Symposium - 5

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DANIEL JOHNSTON SOUL FOOD AMERICANA

08

“Blindfolded While Finger Painting”

A Brief History of the American Palate

Artists Turn Pop Art Prankster

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Book Review:

Leisureville...................................................... 9 Terrie on Non-Profits

Diversity, Diversity, Everyone Wants Diversity....... 10

Book Review:

Forgery................................................................ 11 Editors Choice:

Publisher

Troy Publishing Inc. Editor-in-chief

Jennifer Jolly Managing Editor

David DeRusso Copy Editor

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Kerry Laking Office Assistant

Salina Delano Production & GRAPHIC DESIGN

Roch Nakajima & Felipe Osorio ROCK Group LLC

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Contributing Writers

“Blindfolded While Finger Painting”

THE ART OF DANIEL JOHNSTON. ........................ 15

Emily Watson, Mack Derouac, Terrie Temkin, PhD, David DeRusso, Blair Maynard, Olivia Garcia, Huey Fontaine Delahauterive Media Consultants

AMERICANA ARTISTS TURN

POP ART PRANKSTER

. .................................. 18

A brief history of the

AMERICAN PALATE. .................. 30 The Art of the

Entrepreneur......................................... 35 A Eulogy for

American Counterculture................ 38 EXPANDED NATIONAL DIRECTORY

SOUTH FLORIDA, CHICAGO, NEW YORK, LOS ANGELES

G is for Gallery........................................................ 47 M is for Museum..................................................... 52 T is for Theatre........................................................ 56

Jeff Malin, Chris Chambers and Jeremy Abel For advertising rates and other information please call (305) 868-8769 Complete media kit online at: www.symposiummagazine.com Advisory Board

Keith Jolly, Jim Simpson, Steve Weil, Diana Mooney, Robyn Pearlman, Ken Henson, Jeff Malin and Stuart Macnamara Ph.D. Subscription Information

Domestic subscriptions to Symposium Magazine can be purchased for $75 annually. To receive a subscription to Symposium Magazine please send checks or money orders payable to Troy Publishing Inc/Symposium Magazine, PO Box 370685, Miami, FL 33137-0685, USA Disclaimer

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In no event shall unsolicited materials subject this publication to any claim for a holding fee or similar charges. The views and opinions of columnists and letters to the editor do not necessarily reflect those of the publisher and staff of Symposium Magazine.

Symposium Magazine reserves the right to edit copy for clarity and space. The entire contents of Symposium Magazine are Copyright 2008 by Troy Publishing, Inc. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the express written permission of the publisher.

Symposium Magazine is published twelve times a year

by Troy Publishing, Inc. All Rights Reserved.

www . s y m p o s i u m m a g a z i n e . c o m

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Editor’s Letter

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.

— The First Amendment to the U.S. Constitution The First Amendment etched individual liberty into the opening lines of our nation’s narrative, forever protecting each citizen’s right to think what they want and say what they think, to gather together in the furtherance of their beliefs and worship at the altar of their own choosing. As America’s blueprint for personal freedom and the hallmark of an open society, the First Amendment is very much like the compass that guided Christopher Columbus on his voyage to the New World – it stands at the helm of our nation’s journey, an apparatus of invariable integrity directing America through the unsteady seas of change and transformation.

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It would be regrettable – as an arts publication – not to acknowledge freedom of expression as being essential to both the creative process and the search for truth. There is much debate within our society concerning the extent to which certain liberties should apply. But in this – the month of America’s making – we at Symposium will choose to celebrate an uninhibited emancipation from the perils of repression.

Our cover story – American Artists turn Pop art Prankster – interprets America through the eyes of four very different artists, all of them contributors to Americana culture: Edward Hopper, Norman Rockwell, Andy Warhol and Ron English. Also, in A Brief History of the American Palate, we discuss America’s cuisine with an exploration on how immigration has influenced the many regional styles that satisfy America’s taste buds.

