GARY MONROE Photographs and Revelations
Museum of Art – DeLand Downtown April 5 – June 2, 2019
Museum of Art - DeLand, Florida
Board of Trustees (2018-2019)
Museum of Art – DeLand Staff
Lee Downer, MGen., USAF (Ret.), President Ian Williams, Vice President Judith Thompson, Immediate Past President Mary Jeanne Ludwig, Treasurer John Wilton, Secretary Samuel Blatt Jean Burns, Museum Guild President Kelly Canova Sal Cristofano Linda Colvard Dorian Barbara Girtman Everett (Ray) Johnson Joan Lee Craig Lindsey Robin May Deborah McShane, Museum Guild Representative Greg Milliken Todd Phillips Dagny Robertson
George S. Bolge, Chief Executive Officer Pam Coffman, Curator of Education Dorothy Dansberger, Director of Finance & Operations Blaine Fairchild, Security & Maintenance David Fithian, Curator of Art & Exhibitions Tariq Gilbran, Registrar Pattie Pardee, Director of Development Teri Peaden, Manager of Downtown Galleries & Museum Store Darlene Shelton, Guest Services Receptionist Suzi Tanner, Manager of Guest Services, Membership & Events Donna Tinoco, APR, Director of Marketing
Gary Monroe: Photographs and Revelations April 5 – June 2, 2019, Museum of Art – DeLand Design & Production Donna Tinoco, APR Printing E.O. Painter Printing Co., DeLeon Springs, Florida Museum of Art – DeLand, 600 North Woodland Boulevard, DeLand, Florida, 32720 Museum of Art – DeLand Downtown, 100 North Woodland Boulevard, DeLand, Florida 32720 www.MoArtDeLand.org @MoArtDeLand On the cover: (Untitled) Wakulla Springs, Florida, 1978, Pigment inkjet print, 29 ½ x 44 inches Copyright ©2019 Museum of Art – DeLand. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means: electronic, mechanical, photocopying, recording or any other method without the written consent by the Museum of Art – DeLand. Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.
GARY MONROE Photographs and Revelations
Museum of Art – DeLand Downtown April 5 – June 2, 2019
ACKNOWLEDGMENTS This exhibition seeks to analyze the existence of the photographer/collector as a vital influence in contemporary art. As photography has become increasingly allied with the issues and concerns of the visual arts as a whole, it has turned away from its traditional role as a functional tool, one related to the literal, objective depiction of reality. Gary Monroe, whose photographs and personal collection are showcased in this show, seeks to escape tradition as well as other artists trained in other areas who have seen in photography a wealth of untapped possibilities, by expanding its very definition. This shift within photography from a putatively documentary mode to more overtly personal, experimental, and ideational forms, has inspired Monroe to recognize the creative spirit manifested in objects outside his own creative image making.
Untitled (Varanasi, India), 2000, Gelatin silver print, 18 x 12 inches
In traditionally exhibiting his photographic images as art, alongside pieces he has identified as art, the Museum has tried to reveal his work’s acknowledged interaction with numerous art movements chiefly with the work of “outside artists” – work that has escaped, or been written out of the prevailing accounts of post war art. This applies both to photography, where modernist notions of “the photographic” has put blinders on the view of the medium’s wide range of uses and functions, and to art as a whole, where even today the cultural domain is structured as if photography were merely an overly persistent, annoying next-door neighbor. By bringing into focus work from the artist’s two “worlds” of photography and collecting, this exhibition hopes to show how their concerns are more alike than one would believe.
