Arts & Sciens Magazine July 2010 by Mastando Media

WINTER CALENDAR • GENEOLOGY RESEARCH MEETS ART RESARCH • FORT JEFFERSON & MORE

COVER: PHOTO FROM THE EXHIBIT Spruce Creek and the St. Johns River: Silverprint Photography of Lee Dunkel RIGHT: Tom Reis, The Thinker, oil on canvas, 12” x 9”

letter from the director

The St. Johns River is unique in that it meanders from south to north and connects several small lakes from Central Florida to Jacksonville, Florida where it exits into the Atlantic Ocean around Mayport Naval Station. It encompasses many estuaries, logging canals, extensive marsh areas, wetland systems, and bird sanctuaries. LEe dunkel, from the St. John's river Portfolio

Dear friends,

What an exciting time to be in Daytona Beach looking toward the horizon from the Museum of Arts and Sciences - and the closer we sail to it the better it looks! The new Helene B. Roberson Visible Storage Building is well under way after a lovely groundbreaking ceremony on May 19. We anticipate opening to the public early next year, just in time for a new annual event featuring a changing international art theme. The first of these gala events “An Art Affair : Flirt with France” is scheduled for February 26, 2011 so mark your calendars. The Napoleonic collection that will be housed in the new Roberson Building is central to the museum’s French collections and will be one of the many highlights of this exciting fundraising event that promises all sorts of things French. Equally exciting is the fact that we 4 ARTS & SCIENCES MAGAZINE

will re-open Gamble Place to the general public this summer. Funding from an annonymous donor allows us to provide limited access and increase maintenance on the 175-acre Gamble Place facility in Port Orange. Our partnership with The Nature Conservancy on this property has been very strong and by the time you read this we will have collaborated on at least one prescribed burn which is essential to maintaining the grounds in good condition. Our goal is to increase our children's educational programs at Gamble Place and provide environmental education in combination with the historical nature of the property. The stunning new exhibition opening on August 6 titled Spruce Creek and the St. Johns River: Silverprint Photography of Lee Dunkel, further solidifies this museum's commitment to the environment. The Klancke Environmental Complex, with the recently-renovated Window in the

Forest, is a very important feature of the Museum. Brand new cabinetry and educational displays promote the vision of the Garden Club of the Halifax Country who provided much of the initial funding along with the Root family for this unique classroom in the beautiful Tuscawilla Preserve. Dr. Kim and Mrs. Marsha L. Klancke continue to provide support for our educational programming and the trails which amaze museum visitors venturing back to explore the hydric hammock. Major sponsorship of the trails and educational programming has also come from the generosity of Diane van Wert. This special environmental experience is made possible by donations from individuals, state and local government grants – and to all we owe thanks for preserving this rare ecosystem. Through Labor Day, the Museum will be waiving admission fees to all active-duty military personnel and their families as part of the Blue Star Museum campaign. MOAS joins over 700 other American museums in this effort to show appreciation for the sacrifices of our men and women in uniform. We are also providing summer camp scholarships to more children than ever thanks to the generous sponsors who have helped with our summer camps and educational funding. These include: Florida Power and Light, The Guild of the Museum of Arts and Sciences, The Daytona Beach Kennel Club, Volusia County, The Jeremy Doliner Memorial Scholarship Fund, Thomas J. Yushock, M.D. with Radiology Associates Imaging Centers, Elfun Community Fund, UCF Educational Partnership, and Stuart L. Sixma First Vice President of Wealth Management with Morgan Stanley Smith Barney. Continued on page 5

The stunning new exhibition opening on August 6 titled Spruce Creek and the St. Johns River: Silverprint Photography of Lee Dunkel, further solidifies this museum's commitment to the environment.

Director Letter continued...

MAJOR SPONSORS

2010 BOARD OF TRUSTEES

GOLD AT&T Real Yellow Pages ® Brown & Brown, Inc. Mr. and Mrs. J. Hyatt Brown Travel Host Magazine WDSC Channel 15 Zgraph, Inc.

Barbara Coleman, President Deborah B. Allen, Past President Allison Morriss Zacharias, Vice President SILVER Barbara Young, Assistant Vice President Daytona Beach News-Journal Julie Freidus, Assistant Vice President Daytona International Speedway Melinda Dawson, Secretary Halifax Community Health Systems Christine Lydecker, Treasurer NASCAR ® Andrew Young, Assistant Treasurer Gene and Diane Rogers Cici Brown, Trustee Liaison Dr. Kim Klancke, Assistant Secretary BRONZE Thomas Hart, Legal Advisor Bahama House Rabbi Barry Altman Best Western Aku Tiki Inn Daniel Ambrose Cobb & Cole Dr. Thurman Gillespy, Jr. Coca-Cola Bottling Company of Daytona Beach Patricia Heller-Jackson Consolidated Tomoka Land Co. Janet Jacobs Embry-Riddle Aeronautical University Dr. Donald Keene Florida Hospital Ormond Memorial Harvey Morse Guild of the Museum of Arts and Sciences Ellen O’Shaughnessey Tom & Peggie Hart Carol Lively Platig Consuelo and Richard Hartmann Michael Slick Hilton Garden Inn Jill Warren Houligan’s - A Spirited Sports Grill Diane Welch Dr. and Mrs. Kim Klancke Terrence White Gary R. Libby Trust Linda Williams Mastando Media Thomas Zane Mercedes-Benz of Daytona Beach Stuart & Lisa Sixma HONORARY TRUSTEES David and Toni Slick Miriam Blickman SunTrust Bank Anderson Bouchelle (Deceased) Trustees of the Museum of Arts and Sciences J. Hyatt Brown University of Central Florida Alys Clancy (Deceased) Tippen Davidson (Deceased) Susan Feibleman Herbert Kerman Chapman Root (Deceased) Jan Thompson (Deceased)