And, for our jetsetters, we have added three major U.S cities to our list of galleries, museums and theaters: New York City, Los Angeles and Chicago.

As we celebrate the month of America’s creation, as well as anticipate her future, we also pause to contemplate what it means to be an American. And when I think of America, I think of something recently deceased comedian George Carlin once said: “When you’re born into the world, you’re given a ticket to the Freak Show.

When you’re born in this country, you’re given a front row seat.”

Jennifer T. Jolly Editor-in-Chief

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REVIEW OF

LEISUREVILLE

By Mack Derouac

ADVENTURES IN AMERICA’S RETIREMENT UTOPIAS Andrew Blechman, a journalist whose writing has appeared in numerous publications including the Los Angeles Times, the New York Times, and Smithsonian Magazine, awakes one day surprised to see a “For Sale” sign across the street on the front lawn of his elderly New England neighbors, Dave and Betsy Anderson. Blechman later learns they have decided to move to “sunny Florida,” to a central Florida retirement community called The Villages. “We never intended to leave the neighborhood, Andrew,” explains Dave Anderson. “As you know, I’m not someone who makes rash decisions. But then we discovered The Villages. It’s not so much that we’re leaving here as we’re being drawn to another place. Our hearts are now in The Villages.”

A few months after their home is sold, Blechman receives an email from the Andersons, inviting him to come down for a visit. “I’d already started taking notes, awkwardly following the Andersons around and writing down everything they said, like an ethnologist recording an oral history. Their move fascinated me – and kept me up at night,” writes Blechman. “Something was afoot; I could feel it. I suspected the Andersons were in the vanguard of a significant cultural shift. I took Dave up on his offer.”

On his visit Blechman discovers a retirement community with a different golf course for every day of the month and local radio deejays who endlessly declare, “It’s a beautiful day in The Villages!” He mingles in a crowded neighborhood bar where last call is at 9:45 pm. He goes to wine tastings, zips around town in a borrowed golf cart, and spends several nights careening the streets with renowned ladies’ man Mr. Midnight, a former teacher whose main problem is having enough Viagra around to keep up with his social life. The author immerses himself in the surreal world of the active elderly and discovers the pros and cons of a community largely disconnected from the outside world. “Don’t you miss the real world?”

Blechman asks Mr. Midnight. “I don’t want the real world anymore,” he says. “Whatever happens now, you guys have to worry about it – it doesn’t affect me.”

Age-segregated communities like The Villages and Sun City in Arizona have been around for years, but now there are retirement communities in almost every state in the nation. In Leisureville:

Adventures in America’s Retirement Utopias, Andrew Blechman sets out to discover why this trend is so successful and grows “increasingly disenchanted with those…who embraced the Villages’ age-restricted lifestyle.”

Whereas in earlier generations it was common to live out your final years with younger members of your own family, many of today’s retirees either don’t have that option or prefer to live independently, with their peers, while keeping their children and grandchildren at arm’s length.

These older Americans, many of whom aren’t even yet at retirement age, are in essence violating the social contract that got them through their younger years. This makes The Villages not just a place to age gracefully, but the spearhead of a movement that could make a major, lasting, and possibly detrimental, effect on our society as a whole.

“It struck me as segregation, pure and simple, with children taking the place of previous ‘undesirables,’” writes Blechman. “Today’s retirees are among the best-educated people in the world.

Never before have so many people had so much knowledge and so much time to impart it. They undoubtedly have wisdom to share with us. It’s no secret that strong ties between the generations lead to stronger communities and greater hope for the future…In a society that places less and less emphasis on cultural and institutional traditions, it’s worth remembering that seniors are our link with the past.” 05

Author:

Andrew D. Blechman

Title:

Leisureville: Adventures in America’s Retirement Utopias

Hardcover: 244 pages Publisher: Atlantic Monthly Press Date:

May 13, 2008

Price:

$25.00

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Terrie on Nonprofits

Diversity, Diversity Everyone Wants Diversity Q: All we seem to hear nowadays is the need for diversity on the board.