By juxtaposing Gary Monroe’s photography exhibition with a selection of pieces chosen by Mr. Monroe from his personal collection which he responded to esthetically in some significant way, it provides one opportunity to show the relationship between his approach to image making and his connoisseurship. Visual culture today is so suffused by photographic images that no artist can totally banish their trace from his or her work. Gary Monroe’s selective sensitivity enables him to reach out beyond his work to identify like-minded innovators. Therefore his collection exists to reinforce his intuitive inspiration. It is a great pleasure to organize this exhibition which showcases how a prominent artist can use his sensitivity not only to create his own art, but also to recognize the achievements of others. For sage counsel, constant patience, access to both his work and to his personal collection of outsider art, and conversations that were especially valuable, my appreciation to the photographer, educator and collector featured in the show, Gary Monroe. Robert Apgar, Dennis Aylward, Barbara Baugh, Bruce and Carolyn Bigman, Samuel and Donna Blatt, Bill and Terri Booth, Tom and Jean Burns, Kelly Canova, Thomas and Loretta Chudy, Earl and Patti Colvard, Jon and Vernette Conrad, Sal Cristofano and Laura Gosper, Wayne and Jewel Dickson, Robert and Linda Dorian, Lee and Susan Downer, Rich and Lilis George, Barbara Girtman, Susan Griffis, Lorna Jean Hagstrom, John and Karen Horn, Pat Heller, Betty Drees Johnson, Everett (Ray) and Betty Johnson, Ed and Pauline Lacey, Joan Lee, Craig and Tracy Lindsey, Tim and Mary Jeanne Ludwig, Robin May, David Meier, Greg and Beth Milliken, Todd Phillips, Linda Pinto, Tommy and Dagny Robertson, Stephan and Claudia Roth, William Suddaby, Judith Thompson, Ian Williams and Nancy Hutson, John and Nancy Wilton, Advent Health, Boulevard Tire Center, the Daytona Beach News-Journal, De La Vega Restaurante y Galleria, E.O. Painter Printing Company, Mainstreet Community Bank of Florida, Massey Services, Inc., R. George and Associates, United Parachute Technologies, West Volusia Beacon, Duke Energy Foundation, Lacey Family Charitable Foundation, Medtronic Foundation, Publix Supermarket Charities, Wells Fargo Foundation, Faith Hope & Charity, DeLand Breakfast Rotary, DeLand Fall Festival of the Arts, DeLand Rotary Club, Inc., Krewe of Amalee, Krewe Nouveau, Mid-Florida Community Services, Inc., Museum Guild, Orange City Blue Spring Manatee Festival, West Volusia Tourism Authority, 90.7 WMFE - FM, City of DeLand, County of Volusia and State of Florida Division of Cultural Affairs. I would like to acknowledge the Museum’s Board of Trustees, led by Ret. MGen. Lee Downer, President, for enabling the Staff to realize it’s ambitious, diverse and nationally recognized exhibitions programing. Finally, I would like to applaud the unfailing support of my Staff, whose daily contributions to the success of our institution’s educational goals are a constant source of pride. George S. Bolge CEO, Museum of Art - DeLand
GARY MONROE: PHOTOGRAPHS AND REVELATIONS In the past decade, photography has attained a prominence in the art world that is unprecedented in its 150 years of existence. In both artistic practice and critical theory, the photographic image has been recognized as a significant influence on the artists and art of our time. Equally important, it has been incorporated into the ongoing discourse of the visual arts and into the existing structures of the art market. The interest in photography as a form of art did not come about suddenly, however; it evolved in tandem with the evolution of the medium itself. Today the integration of photography and the other visual arts has advanced to the point that it no longer seems appropriate to distinguish them as two categories of expression, or to view photography as a medium unto itself. To access the aesthetic contributions of the works by Gary Monroe shown here, it is useful to view them in relation to the prevailing practice of photography as it existed prior to 1946. By far the dominant conceptions of photography’s role at that time was as a provider of documentary images which were assumed to embody objective fact. The expectations that the photograph was a visual record or report had been solidified in the United States starting in 1936 with the publication of Life. This “realist” style was even encouraged by Ansel Adams who observed that the highest function of the medium “will be to relate the world of nature to the world of man, and man to men in the fullest meaning of the term.” Therefore, to Monroe, the essential element of an image is a fusion of intellect and emotion. The issue is its associative power, that is, its ability to express knowledge beyond the time and local condition of its making. He feels that the photograph can isolate an inner reality that parallels the physical world. The flat details excerpted from nature and the environment in his work, are not to be seen as illustrative of the thing represented, but points of departure. Monroe uses the camera intuitively, in a way somewhat akin to automatism, in order to form a “relationship” between the human mind and nature. As a “language” his images are made to be received at once, intuitively and directly, instead of word after word, serially, as occurs in spoken and written language. This artist demonstrates an interest in using his factual medium to elucidate a nonvisual domain. But where other nonliteral photographers had employed rich, romantic settings, a visually complex densely symbolic system of imagery to evoke the mysterious, Monroe’s remarkable photographs, as provocative and haunting as any, are