only one of the ways of providing information. “Open storage is an incredibly instructive way to show art,” Hecksher states, “the public is thrilled to be free to view so much without the guidance of labels and other educational tools. The study and comparison of works of art where personal impressions are everything is proving highly successful!”

MUSEUM NEWS

Open storage at the Luce Foundation Center for American Art in the Smithsonian American Art Museum. Photo by Thomas Zane.

Open storage at the Luce Foundation Center for American Art in the Smithsonian American Art Museum. Photo by Thomas Zane.


Having studied the open storage galleries of the Brook-lyn Museum, which houses about 2,000 objects and covers approximately 4,200 square feet, the New York Historical Society and the Smithsonian American Art Museum, I have come to understand how our own facil-ity would best serve our needs as well as those of the general public.

The New York Historical Society’s extensive facility oc-cupies the entire fourth floor of that museum in Central Park West and contains approximately 40,000 artifacts collected by the museum during its nearly 200 years of existence. The Smithsonian American Art Museum houses more than 3,000 objects and is Washington D.C.’s first open storage. Harold Closter, Director of Smithsonian Affiliations (of which MOAS is an active member), says that many museums today are opting for open storage facilities as a way of making collec-tions more accessible to the public; further fulfilling cultural and educational obligations to serve the com-munity, while at the same time preserving collections for public trust. In Florida, Susanne White, Curator of the Smithsonian-affiliated South Florida Museum of Art and Bishop Planetarium in Bradenton, states that her museum’s open storage gallery is the “best permanent display in the whole museum—a fine educational tool which draws the public to discover treasures previously stored in locked storage areas.” A fascinating facet of museum visits, this open storage houses nearly 20,000 objects, primarily in the areas of paleontology, archae-ology, minerals and shells.

Currently MOAS has two on-site storage facilities for art and art objects, both of which are overcrowded. Our primary mission in building an up-to-date open storage facility is to create an environment that will not only stabilize artifacts and provide additional storage for collections and artifacts, but also bring to light previously unseen treasures. One of the most significant groupings of objects slated to be stored in this facility is the museum’s extensive collection of Napoleonic material, much of which was generously donated by Kenneth and Mary Mohan Dow.

Curators are currently evaluating proposed objects and working on the interior design of the facility, so that the museum maximizes the storage area and provides the public with the opportunity to see and enjoy the full nature and character of our collections. For the public, there is both curiosity and excitement in “discovering the previously unseen.” It is antici-pated that we shall start construction on the building itself early in the summer of 2010. Depending on the building schedule, the interior construction and cura-torial workload, our new facility should be installed and ready to open to the public a few months after the building itself is completed.

Our plans are to start an endowment for the build-ing of this facility so that the perpetual care of the whole of the MOAS collection is ensured. If you are interested in discussing a contribution to this fund, I welcome you to visit the museum and participate in our plans. Your support for this exciting project would be greatly appreciated, ensuring the Museum of Arts and Sciences of its rightful place as one of the lead-ing institutions of its kind in the Southeast.

Architectural rendering of the Helene B. Roberson building. Image courtesy of Hawkins, Hall & Ogle Architects, Inc.

Friday, August 7, 4:00 PMHIPPIEFEST STREET FESTIVAL

Friday, August 7, 7:30 PMHIPPIEFEST CONCERT

Thursday, September 24, 7:30 PMCIRQUE DREAMS ILLUMINATION

Wednesday, October 7, 10:00 AMHENRY & MUDGE

Wednesday, October 28, 7:30 PMBENISE-NIGHTS OF FIRE!