And finally, I would like to remind you that our top challenge remains operational expenses. Each month we must spend over $10,000 just to keep the lights on and the humidity controls running. Yes, this is our monthly electric bill. If you are able to contribute to the Museum's Endowment Fund, this is a good time to consider doing so to help us cover some of these mounting expenses and declining investment returns. If you would like to donate to a specific program, we are certainly able to help customize a giving plan to suit your needs. Giving opportunities include: Friends of the Environment fund, Children's Education, Gamble Place, Gary R. Libby Curator of Art Endowment and others. Your generosity throughout the years has allowed your Museum to continue to provide excellent service, programs and exhibitions in Daytona Beach, St. Augustine and Port Orange. Going back to our anonymous donor who has helped re-open Gamble Place, I would like to thank you once again - you know who you are. In this spirit, I am reminded of a saying that an older, wiser colleague, the late Dick Bowers, used to tell me: "You can do an awful lot of good in the world if you don't care who gets the credit." Now let’s all go do something nice and don't worry about taking credit. With great sincerity and thanks,

Spruce Creek is a meandering tidal black water creek in Central Florida, emptying into Rose Bay, the Atlantic Intercoastal Waterway, and finally into the Ponce DeLeon Inlet to the Atlantic Ocean. It has areas of wetlands, savannah, and palm forest along it's route to the Inlet. Lee Dunkel, from the st. john's river portfolio 

REPRESENTATIVES Museum Guild JoAnne Eaton-Morriss, President Junior League Amy Workowski Cuban Foundation Tere Batista Root Foundation John Root ARTS & SCIENCES MAGAZINE 5

Executive Director

WAYNE DAVID ATHERHOLT Administration Staff PATTIE PARDEE, Administrative Assistant to the Executive Director Christina Lane, Marketing and Communications Director Eric Goire, Operations Director

BRADLEY F. DOUGLAS, P.A., Finance Director

LENORE WELTY, Administrator, Dow Museum of Historic Houses Lydia Kennedy, Bookkeeper

STACY MARTORELLA, Membership and Volunteer Coordinator Israel Taylor, Physical Plant Assistant Dan Maynard, Maintenance Marge Sigerson, Librarian

Patricia Cournoyer, Visitor Services Coordinator JENNIFER GILL, Visitor Services BETTY TURCO, Visitor Services MARK HART, Chief of Security TOM GRAY, Security

BILL JACKSON, Security

MARK LINSKENS, Security

LEONARD MOORE, Security JUSTIN PINELLO, Security

ROY SHAFFER, JR., Security

Dominick Ustica, Security Curatorial Staff Cynthia Duval, Chief Curator and Curator of Decorative Arts James “Jay” Williams, Gary R. Libby Curator of Art

J.”Zach” Zacharias, Senior Curator of Education and Curator of History Luis Zengotita, Children’s Museum Coordinator Seth Mayo, Planetarium Curator

Eric Mauk, Collections Manager and Registrar Bonnie Jones, Conservator – Paintings

Ed Van Hoose, Conservator – Furniture Executive Director Emeritus GARY R. LIBBY

Executive Director Wayne David Atherholt Editor Christina Lane Contributing Writers Cynthia Duval JOANNE EATON-MORRISS STACY MARTORELLA JAY WILLIAMS SETH MAYO ZACH ZACHARIAS Art Director NIKKI Mastando, MASTANDO MEDIA

ABOUT THE MUSEUM OF ARTS AND SCIENCES The Museum of Arts and Sciences is a not-for-profit educational institution, chartered by the State of Florida in 1962 and accredited 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-Columbian and African artifacts, Pleistocene fossils, Florida history and regional natural history. Permanent and changing exhibitions, lectures, classes, and museum trips highlight educational programs. 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 County of Volusia, The State of Florida, Division of Cultural Affairs the Guild of the Museum of Arts and Sciences, the Junior League of Daytona Beach, Target, Elfun Community Fund, and the UCF Educational Partnership. MUSEUM HOURS: 9 a.m. - 5 p.m. Tuesday through Saturday 11 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, APPROVAL 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 Disabilities 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 INQUIRIES All inquiries regarding advertising should be directed to the MOAS Marketing Department at 386.255.0285, ext. 320.

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from top: MOAS Board President Barbara Coleman, MOAS Executive Director Wayne D. Atherholt, Helene B. Roberson, and County Councilman Josh Wagner breaking ground for the Visible Storage Building; Rendering of the Helene B. Roberson Visible Storage Building; Jack Beveridge, Helene B. Roberson, and Barbara Coleman; Dale Harris, Robbie Roberson, Aubry Harris, Chris Harris; Gary R. Libby, County Councilman Josh Wagner, and Andrew Young; Naomi Weiss, Mike Mastando, amy workowski and melinda dawson

8 ARTS & SCIENCES MAGAZINE

The Museum of Arts & Sciences hosted the groundbreaking for the new Helene B. Roberson Visible Storage Building on Wednesday, May 19, 2010. This new 4,400 square foot addition to the Museum is scheduled to open to the public in late January of 2011. The Visible Storage Building will display important works from the Museumâ&#x20AC;&#x2122;s collection in an open storage format and contain art and artifacts not currently on exhibition. The Helene B. Roberson Visible Storage Building is unique in the state of Florida and is the only such facility for art and decorative art objects.