We do want diversity, but we haven’t done a very good job of it in the past. Any suggestions for doing this right?

A: Ah… the question of the decade. Obviously, there is no “right” – or “wrong” for that matter. However, there are some things that research has taught us that might help your board make better decisions for it.

A number of years ago funders started requesting that boards reflect the diversity of the communities they were serving.

They were clear. They wanted to see racial and ethnic representation on what were frequently all-white boards.

The logic was simple. If – taking an extreme example – a nonprofit served an under-educated, minimally-skilled population of predominantly Mexican Americans in a barrio community and the board was made up of primarily white suburban professionals, clients and others could question whether the board could possibly have a clue about the real issues faced by the clients. This could call into doubt the board’s ability to make the best decisions on the clients’ behalf. The board was more likely, the reasoning went, to make more appropriate decisions for clients if there were Mexican Americans on the board.

It soon became apparent, however, that attempts to diversify the boards through the process of merely bringing more non-whites onto boards weren’t working. Current (white) board members would ask people of color that they knew.

These were typically people who went to school where they went to school, worked where they worked, lived in the communities they lived in and belonged to the same clubs they belonged to. Could, say, an ivy-league-educated Mexican American who grew up and is still living in an upscale community understand the needs of those in the barrio any better than his or her white colleagues?

Perhaps the problem was that boards weren’t reaching out sufficiently to find people that were more like their organizations’ constituents. However, even if the organizations were successful at finding individuals that

could appreciate and articulate the clients’ needs, could the one, two, even three such board members effectively sway the others? Would the individual(s) feel at all comfortable speaking for a huge demographic? Would he/she/they find the experience rewarding enough to stay on the board?

The answer to all these questions is, evidently not. According to the Nonprofit Governance Index 2007, published by BoardSource, despite the attempt to attract more diversity to nonprofit boards, racial and ethnic representation on these boards is basically what it was more than a decade ago, with 86% of board members nationwide being white. Equally discouraging was the finding in the Urban Institute’s study, Nonprofit Governance in the United States: Findings on Performance and Accountability from the First National Representative Study (2007), that minority participation had either no impact or negative impact on board activities such as raising funds, setting policy, monitoring programs, influencing the community, planning for the future and financial oversight.

While I don’t want anyone to read this and say that racial and ethnic diversity is no longer a good goal – and, by the way, there are boards made up of primarily African Americans, Asians or Latinos that have also sought racial and ethnic diversity with equally mixed results – I think we must reconsider our thinking and our methodology if we wish our boards to be more in tune with our constituencies.

Today, instead of diversity per se there is a push for culturally competent boards – boards that, according to the National Center for Cultural Competence: •

Have a defined set of values and principles, and demonstrate behaviors, attitudes, policies and structures that enable them to work effectively cross-culturally.

•

Have the capacity to (1) value diversity, (2) conduct self-assessment, (3) manage the dynamics of difference,

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(4) acquire and institutionalize cultural knowledge and (5) adapt to diversity and the cultural contexts of the communities they serve.

•

Incorporate the above in all aspects of policy making, administration, practice, service delivery and involve systematically consumers, key stakeholders and communities.

Now, there are probably some people who are saying to themselves that diversity does not have to be just about race and ethnicity. This is true.

Diversity is also about gender, age, values, work style, emotional intelligence, geography, skills and more. We know, for instance, from the BoardSource study that women make up only 43% of boards nationwide while men make up 57%. And yet, the Urban Institute study found that gender diversity is positively associated with most of the activities we rely on our boards

to perform. It seems we should definitely be focusing more on gender equity.

But it’s not that easy to go this route, either.