Sunday, November 8, 7:00 PMTAP DOGS

Thursday, November 12, 10:00 AMSLIM GOODBODY

Saturday, November 14, 7:00 PMBRUCKNER ORCHESTRA LINZ (AUSTRIA)

Wednesday, November 18, 10:00 AMJUNIE B. JONES

Friday, November 20, 7:30 PMBJORN AGAIN: THE ABBA EXPERIENCE

Saturday, November 21, 8:00 PMIRISH COMEDY TOUR

Sunday, November 22, 3:00 PMJIGU! THUNDER DRUMS OF CHINA

Saturday, November 28, 7:00 PMVIRSKY UKRAINIAN NATIONAL DANCE COMPANY

Saturday, December 5, 2:00 PM & 7:00 PMTHE NUTCRACKER BALLET

Friday, December 11, 7:30 PMMANNHEIM STEAMROLLERCHRISTMAS CONCERT

Saturday, December 12, 7:30 PMAVENUE Q

Monday, December 14, 7:00 PMTHAT’S AMORE: A CELEBRATION OF DEAN MARTIN

Friday, January 8, 7:30 PMBOB NEWHART

Tuesday, January 19, 10:00 AMTALES OF A FOURTH GRADE NOTHING

Wednesday, January 20, 7:00 PMMARVIN HAMLISCH IN CONCERT

Wednesday, January 27, 7:30 PMVINCE GILL

Friday, January 29, 7:00 PMMOSCOW STATE SYMPHONY ORCHESTRA

Sunday, January 31, 3:00 PMVERDI’S RIGOLETTO OPERA

Saturday, February 6, 7:30 PMHARVEY ROBBINS ROYALTY OF DOO-WOPP

Sunday, February 7, 1:30 PMU.S. AIR FORCE RESERVE BAND CONCERT

Wednesday, February 17, 7:30 PMCABARET

Friday, February 19, 7:00 PMPHILHARMONIA OF THE NATIONS

Saturday, February 20, 7:30 PMMICHAEL AMANTE’S TRIBUTE TO LUCIANO PAVAROTTI

Sunday, February 21, 7:30 PMJACKIE MASON COMEDY

Friday, March 12, 7:30 PMTHE IRISH TENORS

Saturday, March 13, 7:00 PMBUFFALO PHILHARMONIC ORCHESTRA

Wednesday, March 24, 7:30 PMLOUISE PITRE’S “PURE PIAF”

Sunday, March 28, 3:00 PMJACKSONVILLE SYMPHONY ORCHESTRA

Tuesday, March 30, 2:00 PMCHURCH BASEMENT LADIES

Wednesday, March 31, 7:30 PMONE NIGHT OF “QUEEN”

Friday, April 2, 7:30 PMPEKING ACROBATS

Saturday, April 3, 8:00 PM100 YEARS OF BROADWAY

Thursday, April 15, 10:00 AMCHARLOTTE’S WEB

Friday, April 16 at 5:00 PMSaturday, April 17 at 12:30 PMSWEET ADELINES STATE COMPETITON

Monday, April 19, 7:30 PMBEAUTY AND THE BEAST

Sunday, April 25, 7:00 PMRASTA THOMAS’ BAD BOYS OF DANCE

Friday, April 30, 10:00 AMHOP 2 IT MUSIC

2009 - 2010 Show Schedule

For ticket information, visit our website at www.PeabodyAuditorium.org or call (386) 671-3462.Tickets may be purchased through TicketMaster at 1-800-745-3000 or www.TicketMaster.com.

MEMBERSPresent your membership card for a

FREE beverage of your choice!

I am honored to be the 2009 - 2011 President of the Guild of the Museum of Arts & Sciences. I thank Janet Jacobs for her excellent leadership over the past two years. Other new executive officers installed in May of 2009 include: First Vice President, Kay Brawley; Second Vice President, Eileen McDermott; Recording Secre-tary, Kathy Blad; Correspondence Secretary, Dee Lane; Treasurer, Helen Rose; Assistant Treasurer for the Halifax Art Festival, Joan Chase; and Assistant Treasurer for the Festival of Lights, Sandy Buckley.

The guild is growing at a steady pace and forty-two new members were recognized in April. The guild’s an-nual pledge to the museum for 2008 – 2009 was $50,000. The guild used these funds to support the Adopt a School Program, the Summer Learning Institute, the framing of 28 comic illustrations by French painter Robert Gring, and for general operating support of the museum which funds staff salaries and daily operational needs.