In addition to the great benefits of general membership, the following levels offer even more value: Family Plus $100 Family Plus membership accommodates up to four adults and all children living in the same household and includes reciprocal privileges to over 300 additional museums and science centers in the North American Reciprocal Museum (NARM) Program. . Friend of MOAS $125 Receive a 15% discount in the Museum Store as well as NARM reciprocal privileges. Corporate $250 Corporate members are issued two membership cards, which are designed to be held by the business and checked out to the employees. The corporate card entitles the bearer to all the benefits listed in the Family Plus level for up to two adults and three children per use.

For the last decade, Mary Ann has been a faithful volunteer at the Front Desk. In addition to handling Museum admissions and visitor questions, Mary Ann helps with administrative tasks for the Finance department. Growing up near Beaver Falls, PA, Mary Ann was the eldest of seven siblings. She graduated Penn State, where she met her husband who served in the U.S. Navy. Mary Ann served in the WAVES (Women Accepted for Volunteer Emergency Services) from 1944-1946. A dedicated American family, both of Mary Ann’s sons followed suit by serving in the Navy. Mary Ann’s family moved

to Daytona Beach in the early 1960’s. Mary Ann has been involved in many diverse areas of the community, working as bookkeeper for Holly Hill City Hall, Memorial Hospital-Patient Accounting, and Daytona Beach General Hospital. Her volunteer experience is just as varied and not limited to MOAS, including Family Renew Community and Florida Health Care where she is still actively involved. When not volunteering, Mary Ann enjoys quilting, having completed approximately 54 quilts since beginning this hobby. Mary Ann says a day doesn’t feel complete if she hasn’t sewn something.

Renaissance Society Join a growing number of prestigious community members and contribute to the growth and revitalization of the Museum. Galileo $200 Copernicus $500 Michelangelo $1,000 DaVinci $5,000 Medici Lifetime $10,000

For further information or to receive an invitation to join the Renaissance Society please contact our Membership Department at 255-0285 ext. 315

REIS'S PIECES

Looking at the sensuous and well-balanced paintings of Tom Reis made me pull down one of my dog-eared favorites from the overloaded bookshelf in my office, Herbert Read’s classic, The Meaning of Art. During the early 1930s, when abstraction and other modern art ideas were fresh and shocking, Read cautioned his readers against assuming that “all that is beautiful is art, or that all art is beautiful.”

Tom Reis’s Paintings, Visions of an Inner Reality

By: Jay Williams, Gary R. Libby Curator of Art

eauty, he wrote, was an expression of the ideal—a perfect combination of form, color, and other elements. To qualify as art, Read explained, a creative work had to communicate feeling. In the years since Read wrote his essays on modern art, we may have learned our lesson all too well. Like many experienced museum goers, I have little trouble recognizing art when it has a gritty or imperfect side that elicits an immediate and not necessarily pleasant feeling, but I automatically

become suspicious when my experience of a painting seems too pleasurable. Reis’s paintings are so harmonious, so detached from the ugly, six-o’clock-news side of life, that they are somehow more shocking than the latest crime report. In the twenty-first century, is there room for beauty in art? Tom Reis’s art makes a powerful statement in the affirmative. To achieve the extraordinary sense of concord in his work, Reis utilizes a carefully selected range of colors and tones, what he calls a “harmonized palette.” The color choices in his paintings may seem natural to the casual viewer, although they are, in fact, carefully manipulated. Inspired by Impressionist painters such as Cecilia Beaux, he sometimes adds color to the edges of forms to create “brilliance and vitality.” To understand the finer points of such effects, viewers will have to study the surfaces of Reis’s paintings. Even a very good photo reproduction cannot reveal such subtle details. Reis says that he crafts the design of his paintings “to trick the brain into seeing space and direct the eye” through

the composition. He studied the techniques of old masters such as Titian and Velazquez “with great humility” to learn how to selectively soften a painting’s shapes and lines. For example, in Autumn Nap, Reis has given the viewer just enough significant detail in the reclining figure’s hair, facial features, and clothing to convey the illusion of believability. As the figure and the sofa recede in space, many details in the clothing and sofa have been edited and slightly blurred. This sort of visual editing occurs in all of Reis’s work. Sometimes Reis organizes a composition by creating what amounts to a montage, a finished image that appears true-to-life, but was actually assembled from a number of separate visual elements. In The Violinist—an appealing picture centering on the figure of a young girl practicing the violin in an old fashioned parlor—Reis created “a palpable event that almost could be set in the 1700s.” To let viewers know that the girl was meant to be interpreted as a modern figure, Reis gave her a contemporary sun dress and a jaunty billed cap. Once he had defined this charming figure, he created a sort of historical stage set that would link her with all the other little girls in history who have labored at learning this difficult instrument. Knowing his art history, Reis reached back to Dutch

opposite page, bottom left: Tom Reis, The Violinist, oil on canvas, 30” x 40” below: Tom Reis, The Thinker, oil on canvas, 12” x 9”

By: Jay Williams, Gary R. Libby Curator of Art

"Reisâ&#x20AC;&#x2122;s paintings are so harmonious, so detached from the ugly, six-oâ&#x20AC;&#x2122;clock-news side of life, that they are somehow more shocking than the latest crime report."