accomplished with great economy. His compositions are pared to bare essentials, with all superfluous detail eliminated from the picture frame. Groups of his thematic images, when seen together, are coherent, almost novelistic. In their suggestion of rarefied temporality, the subjects register as spontaneous visual impressions more than as tactile, dimensional matter. The content in the photographs in this exhibition decode visual information in a way that draws less upon the American photographic heritage of formalism and humanism than upon the traditions of art forms – literature, films – that have not felt obligated simply to represent fact. In Monroe’s work, imagination and fantasy have given rise to artifice, freeing the photograph from its functional role as a documentary record and allowing it to investigate conceptual, abstract, or metaphoric possibilities. This change from explicit to implicit description has enabled the photographer to operate more suggestively, and even to exploit viewers’ expectations of empirical accuracy. The attention to nature and the social landscape has been expunged in favor of an interior personal vision. As photographers like Gary Monroe question the limitations placed on photography, and look to the other visual arts for inspiration, the medium gradually begins to move closer to the aims and issues of the art world. They recognize that photography is a viable medium for contemporary artist beyond the dictates of lenticular representation. As this exhibition makes clear, Gary Monroe’s belief in the independence of mediums in the visual arts has been challenged by an equally strong belief in their interdependence. Therefore in retrospect, not only has Monroe’s photography become integral to his evolution in this exhibit of the visual arts, it has moved to the very forefront of his art-making. g.s.b
Untitled (Tourists at Disney World Orlando, Florida), 1996, Gelatin silver print, 18 x 12 inches
ARTIST’S STATEMENT
Untitled (Carnival participants - Jacmel, Haiti), 1985, Pigment inkjet print, 29 ½ x 44 inches
The world is a palette of never-ending visual possibilities for photographers, and very few of our images are exact enough to matter. The trick is to make photographs that look easy, as if the images formed themselves. It is inversely difficult. A step to the left or a bend of the knee meaningfully changes an image. I complicate things by increasingly not breaking stride in environments in which people are on the go, so arriving at an image with any structural coherence is a minor miracle. Millimeters matter. Indeed, my photographs are predicated more on a deep breath and a prayer rather than on compositional skill or beautiful light. But when form and content come together the rewards warrant the risks. Very few photographs possess the sense of wonder, maintain the sense of grace, or otherwise harmonize to yield an image worthy of one’s time. Photographs, like clearly written sentences, need to be formalistically resolved…and interesting. To say this is a tenuous proposition is a dire understatement. The odds favor failure with each click of the shutter release button. Using a small format camera with black-and-white film ups the ante – it worsens the odds. This stripped to the barest essential approach makes the process unforgiving. Nothing about it is facile. But it fosters an aesthetic built veracity. It takes a lot of diligent labor to arrive at those few images that speak the truth, that come to reveal one’s inner life and world view. It’s the result of living one’s life as an artist, as if little else matters and nothing else gets in the way. Few of us make a body of work over a lifetime; with diminishing returns it is easy to do something else, something more measurable and predictable. But one’s meaning is realized along a continuum. I thank my family for that rare opportunity, for which this exhibition and another 20,000 photographs are testimony. Gary Monroe
SELECTED BIOGRAPHY Grants from the National Endowment for the Arts supported Gary Monroe’s ten year photographic documentation of the endings of the old world Jewry that once characterized Miami’s South Beach. The Fulbright Foundation aided his work throughout Haiti, to where he made twenty five trips. A Southeast College Arts Conference grant recognized his photographs of tourists who were experiencing that typically American rite of passage – a trip to Disney World, which he visited some 300 times. He has photographed in Brazil, Israel, England, Spain, Mexico, the Caribbean, Cuba, India, Trinidad, Poland, Egypt and other places. During the past few years he has photographed attendees at a drive-in church, the remains of the defunct Splendid China theme park, some 100 registered sex offenders who live in a trailer park, a halfway house for mentally ill people, roller derby audiences, blind people, a camp for chronically and terminally ill children, and new corporate-driven architecture. He followed the Buddha’s path from Sarnath, India to Lumbini, Nepal. Recently he has photographed the landscapes at the Kennedy Space Center’s restricted area, along the Bartram Trail, and at the twenty proclaimed Fountains of Youth. Gary Monroe’s interest in “outsider” and vernacular art spurred his research about the Highwaymen; his book The Highwaymen: Florida’s African-American Landscape Painters was published by the University Press of Florida. This book launched a cultural phenomenon. He has also written Extraordinary Interpretations: Self-taught Florida Artists, a book that surveys contemporary folk artists, which UPF published along with seven other of his books about Florida art. He contributes articles and lectures widely.