The guild’s new cookbook will be published in September of 2009. The cookbook contains over 300 fabulous recipes. It will be available for $15 in the MOAS gift store and at guild events.

News from JoAnne Eaton-Morriss, Guild President

a. New Guild Executive Officers pictured with Wayne Atherholt

b. Halifax Art Festival Committee Meeting

c. Cookbook Committee Meeting

d. New Guild Members, left to right: Mary Parker, Tish Failor, Val Flynn,

Connie Rodrigues

e. Janet Jacobs, Wayne Atherholt, and Deborah Allen pictured holding a check for the annual guild pledge

a.

c.b.

e.d.

uPCoMInG GuILD

SPonSorED EvEntS

September 23buS trip to mt. Dora

Join the moaS guild for a tour of downtown mt. Dora. the cost is $60 and

includes transportation, a light breakfast, lunch, and choice of a two hour eco boat or a 1 hour train ride. there will

be time to wander the charming old-world avenues and browse the stores for antiques, unusual books, and gifts. Kindly

rSVp by September 11, 2009. reservations can be made by calling the

museum at 386-255-0285. Checks should be made payable to the moaS Guild and mailed to moaS at 352 S. Nova road,

Daytona beach, FL 32114.

oCtober 3reCipe taStiNG party & iNtroDuCtioN oF the

muSeum GuiLD CooKbooK2:00pm – 4:00pm

the cost is $20 per person and will include wine and entrée selections from the new guild cookbook. Kindly rSVp by September 28, 2009. reservations can be made by calling the museum at

386-255-0285. Checks should be made payable to the moaS Guild and mailed

to moaS at 352 S. Nova road, Daytona beach, FL 32114.

NoVember 7 & 82009 haLiFax artS FeStiVaL

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Summer Admission Special!Children Free All Summer Long!

& Adults & Seniors $10.00

New Summer Astronomy Show:Our Magnificent Galaxy

Shown Daily at 2pm in the Auditorium

Children 17 & under free. Limited to two child admissions per adult admission purchased. Admission special valid through August 31, 2009. Discount can not be combined with coupons or other special offers. Daily

astronomy show included with paid admission. The MOAS planetarium will be closed through the summer due to damage from flooding.

Summer Extras!

www.MOAS.org


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The buzz is that there’s a new “eye to the sky” that will soon be available at MOAS. This exciting new interactive as-tronomical resource will first be available to patrons and guests as a part of the MOAS public planetarium programs. What is this “eye to the sky” that is gen-erating all the buzz? A new ‘small ra-dio telescope’ (or SRT), provided by the Daytona Beach Section of the Institute of Electric and Electronic Engineers, will generate valuable research information and excite the interest of secondary and post-secondary students in mathematics, astronomy, and engineering at MOAS.

What is a small radio telescope and how does it differ from op-tical astronomy (using telescopes with lenses)?

While optical astronomy has been around since the time of Galileo four hundred years ago, radio astronomy has only been around since the 1930s. Optical astronomy centers on a very nar-row band of visible light in the electro-magnetic spectrum, which consists of a wide range of electromagnetic ra-diation, from low frequency to high fre-quency waves. We constantly encounter various electromagnetic waves in our everyday lives, from low-frequency ra-dio waves and microwaves to high-fre-quency x-rays and gamma rays. Optical frequencies occupy a very small portion of the electromagnetic spectrum, while

the section classified as radio waves oc-cupies a relatively large portion of the electromagnetic spectrum.

The SRT at MOAS has been designed to receive emission radiation from objects in outer space in the frequency range around 1420 Mega-hertz. That fre-quency was selected because radiation emissions in that range are most strongly emitted by hydrogen, the most abun-dant element in the universe. Centering on that range, the SRT can collect data from a wide variety of celestial sources, such as the Sun, the planets Jupiter and Saturn, gaseous nebulae, and far away galaxies.