tradition of the Golden Age, when artists frequently paired children with pets in domestic scenes of everyday life. In that era, as in Reis’s canvas, the faithful dog and the obedient child in a well-ordered home functioned as symbols of virtue. While the girl’s parent may be out of sight, she is not out of mind. We see her mother’s prized tea set glowing with light on a table under the window, and as a more overt symbol of parental oversight, Reis included the portrait of an ancestral mother-figure over the mantle. Clearly, Reis had a good time composing this theatrical assemblage, unifying a scene that never existed in the material world with a range of

carefully-chosen warm and cool tones. Reis’s subjects are so beguiling that viewers may be surprised to learn that he completed his graduate study at a school that has championed contemporary art. “San Francisco Art Institute would not teach the art I do,” he recently explained. “For many art professors, anything traditional is embarrassing. I found that I really enjoyed more traditional art, because it seemed that the avant-garde ran out of ideas.” Looking beyond Reis’s obvious subject matter, viewers can detect his training in abstraction and other modernist styles. In The Thinker, he creates what amounts to an abstract arrangement

opposite page: Tom Reis, TANGERINES, oil on canvas, 9” x 12” above: Tom Reis, AUTUMN NAP, oil on canvas, 20” x 22”

abstraction enabled Reis to organize one of his most successful compositions. Approaching Reis’s work as though it were abstract yields other fruit as well— the revelation of the spiritual in his work. His departure from photographic or scientific realism, and especially his editing and manipulating of the elements of the composition are motivated by his desire to create a feeling of internal balance. This experience of balance in all his work is so overwhelming that it becomes his central theme. To be distracted by the sensuous “prettiness” that Reis sometimes creates may distract viewers from the Zen-like sophistication of his underlying vision. His private dreams are those of a cloistered artist of another age, one who sees an inner beauty in all and superimposes it on the outer world through the perfection of his art. Reis's Pieces: The Paintings of Tom Reis will be on display through August 1, 2010. 

ABOVE: Tom Reis, WINTER CHORES, oil on canvas, 24” x 34” ABOVE RIGHT: Tom Reis, RED HAT, oil on canvas, 24” x 34” RIGHT: Tom Reis, TWILIGHT, oil on canvas, 16” x 12”

of spiraling shapes, beginning with the figure’s forehead and cheeks, sliding along the cascading lines of the shirt stretched over the shoulder, and arching up the forearm and hand to the thinker’s nose and eyes. In an almost humorous manner, Reis has softened the lines of the eyes, nose, and fingers to make them less arresting, while directing attention to the more crisply painted ear. (In doing so, he reminds us of what an odd, organic sculpture the human ear is!) Despite the representational nature of The Thinker, the painting can be appreciated completely only if viewers take into account his active, often unblended brush work and his careful fitting together of interlocking shapes. Understanding the visual language of

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Museum of Arts & Sciences Planetarium Program Sponsored by:

summer exhibits Reis’s Pieces: The Paintings of Tom Reis May 21, 2010 – August 1, 2010 Gary R. Libby Entry Court

The Weird and Wonderful: Unique Decorative Arts from the Lightner Museum, St. Augustine

September 3, 2010 – November 28, 2010 Edward E. and Jane B. Ford Gallery

Stories of Community: Self-Taught Art From the Hill Collection

May 29, 2010 – August 23, 2010 Edward E. and Jane B. Ford Gallery

Spruce Creek and the St. Johns River: Silverprint Photography of Lee Dunkel

August 6, 2010 – November 14, 2010 Root Family Gallery

Woof! Art of the Dog

September 3, 2010 - January 9, 2011 Gary R. Libby Entry Court

18 ARTS & SCIENCES MAGAZINE

july

July 14 Meet the Curators: Coffee, Chocolates, and Collections Bastille Day 2:00pm-3:30pm Join Chief Curator Cynthia Duval for a look at the French connections in the Museum’s collections. Free for members or $5.00 for nonmembers July 28 Meet Me in the Gallery: The Paintings of the Cuban Museum 1:30pm-2:15pm Join Jay Williams, the MOAS Gary R. Libby Curator of Art, as you discover the magnificant paintings of Cuba. Free for members or $5.00 for nonmembers

august

August 2 MOAS 7-14 Year Old All Day Class: Rockets 9:00am-4:00pm Students will reach new heights building several types of rockets! This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for nonmembers August 3 MOAS 7-14 Year Old All Day Class: Hovercraft 9:00am-4:00pm Students construct a hovercraft large enough to ride. This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for nonmembers. August 4 MOAS 7-14 Year Old All Day Class: Electronics 9:00am-4:00pm Explore the intriguing world of circuits by dissecting and assembling various electronics! This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for nonmembers

August 4 Collection Care Series: Paintings and Prints 2:00pm-3:00pm Come and learn the techniques of the great print artists as well as how to care and protect the prints in your home. Discover the difference between rag paper of the pre 19th century period and the modern papers of today. To make a reservation call 255-0285. $5.00 for members or $8.00 nonmembers August 5 MOAS 7-14 Year Old All Day Class: Lego® Architecture 9:00am-4:00pm Join us as we use Legos® to study the design of buildings around the world. This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for nonmembers August 6 MOAS 7-14 Year Old All Day Class: Video Game Making 9:00am-4:00pm Create and play your own unique video game! This class must be prepaid to reserve enrollment.. To make a reservation call 255-0285. $30.00 for members or $35.00 for nonmembers August 6 MOAS Parents’ Night Out 6:30pm-11:30pm Drop your children off for their “Night at the Museum” experience. They will create hands-on experiments, visit the children’s museum, have special tours in the galleries, laser light shows and even watch Night at the Museum in our auditorium. The children will have a blast and it will give you the opportunity to go out and do the same. To make a reservation call 2550285. Any tickets purchased before July 30 will be $15.00 for members or $18.00 for non-members.