EDUCATION Master of Fine Arts, University of Colorado, Boulder, Colorado 1977 Bachelor of Fine Arts, University of South Florida, Tampa, Florida 1975
GRANTS AND COMMISSIONS Florida Humanities Council Fellowship, The Highwaymen Murals, 2002 Florida Humanities Council Fellowship, Haitians in Florida, 2000 Florida Humanities Council Fellowship, The Highwaymen, 1998 Florida Humanities Council Fellowship, The Cassadaga Project, 1996 Florida-Israel Institute, Florida Atlantic University, Jerusalem 3000, 1996 Florida Humanities Council and Florida Division of Cultural Affairs (with Florida State University Museum of Art), Florida Dreams, collaboration with Jerome Stern, 1992 Florida Division of Cultural Affairs, Artist’s Fellowship, 1990 Fulbright Foundation – Senior Fellowship, Haiti, 1989 Southeastern College Art Conference, Project Grant, 1987 Dade County Council of Arts and Sciences, Miami Beach with Andy Sweet, 1987 Fulbright Scholarship/Shirley L. Miller Charitable Foundation, Haiti, 1985 City of Miami, Commission to photograph development of Noguchi’s Bayfront Park, 1986 Commission as photographer for Christo’s Surrounded Island Project, 1983 Dade County Council of Arts and Sciences and City of Miami Community Development, Little Haiti, 1982 Authorization to photograph Haitian refugees at Krome Resettlement Camp, 1980 City of Miami, Photographic Archive of Downtown Miami, 1980 National Endowment for the Arts: Aid to Publication Grant, 1980 National Endowment for the Arts: South Beach Photographic Project, 1979
Untitled (Spiritual Reading at the Colby Memorial Temple - Cassadaga, Florida), 1996, Gelatin silver print, 12 x 18 inches
BOOKS Imagining Florida: History and Myth in the Sunshine State, Boca Raton Museum of Art, 2018 E.G. Barnhill: Florida Photographer, Adventurer, Entrepreneur, University Press of Florida, 2016 Mary Ann Carroll: First Lady of the Highwaymen, University Press of Florida, 2014 The Highwaymen Murals: Al Black’s Concrete Dreams, University Press of Florida, 2009 Florida’s American Heritage River: Images from the St. Johns Region, University Press of Florida, 2009 Silver Springs: The Underwater Photographs of Bruce Mozert, University Press of Florida, 2008 Harold Newton: The Original Highwayman, University Press of Florida, 2007 Highwaymen Newton and Hair: The American Dream in the Sunshine State, Fort Lauderdale, 2003 Extraordinary Interpretations: Florida’s Self-taught Artists, University Press of Florida, 2003 The Highwayman: Florida’s African-American Landscape Painters, University Press of Florida, 2001 Cassadaga: The South’s Oldest Spiritualist Community, Co-editor/photographer, awarded third annual “The Best of the Best from the University Presses” by the American Library Association, University Press of Florida, 2001 Florida Dreams, Florida State University, 1993 Haiti, Forest+Trees, 1992 Miami Beach / Photographs by Gary Monroe and Andy Sweet, Forest+Trees, 1990 Life in South Beach, Forest+Trees, 1989 Romer’s Miami, Miami-Dade Public Library, 1985
EXHIBITION CATALOGUES Certain Grace, Rollins College, 1998 The Spirit of Cassadaga, Florida Humanities Council, 1997 Jerusalem 3000, Consulate General of Israel, 1996 Aspects of DeLand, Museum of Art-DeLand, 1995 Haiti in Between, Lehigh University, 1994 God Decides, University of Florida, 1990 La Buena Vista, Stetson University, 1990 Flesh and Blood, Photographs of Haitians, Miami-Dade Community College, 1987 Time and Time Again, South Beach and Krome Camp, 1985 Perfect Strangers, Miami-Dade Community College, 1985 Detention at Krome, Miami-Dade Community College, 1982 City Sequence, Miami-Dade Community College, 1981
PUBLIC COLLECTIONS Duke University, North Carolina, 2010 Library of Congress, Washington D.C., 2000 Southeast Museum of Photography, 1999 Florida Gulf Coast University, 1996 The Jewish Museum, New York, New York, 1995 Lehigh University, Pennsylvania, 1994 City of Orlando, Florida, 1993 University of Arkansas at Little Rock, Arkansas, 1992 Metro-Dade County, Art in Public Places, Florida, 1987 Southeast Banking Corporation, 1986 Miami Dade College, Florida, 1985 Historical Association of Southern Florida, Miami, Florida, 1982 University of Florida, Art Gallery, Gainesville, Florida, 1982 Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts, 1981 Miami Dade College, Wolfson Gallery, Miami, Florida, 1981, 1992 (video) Miami Public Library, Art Department, Miami, Florida, 1980 American University (Corcoran Gallery of Art), Washington D.C., 1979