The data collected by the SRT cannot be seen by the naked eye. Collected by a large parabolic dish, the data is sent as a signal to a digital receiver that, in turn, downloads a data file as numbers to a computer. To demonstrate the existence of these radio waves from distant celes-tial objects, they can be converted to corresponding sound frequencies. The Sun’s converted radio data sounds like ocean waves crashing upon the shore, while Saturn’s converted radio data sounds like whales calling to each other in the depths of the ocean.

The SRT physically resembles the old tele-vision satellite dishes that mushroomed in peoples’ yards during the ‘70s and

CELESTIAL NEWS FEATURE

radio Astronomy at MoASThe museum is home to a new radio telescope

TOP IMAGE:Saturn Visible Light Image

BOTTOM IMAGE:Saturn Radio

Image

By Hugh C. Ward, Jr., Ed.D., Educator at Seabreeze High School and Educational Director of the SRT Project

CONTINUED ON PAGE 36


Richard Currier’s “Ambiguous Realm of the Undetermined”“My drawings inspire, and are not to be defined. They determine nothing. They place us, as does music, in the ambiguous realm of the undeter-mined.” - Odilon Redon (1840-1916)As an adjunct to the exhibition Ringling Retro: Selections of Modern and Contemporary Works of Art from the John and Mable Ringling Museum of Art, the curators and reg-istrar of the Museum of Arts and Sciences have selected modern and contemporary art from the permanent collec-tion to hang in the entry area of the North Wing. This selection of first-rate paintings includes works of art by nationally and internationally known luminaries such as Alexander Archipenko, Carol Brown Goldberg, and Andy Warhol, as well as some of Florida’s best contemporary artists, including Nancee Clark, Hiram Williams, and Richard Currier. This article focuses on Currier’s Papaya (2002), one of the most striking and visually appealing paintings in this grouping. Currier’s intriguing still life canvas captures the attention of visitors passing by, demands that they stop and take it in—but, paradoxically, the still life remains mysterious even after repeated viewings. As we gaze at the yellow-orange slices of soft, juicy fruit in the foreground and no-tice the multitude of large round seeds falling along its angled surface, we are amazed by the freshness of its glowing surface and impressed with its raw sensuality. By painting the still life from a low viewpoint—as though one were seeing the fruit slices from just above the table top—Currier makes us feel that we are on the same level as the papaya’s large dripping seeds, throwing our sense of scale into limbo. When Currier addresses a still-life sub-ject such as fruits, vegetables, or flowers, he starts with only the literal object in mind, but he is never satisfied by a factual depiction of his subjects. “I keep painting until they become more than what they are.” By the time he had finished Papaya, he was thinking of the fruit slices as “ships.” He works the same kind of alchemy on all his still

Papaya (2002), Richard Currier

By Jay Williams, Gary R. Libby Curator of Art

ARTIST SPOTLIGHT


life subjects. No longer inanimate objects, Currier’s papayas, peppers, and water-melons are transformed into something magical. His watermelons float weightless-ly; his peppers bend like dancers; and his papaya slices sail into a deep landscape that would have pleased Salvador Dali. Like the French Symbolist painter Odilon Redon, Currier leads us into an “ambigu-ous realm” where natural objects assume poetic identities. As we feast on the visual banquet that Currier serves up, we may

wonder about the deeper meaning of this experience. Asked to explain the purpose behind Pa-paya and his other paintings, Currier says that the best art never makes a closed-end-ed statement. In fact, he feels that the word “statement” is vastly overused when discuss-ing the purpose of art. A more important objective in painting is to make queries that may not have clear answers: “Art, to me, is a big question. . .” He likes making images that create a give-and-take with his audi-