All tickets purchased after July 30 will be $25.00 for members or $28.00 for non-members. August 9 MOAS 7-14 Year Old All Day Class: Photography 9:00am-4:00pm Join us as we learn to take great pictures. Each child’s best work will be proudly displayed as an exhibition in the children’s museum for one month. This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for non-members August 10 MOAS 7-14 Year Old All Day Class: Comics 9:00am-4:00pm Students will use a high tech program to create their own comics. Each child’s best work will be displayed as an exhibition in the children’s museum for one month. This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for non-members August 11 MOAS 7-14 Year Old All Day Class: Cooking Chemistry 9:00am-4:00pm Learn about the relationship between food and chemical reactions. Science has never tasted so good! This class must be prepaid to reserve enrollment. To make a reservation call 255-0285. $30.00 for members or $35.00 for non-members August 11 Collection Care Series: Decorative Arts 2:00pm-3:00pm Join the museum's curatorial staff and discover the importance of decorative arts. Learn how to care for your own personal collection. To make a reservation call 255-0285. $5.00 for members or $8.00 for nonmembers August 12 Meet the Curators: Coffee, Chocolates, and Collections Reis’s Pieces: The Paintings of Tom Ries

2:00pm-3:30pm Join Jay Williams, the Gary R. Libby Curator of Art, as he discusses Reis’ career and art. Free for members or $5.00 for non-members August 12 MOAS 7-14 Year Old All Day Class: Lego® Stopmotion 9:00am-4:00pm Use photography to make your Lego® creations come to life. All videos made will be accessible online. This class must be prepaid to reserve enrollment. To make a reservation call 2550285. $30.00 for members or $35.00 for non-members August 13 MOAS 7-14 Year Old All Day Class: Computer Knowledge 9:00am-4:00pm Learn about the parts of a computer and how to they work. This class must be prepaid to reserve enrollment. To make a reservation call 2550285. $30.00 for members or $35.00 for non-members August 18 Collections Care Series: Photographs and Slides 2:00pm-3:00pm Join Jay Williams, the Gary R. Libby Curator of Art, for a look at the Museum's photographic collection and learn how to care for your own photographs and slides. To make a reservation call 2550285. $5.00 for members or $8.00 for non-members August 25 Collections Care Series: Art Storage and Maintenance 2:00pm-3:00pm This session will center on proper storage, keeping records of your collection and when you need to seek an expert appraisal. To make a reservation call 2550285. $5.00 for members or $8.00 for

non-members August 26 Meet Me in the Gallery: Uniquely Cuban-The Natural History of Cuba 1:30pm-2:15pm Join Senior Curator of Education , J. “Zach” Zacharias, for a look at the natural history of Cuba through the art of Cuba. Free for members or $5.00 for nonmembers August 28 Saturday Family Art Class: Everyone’s an Artist! 1:00pm-2:30pm Join us for this unique class which will discover the artist in each of us. We will create interesting artwork using a variety of materials including, paint, recyclables and more! Tour Stories of Community: Self-Taught Art From the Hill Collection. To make a reservation call 255-0285. $5.00 members or $8.00 nonmembers

Join Us For Saturday Family Art Class August 28!

september September 7th MOAS 4-6 Year Old Preschool: Handson Gravity 1:30pm- 3:00pm Discover how gravity makes the world go around and why we need it. To make a reservation call 255-0285. $10.00 for members or $15.00 for nonmembers September 8

MOAS 7-13 Year Old After School: Science Fiction Series: How it Relates to History 3:30pm-5:00pm Most of sci-fi is a collection of historical groups of people. Join us as we explore Star Trek and other extraordinary worlds! To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 9 MOAS 7-13 Year Old Homeschool Class: Cell Biology 1:30pm – 3:30pm Learn about plant and animal cells and how they work. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 9 Meet the Curators: Coffee, Chocolates, and Collections with Chief Curator, Cynthia Duval 2:00pm-3:30pm Join Cynthia as she discusses the importance of the decorative arts in our lives. Free for members or $5.00 for nonmembers September 11 Saturday Family Art Class: Shades of Gray 1:00pm-2:30pm Charcoal drawing class. Have you ever wondered how an artist can capture the mist rising above a river or a wispy cloud in the sky? We will share with you easy techniques to create these mysterious effects. Tour Spruce Creek and the St. Johns River: Silverprint Photography of Lee Dunkel. To make a reservation call 255-0285. $5.00 members or $8.00 nonmembers September 14 MOAS 4-6 Year Old Preschool: Handson Lift 1:30pm- 3:00pm Learn how objects move through air and space. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 15 (MOAS Guild Event) Wine Tasting at Peter’s Wine Shop