Untitled (Krome Resettlement Camp, Miami – Florida), 1981, Gelatin silver print, 12 x 18 inches
Untitled (Port-au-Prince, Haiti), 1984, Pigment inkjet print, 44 x 29 ½ inches
Untitled (Along the Malecon, Havana, Cuba), 1998, Pigment inkjet print, 29 ½ x 44 inches
Untitled (Nan Santrane, Haiti), 1995, Pigment inkjet print, 29 ½ x 44 inches
Photography Advertisement, 20th Century, Collection of the Artist
Hat Stretcher, 20th Century, Collection of the Artist
Orange Juice Squeezer, 20th Century, Collection of the Artist
Barroom Coin Game, 20th Century, Collection of the Artist
Child’s Art with Photograph, 20th Century, Collection of the Artist
Sculpture (Figure), 20th Century, Collection of the Artist
CATALOGUE All works courtesy of the Artist
Photographs: 1. Untitled (A Party at the First Miami International Film Festival - Miami, Florida), 1986, Gelatin silver print, 12 x 18 in. 2. Untitled (A Family Among the Russian Émigrés Who Were Resettled in Miami Before the Mariel and Haitian Boatlifts - Miami Beach, Florida), 1979, Gelatin silver print, 12 x 18 in. 3. Untitled (Along the Banks of the Caloosahatchee River - LaBelle, Florida), 1980, Gelatin silver print, 12 x 18 in. 4. Untitled (Along the Budha’s Path - Bodh Gaya, India), 2012, Gelatin silver print, 12 x 18 in. 5. Untitled (Along the Malecon - Havana, Cuba), 1998, Pigment inkjet print, 29 ½ x 44 in. 6. Untitled (At a Party for Gay Men on the Outskirts of Havana During the Special Period - Havana, Cuba), 1998, Gelatin silver print, 12 x 18 in. 7. Untitled (Blessing of the Bikers at Bike Week - Daytona Beach, Florida), 1994, Gelatin silver print, 12 x 18 in. 8. Untitled (Building the Garden at the Children’s House Montessori School - DeLand, Florida), 2000, Pigment inkjet print, 29 ½ x 44 in. 9. Untitled (Cairo, Egypt), 2010, Gelatin silver print, 12 x 18 in. 10. Untitled (Carnival Participants - Jacmel, Haiti), 1985, Pigment inkjet print, 29 ½ x 44 in. 11. Untitled (Christmas Party Rehearsal at the Duvall Home - DeLand, Florida), 2007, Gelatin silver print, 12 x 18 in. 12. Untitled (Corridon, Haiti), 1991, Gelatin silver print, 12 x 18 in. 13. Untitled (Day of the Dead Parade - Oaxaca, Mexico), 2005, Gelatin silver print, 12 x 18 in. 14. Untitled (Family at Disney World - Orlando, Florida), 1988, Gelatin silver print, 12 x 18 in. 15. Untitled (Fifty-Fifth Anniversary at a Nursing Home - Miami Beach, Florida), 1979, Gelatin silver print, 12 x 18 in. 16. Untitled (Haitian Refugees at the Metropole Hotel, Which the INS Set-Up as a Halfway House Upon Dismissal From the Krome Resettlement Camp - Miami Beach, Florida), 1980, Gelatin silver print, 12 x 18 in. 17. Untitled (Haitian Refugees Detained at the INS Krome Resettlement Camp - Miami, Florida), 1981, Gelatin silver print, 12 x 18 in. 18. Untitled (Jacmel, Haiti), 1984, Gelatin silver print, 12 x 18 in. 19. Untitled (Jerusalem, Israel), 1999, Gelatin silver print, 18 x 12 in. 20. Untitled (Krome Resettlement Camp - Miami, Florida), 1981, Gelatin silver print, 12 x 18 in. 21. Untitled (Laboude, Haiti), 1999, Gelatin silver print, 12 x 18 in. 22. Untitled (Lobby of the Jacaranda Hotel - Avon Park, Florida), 1982, Gelatin silver print, 12 x 18 in. 23. Untitled (Man Covering a “Graven Image” in a Makeshift Synagogue at the Tudor Hotel - Miami Beach, Florida), 1983, Gelatin silver print, 18 x 12 in 24. Untitled (Manhattan, New York), 2008, Gelatin silver print, 12 x 18 in. 25. Untitled (Men at a Prayer Gathering - Port-au-Prince, Haiti), 1984, Gelatin silver print, 12 x 18 in. 26. Untitled (Miami Beach, Florida), 1980, Gelatin silver print, 12 x 18 in. 27. Untitled (Miami Beach, Florida), 1984, Gelatin silver print, 12 x 18 in. 28. Untitled (Mother and Child in Their Little Haiti Apartment - Miami, Florida), 1982, Gelatin silver print, 18 x 12 in. 29. Untitled (Nan Santrane, Haiti), 1995, Pigment inkjet print, 29 ½ x 44 in.