ence, an extension of his own inner dialogue with the art object. Generally speaking, he starts with “not a direct thought, but random disconnected concepts.” Through the act of painting, his once disconnected thoughts and feelings coalesce into a congruent whole. The process is intuitive, not logical, he explains, “The subject tells me how it wants to be done.” Currier’s approach to still life painting would make sense to any painter of similar subject matter from Holland’s golden age. Seventeenth-century Dutch masters such as Pieter Claesz (c. 1597 – 1660) or Willem Claesz Heda (1594 – c. 1680) took pleasure in portraying sensuous material objects that always carried a deeper symbolic mean-ing. Unlike Currier, who pursues a wide range of subject matter—from landscapes to figurative works and self-portraits—with equal enthusiasm, many Dutch masters of the still life were special-ists. Some depicted the most fragile and luscious blossoms; others could make a curling sliver of lemon skin seem as appealing as any precious metal. Whether painting seasonal flowers in full bloom, half-peeled citrus, sliced bread loaves, or

freshly caught fish, these painters celebrated the material pleasures of life in all their full-ness. At the same time, they reminded their viewers that death and life go hand in hand - that all earthly things pass away. While deny-ing any specific moralizing meaning, Currier admits that some of his images might convey a similar potential for change. “They are not necessarily perfect images . . . There may be a sense of demise, eventually.” While Currier has found figurative and land-scape subjects claiming more of his time and attention in recent years, he periodically re-turns to still life painting, because it provides him with an inner experience that is quite dif-ferent from working with more imaginary or allegorical subject matter. “The still lifes are a way for me to ground myself. Putting some-thing in front of me and arranging it, I’m not working out of my head [from imagination].” Clearly, this talented Florida native knows how to keep his viewpoint fresh and relevant to contemporary concerns. In the last five years he has produced some overtly political paint-ings (human figures wrapped in flags) and turbulent, atmospheric wetland landscapes that speak to environmental issues. Just as his Papaya makes us see fresh potential in the tra-ditional still life, we can look forward to new work by Richard Currier in other subject mat-ter that will be equally thought provoking. And we can be certain that he will surprise us from time to time with another monumental portrait of a member of the vegetable kingdom.

Selections of modern and contemporary art from the museum’s permanent collection will remain on view through the end of Ringling Retro, November 1, 2009.

“The still lifes are a way for me to ground myself. Putting something in front of me and arranging it, I’m not working out of my head [from imagination].”

Levitation Slice (2006), Richard Currier

Still Life (1634), Willem Claesz Heda

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RADIO TELESCOPE from page 30

‘80s. The SRT at MOAS consists of a ten feet in diameter para-bolic reflector (a directional antenna) located atop a twenty feet high pole outside of the museum’s planetarium. Size is important in astronomical research instruments. In the same way that a twenty inch optical telescope has better reso-lution than a two inch telescope, a radio telescope with a one hundred foot diameter will collect much more detailed data than the MOAS ten foot diameter SRT. Even a relatively small SRT is a useful instrument that can collect valuable data. The data collection and instrument manipulation software for the SRT was developed and tested by astronomers and support staff at the MIT Haystack Observatory in Massachusetts. They operate much larger radio telescopes that use similar software.

As the SRT project moves forward, we look to using the instru-ment in innovative ways: summer camp components for youth programs, student science fair projects, and undergraduate and graduate student experiments. It can be used to study both simple and complex scientific concepts: parabolas, amplifica-tion, azimuth, elevation, diffraction, rotation of our galaxy and other galaxies, measurement of hydrogen concentrations in our galaxy, measuring galactic Doppler shift, measurement of daily solar flux densities, and many more. Initially, access to the SRT for research projects will be limited to only the MOAS site. In the future, remote access for qualified users is a possibility.

Leaders of the Srt Project:Dr. Hugh Ward • Dr. Jane Owens • Ron Gedney • Charles Husbands • Dr. Jianhua Liu • Al Jusko

Roger Grubic • Tracy Wichman • Bill Wallace • James ‘Zach’ Zacharias

Dozens of additional community members contributed in large and small ways to the SRT project. All support has been instrumental in making the SRT project a reality.

Above: Members of the SRT installation team pictured with Charles Husbands and Wayne Atherholt (far right)

NO

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Enjoy and relax on brand new furniture, generously donated by American Signature!

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