4:00pm – 7:00pm $20 for Guild members or $30 for non-members RSVP to (386) 255-0285 September 16 MOAS 7-13 Year Old Homeschool Class: Atmospheric Science 1:30pm – 3:30pm Learn how Earth’s atmosphere works and about its relationship to the weather. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 21 MOAS 4-6 Year Old Preschool: Handson Speed 1:30pm- 3:00pm Welcome to the world of speed as we learn how to make things move faster. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 21 On Board the Hiawatha Lecture Series: Remembering West Volusia History with Senior Curator of Education, J. “Zach” Zacharias 2:00pm-3:00pm Join Zach and discover the amazing history of Lake Helen, Deland, Enterprise and Debary. $5.00 for members or $8.00 for nonmembers September 22 American Girl Doll Class: Samantha 1904 3:30pm-5:00pm Samantha, a bright Victorian beauty, is an orphan raised by her wealthy grandmother. Activities: learn how to set a table, use proper etiquette, make place cards, make finger food, arrange flowers and paint still-lifes. Followed by a doll and me dress-up tea party. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 22 MOAS 7-13 Year Old After School: Science Fiction Series - Not Fiction Any More 3:30pm – 5:00pm Many of the technologies we use

today were once thought to be merely science fiction. Join us as we study the stories and technologies that predicted the future. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 23 MOAS 7-13 Year Old Homeschool Class: Plate Tectonics 1:30 pm– 3:30pm Learn how the surface of the Earth moves. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 23 Meet Me in the Gallery: Africa: Cultural Objects from the Collection 1:30pm-2:15pm Join Jay Williams, Gary R. Libby Curator of Art, and Eric Mauk, Registar and Exhibitions Designer, for a unique look at the installation process and objects of the Museum's African collection. Free for members or $5.00 for nonmembers September 25 Saturday Family Art Class: The Weird and Wonderful 1:00pm-2:30pm Create a Shadow Box - a fun way to let your imagination go wild! We will design unique compositions of glitzy, quirky and shiny objects. Tour The Weird and Wonderful: Unique Decorative Arts From the Lightner Museum, St. Augustine. To make a reservation call 255-0285. $5.00 members or $8.00 for nonmembers September 28 MOAS 4-6 Year Old Preschool: How Things Move 1:30pm- 3:00pm Learn about the three laws of motion and how we use them everyday. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members September 30 MOAS 7-13 Year Old Homeschool Class: Geography 1:30pm– 3:30pm

Learn the location of different countries around the world. To make a reservation call 255-0285. $10.00 for members or $15.00 for non-members

The Board of Trustees of the Museum of Arts and Sciences cordially invites you to attend the Annual Meeting, Dinner & Awards Presentation And back by popular demand

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Mail to: MOAS, 352 S. Nova Road, Daytona Beach, FL 32114

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he MOAS Guild was very pleased to present the Museum with $55,000 from this year’s fundraisers at “High Tea on the Harbor” on May 18, 2010. The room was an array of beautiful hats and Trisha Hadley, local milliner, presented three members with hat awards. The members and guests enjoyed the presentation of "The Art of Tea" by Cynthia Duval, MOAS Chief Curator. Helen Wessel, member and longtime contributor to the Children's Art at the Halifax Art Festival, was presented with an award of appreciation. Thirty

16 ARTS & SCIENCES MAGAZINE

By: JoAnne Eaton-Morriss, Guild President new members were also welcomed at the New Member’s Tea on April 22, 2010 by MOAS Executive Director, Wayne Atherholt and Guild Officers. The Guild members are busy planning fundraisers for 2010-2011. Doreen Armstrong and committees are working on the Halifax Art Festival. The Festival of Lights has been renamed the Festival of Trees and chairs, Cathy Bauerle and Ruth Snyder, are working with committees on the opening night Gala set for November 18th. First Vice-President, Kay Brawley, and her chairs have exciting fundraisers planned for the fall. There will be a kick-off party at Michelle Jordan's home

on September 25th and a Halloween Costume Party aboard the StarLite Princess Riverboat on October 30th. Mary Teasley has planned a Wine Tasting at Peter's Wine Shop on September 15th and "A Night of Dance" with demonstrations, lessons and social dancing with Jerry Lawrence on October 26th. Second Vice-President, Eileen McDermott, has planned programs around the theme, "Art is About Life". This year’s first Guild meeting is planned for September 21st and at the October 19th Guild meeting there will be a luncheon fashion show called "All Dressed Up for the Holidays" and Christmas decorating by member Marilyn Maloney.

opposite page top: AT THE LIGHTNER MUSEUM DURING THE APRIL 27TH ST. AUGUSTINE EXCURSION opposite page bottom, from left: Guild President, JoAnne Eaton-Morriss presenting MOAS Board President, Barbara Coleman and Executive Director, Wayne D. Atherholt with $55,000 at High Tea on the Harbor; Tish Hadley with Eileen McDermott, Chairman of the Day, at High Tea on the Harbor; Ruth Bon Fleur, winner of “Zaniest Hat"; Guild President, JoAnne Eaton-Morriss and Anna Jane Gutwein who won the award for “Most Perfect Tea Hat”; All Presidents: Jackie Harrison, first president of the guild from 1962-1964, Ruth Bon Fleur, JoAnne Eaton-Morriss, and Janet Jacobs at Sundaes on Sunday above: New Guild members welcomed at the New Member’s Tea

OPPOSITE: Giriama People, Nigeria, Vigango-Reliquary Posts. Wood, pigment, encrustations, fabric. Gifts of Joseph Sample, Thomas McClary, William King, Milan Williams, Edgar F. Gross, and Powers Boothe. ABOVE: Mende People, Sierra Leone, Bundu Helmet Mask. Wood fiber. Gift of John Guillermin. 24 ARTS & SCIENCES MAGAZINE