30. Untitled (Osteen, Florida), 1994, Gelatin silver print, 18 x 12 in. 31. Untitled (People at Baptism - Clearwater, Florida), 2008, Gelatin silver print, 12 x 18 in. 32. Untitled (People at the Mermaid Parade - Coney Island, New York), 1986, Gelatin silver print, 12 x 18 in. 33. Untitled (Playing in Pool at Boggy Creek Camp for Chronically and Terminally Ill Children - Cassia, Florida), 1999, Gelatin silver print, 12 x 18 in. 34. Untitled (Port-au-Prince, Haiti), 1984, Pigment inkjet print, 44 x 29 ½ in. 35. Untitled (Port-au-Prince, Haiti), 1985, Gelatin silver print, 12 x 18 in. 36. Untitled (Port-au-Prince, Haiti), 1986, Gelatin silver print, 12 x 18 in. 37. Untitled (Port-au-Prince, Haiti), 1986, Gelatin silver print, 12 x 18 in. 38. Untitled (Pulse Nightclub Memorial – Miami Beach, Florida), 2016, Gelatin silver print, 12 x 18 in. 39. Untitled (Residents at the Dixie Lodge - DeLand, Florida), 2010, Gelatin silver print, 12 x 18 in. 40. Untitled (Rio de Janeiro, Brazil), 1995, Gelatin silver print, 18 x 12 in. 41. Untitled (Sao Paulo, Brazil), 1995, Gelatin silver print, 12 x 18 in. 42. Untitled (Spiritual Reading at the Colby Memorial Temple - Cassadaga, Florida), 1996, Gelatin silver print, 12 x 18 in. 43. Untitled (Tallahassee, Florida), 1980, Gelatin silver print, 12 x 18 in. 44. Untitled (Tourists at Disney World - Orlando, Florida), 1996, Gelatin silver print, 18 x 12 in. 45. Untitled (Varanasi, India), 2000, Gelatin silver print, 18 x 12 in. 46. Untitled (Wakulla Springs, Florida), 1978, Pigment inkjet print, 29 ½ x 44 in.
Material Culture Objects Collection of the Artist 47. Alligator Cane 48. Barroom Coin Game 49. Bottle Cap Art Stand 50. Child’s Art (Jess) 51. Child’s Art (Matt) 52. Child’s Art with Photograph 53. Cypress Knee Stool 54. Hand-painted Portrait of a Woman in Decorated Frame 55. Hat Stretcher 56. Japanese Mailbag 57. Orange Juice-squeezer 58. Painted Box 59. Photography Advertisement 60. Pinball Game 61. Radio Club Photograph 62. Road Workers’ Warning Sign 63. Rug Beater 64. Schoolroom Pull-down Chart 65. Sculpture (Figure) 66. Self-taught Artist Gene Beecher Painting 67. Trench Art Lamp 68. Walking Stick (Snake head)
Untitled (Miami Beach, Florida), 1980, Gelatin silver print, 12 x 18 inches
Museum of Art – DeLand 100 N & 600 N Woodland Blvd DeLand, Florida 32720 386.734.4371 Gallery Hours: Tuesday – Saturday 10 am to 4 pm Sunday 1 – 4 pm Admission: $5 Non Members and No Charge Museum Members & Children under 12 Tour. Shop. Join. www.MoArtDeLand.org @MoArtDeLand
Museum of Art - DeLand, Florida