The Bouchelle Changing Gallery currently displays seventy important African tribal objects, part of a significantly larger number gathered and donated to the museum during the 1980`s. In their historic homeland, in isolated and highly organized communities these items originally played vital roles in daily events; for example in ceremonies for celebration, initiation from childhood into adulthood, preparation for war or harvesting. The establishment of this seminal collection came at a time of intense growth at the museum and is considered one of the most exciting and exotic groupings within the collection as a whole. A descriptive catalogue published by the museum in 1986, focuses on the erudite scholarship of Dr. Robin Poyner, Center of African Studies, University of Florida. Africa was once the site of one of the world`s greatest ancient civilizations: Egypt, its name derived from the word Kemet, meaning ‘black soil’-the black soil of the flooded valley of the Nile. Coinciding with the rise of Egyptian power, the Sahara desert evolved from the lush grasslands of northern Africa, to be followed by the growth of many complex societies. All have left remarkable traces of technical achievement and creativity, including the 6th century iron-work of the Nok culture, which also produced the earliest-known sub-Saharan terra cotta sculptures. Arab conquests of North Africa in the 7th and 8th centuries introduced the voice of Islam, and from Islamic writings we learn of the powerful early- West- African empires of Ghana and Mali which accumulated great wealth through control of the lucrative trans-Sahara gold trade. In the 15th century Portuguese explorers discovered the southeastern kingdom of Benin, where the techniques of bronze casting had reached great heights, with artists working directly for the court creating cast bronze portrait heads of astonishing beauty. By and throughout the 19th century, missionaries and explorers of Africa’s vast and still-unmapped interior resulted in a burgeoning interest in the daily lives and customs of its many differing and isolated tribal communities and the expressive creativity of the tribal sculptures discovered there. Over time, these found their way to Europe’s collectors and galleries. Directly as a result of the French colonization of North Africa important ethnographic exhibits of African sculptures were installed at the Parisian Expositions Universelles, where elaborately decorated individual buildings showcased arts from around the world. The Exposition building housing African

ABOVE: Wee People, Ivory Coast, Face Mask. Wood, red paint, fur, cowries, fiber. Gift of Kerry and Vicci Livgren. OPPOSITE: Temme People, Sierra Leone, Standing Figure. Wood. Gift of Kerry and Vicci Livgren.

sculpture was named the Trocadero after a fort in the city of Cadiz captured by the French in 1823. Parisian Expos were staged in the years 1889, 1900 and 1907, by which time Picasso had both examined and been overwhelmed by African displays filled with stylized power, seeing before him a dazzling new way of expressing the human form: through geometric abstraction. In an early French film he recalls the frequency and length of his visits… “I stayed, oh I stayed.” He had discovered that a woman could look like a woman yet not be proportionally exact, and a man or animal be exaggerated and simplified in both body and expression yet be totally recognizable. The African sculptures in the Bouchelle Changing Gallery emphasize the human figure and their mythical functions. The creator of each piece was known as the artist. Unlike artists of the western world expressing ever-

changing viewpoints, African art has an almost static quality; to change a traditional sculptural format implies mistake. Power and magic made the sculptures come alive. Perhaps the most “readable” artifacts in Bouchelle are the masks, for masks are familiar to us. In both work and play they can hide, protect and superficially change us. Whether on the football field or on our way to the moon masks both protect and transform us; we become images of power, even of glory. Halloween and carnival masks that either cover the whole face or only the eyes, cause us mirth as we revel in our new personas. Even business clothes can be considered as masks, hiding or revealing only as much as we wish of our own true selves. One of the most important masks in our exhibit, is a twentieth century Nowo initiation mask. Most African sculptures seen in museums date from

"Unlike artists of the western world expressing ever- changing viewpoints, African art has an almost static quality; to change a traditional sculptural format implies mistake."

around the same timeframe; it is rare to discover earlier pieces on display. They need careful protection if they are to remain available for study for future generations, as the wood, fur, raffia, hair, shells, teeth, finger nails and feathers that most are made of do not stand the test of time if the objects have been genuinely used. Historically, they were actively used until they fell apart; being carried, worn, rubbed and displayed in ritual over long periods. As blood, clay and chalk were either used to represent the forces of life or assigned magical powers, these were placed around the carved sculptures or wound around and threaded onto the masks. The Nowo mask was used in female initiation ceremonies by the Bondo, the only female secret society in West Africa whose members were allowed to dress up in masquerade costumes. The Bondo belong to the Mende People of Sierra Leone; the masks were carved with great delicacy and precision by the males of the tribe. Around the lower neck of this mask are tiny holes through which black raffia was traditionally threaded, that fell to the shoulders. Black raffia was similarly used to complete the costume with a scraggly top and long skirt. In contrast to the refinement of the Bondo mask, the Wee Face mask from the Ivory Coast is almost grotesque with its red- painted, rough-looking surface, its

cowrie shell headband, great claw-like face covering and raggedy cloth, string and fur. This mask would either have been worn in the masquerade dances that followed successful rice harvesting, or for the traditional great and dramatic tribal funeral celebrations. Each of these masks had a finite role to play in renewal and progress: the Bondo mask used in the ceremony that brought forth a marriageable woman from girlhood; the Wee mask representing both future life through harvesting [food ], or playing a role in death ceremonies. Where such isolated communities have lived in nature but been unable to control or harness it, such life-engaging rituals have special spiritual meaning. It is through ritual that the known and unknown worlds were and still are connected. The Face Mask from Igbo, Nigeria is typical of the grotesque beast masks of many eastern Nigerian Groups. The jaws of such masks are frequently hinged, allowing the masquerader to open and close the mouth in a frighteningly realistic manner. This type of mask would have been worn with a costume made of filthy rags and twigs, the dancers typically cavorting in wild, frightening steps as the masqueraders strove to represent the spirits of those dead of violence or disease.

And also associated with death in a reflective way are the tall, flat, thin grave reliquary posts placed at the rear of the gallery. These markers all originate from Kenya, and were erected to honor the departed. The reliquary posts are intricately carved and sometimes have been found abandoned in the bush ; remains of a village that has apparently moved more than once. Among the precisely carved standing sculptures is a black-painted and skirted standing figure that holds what appears to be a huge egg in his left hand. Wearing a serious expression, he was created in Sierra Leone as a shrine figure. There were many royal or cult shrines, together with shrines created to catch witches, and personal shrines, all honored by offerings in ritualistic performance. These shrines illustrate the wealth and power of their devotees. This is a magical installation, and the curatorial plan is to increase the exhibitions’ size and provide richly educative texts to explain and emphasize the meaning and heritage of these wondrous objects. In the meantime, we can study and muse. 

OCTOBER 8, 2010 - 6-8pm

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$15 per person includes two free drinks and appetizers! RSVP by calling 386-255-0285 or by visiting www.facebook.com/moasdaytona MUSEUM OF ARTS & SCIENCES • 352 S. NOVA ROAD • DAYTONA BEACH, FL • (386) 255-0285 • MOAS.ORG

Miguel Arias, Cuban Landscape, Ca. 1875, Oil on Canvas, 23” x 41”

By: James "Zach" Zacharias, Senior Curator of Education

It is hard to believe that over 100 million years ago the island of Cuba resided in the Pacific Ocean. Scientists speculate as to how the island initially formed-perhaps by volcanic activity or from a coral reef when ocean levels dropped, and no one knows exactly when this took place....

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science news By: Seth Mayo, Planetarium Curator

hen President Barack Obama addressed the nation at the Kennedy Space Center on April 15th, 2010, I was there as he unveiled a new plan for the future of America's role in space. Being a graduate of EmbryRiddle Aeronautical University as well as the Planetarium Curator at the Museum of Arts and Sciences, I had been chosen to represent these two major facets of my life. As a space and aeronautics enthusiast, I was excited to be part of such an historic event; an experience I shall never forget. My adventures began with a meeting in the magnificent Space Center Visitor’s Complex. Just entering the door was a thrill! Around me, well-known space explorers including Steve Squyres, principal investigator for the Mars Exploration Rovers mingled with other like minded people. I saw Neil deGrasse Tyson, Hayden Planetarium Director and PBS Nova program host, and Bill Nye the Science Guy, host of the very popular kids’ science show that I myself had watched as a young tyke. Many of these science giants were those who had inspired me to take the educational path I have chosen. Being able to converse with them and express my ideas was definitely a thrill, to say the least. There was a registration process thereafter where we were assigned to break-out discussion sessions planned to follow the President’s presentation. The speech would take place at the Operations and Checkout Building – the building used in the Apollo era to process the very spacecraft that has reached the Moon. A large semi-circle of seats had been arranged for us all in front of a stage where a podium set with the Presidential seal

ready for President Obama’s arrival. With excitement, I found I had been selected to sit in the front row, right up front and center. Near me, the second man on the Moon, Buzz Aldrin took pictures with the crowd. With an announcement of this caliber, an immense number of the media were gathered behind the audience. As a lead-up to the President’s arrival on stage, there was a hearty welcome from Senator Bill Nelson and NASA Administrator Charles Bolden, both former shuttle astronauts. Entering the stage, the President was taller than I had imagined, and was dressed in a faultless black suit. As he took his place at the podium there was a roar of applause. He began his speech – his voice rich and resonant, by outlining a dramatic new vision for both NASA and America’s commercial space industry. The Constellation program was to be terminated in spite of objections and controversy. It was well over budget and on a misguided timeline, a decision reached by the Augustine Commission of experts assembled to assess the future of Constellation. The new Orion capsule would continue to be used as needed for emergency Space Station rescues, but for the meantime we would look to the Russian Soyuz for regular visits. He predicted the commercial sector’s take-over of all future Space Station and low Earth orbit missions, both manned and unmanned. NASA was to develop a new heavylift rocket by 2015, designed to take astronauts into deep space. In the future, America’s space exploration would focus on visiting asteroids, other moons – and eventually, the planet Mars. He promised increased funding for NASA over the next five years and a realistic plan for a future manned mission to Mars, a milestone he wanted to witness in his lifetime. His speech concluded to a ripple of excited conversation around the room and he came from the stage to chat to members of the audience. He smiled and shook my hand as he passed by. I wanted to tell him that I, too had been born in Hawaii, but the moment was over before I could get my words together. When the President left us, there were discussions and lectures that were being held to further expand on our future for space exploration. We lunched on some snacks; heard talk of the commercial industry, Constellation, and visions for reaching new destinations in the Solar System in the coming years. I had dreamed of a lifetime of science, and here I was, up to my neck in it. We learned of a distressing spread of indifference to the space program from NASA Administrator Bolden who emphasized the importance of space education. It needed a jump-start, and quickly; it was crucial to America’s place in history. I drove back to Daytona with a million exciting visions whirling in my head. I had been a part of a once-in-a-lifetime day. Feeling a sense of urgency, I knew that inspiring the youth and the public about astronomy and space exploration is of utmost importance when it comes to advancing our goals. As MOAS creates new plans for our down-the-road planetarium expansion; I shall be planning new and exciting programs on space in conjunction with Embry-Riddle and NASA colleagues. 

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