Baby boomers make up almost half of board membership nation-wide. Those under 30 make up only 2% (BoardSource). The results of the Urban Institute study, which found that age has minimal impact on the effectiveness of how boards carry out their activities, would imply that seeking people of different ages is a burden we don’t need to take on. Yet, it’s hard to argue that we should stop seeking younger board members. If organizations are to have a future, they certainly need to groom younger people to step up.

There is still much we have yet to learn about the impact of diversity on our boards. Meanwhile, more than seeking specific “types” to fill board slots, we need to be better at determining our

needs and finding people with the skill sets and characteristics to meet those needs, who also have the ability look at issues from different perspectives, who are culturally competent and who are not afraid to challenge the status quo.

After all, there is still truth to the adage, “If two people think the same way, one of them is unnecessary.”

Terrie Temkin, Ph.D. is an internationallyrecognized governance and planning expert.

She is a founding principal of CoreStrategies for Nonprofits, Inc., which interweaves governance, board development, fund development, PR/ marketing and public policy to strengthen organizational capacity. Terrie is a longtime member of AFP. She invites your questions.

Contact her at 888-458-4351 Ext. 3 or TerrieTemkin@CoreStrategies4Nonprofits.com.

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REVIEW OF

By Mack Derouac

FORGERY In the summer of 1963 Rupert Brigg – a recently divorced auction-house employee, still grappling with the death of his son – travels to Greece to collect pieces for his uncle’s art collection. As Rupert uncovers the works of art, he must struggle to hide the artifacts of his own past – an eccentric childhood that hides his true identity and the tragedy that ended his brief marriage. The more he searches for the art the more he learns about the rumors of fabrication, rebellion, and murder that lurk beneath the surface of this beautiful land.

Once immersed in Athens, Rupert Brigg is quick to discover there is much more to the city than its artifacts and antiquities; he comes to know an Athens of political deception, deceitful women and replicated masterpieces. He travels to a bohemian villa on the island of Aspros where he finds himself drawn into a circle of outlandish, hedonistic tourists. And it becomes even harder to determine who he can trust after a member of the party turns up murdered.

Sabina Murray first came to the attention of the literary world when she won the PEN/Faulkner award in 2003 for The Caprices, her collection of stories about World War II. Now with her new novel, Forgery, Murray transports her readers to a mysterious world of art fabrication, political intrigue, and lost love in early 1960s Greece.

Cold War paranoia throws fleet shadows across the surroundings of glorious ancient ruins and pragmatic modern concrete. But it’s ruthless ambition and terrible personal loss that lurk deeper in the shadows of this story.

Despite the seductive narrative and compelling themes, however, Murray’s plot has a hollow core, mostly due to the participating characters.

She invests in Rupert Brigg all sorts of secrets, but he continually proves himself a frivolous, trivial personality. The otherworldly setting created by Murray is populated by a supporting cast of secondary characters– a few native Greeks but mostly expatriated New Yorkers – many of whom prove themselves no more entertaining than Rupert Brigg. Most of them are introduced only halfway through the book

only to remain perpetually ill at ease within the established time-period. Beneath a gratuitous layer of time-specific references – debating communism instead of terrorism, drinking whisky instead of lattes and listening to records on a scratchy Victrola – are the voices of modern America.

Murray is at her best when summoning atmosphere and place. Seductive, compelling, and sly, Forgery is a sophisticated book about the value and meaning of art, love, and the corrosive power of grief. With assurance and style, Murray delves into issues of identity and provenance. She plays with notions of deceit and rebellion on levels ranging from personal to political, creating for the reader a dreamy, timeless quality as a backdrop to universal thoughts about art and identity.

“I will never be the sort of person to make a major contribution to mankind. That has never been my goal. I am not a creator, but a man of taste, and my story, like the story of civilization, begins with art,” says Rupert Brigg. “It all begins with art. Art is what gives man his soul. Man is man because he has an appreciation for what is useless…The need to transform the blank walls of a cave into a narrative tapestry. The need to fashion the female form from the earth. The need to approach the inanimate bulk of solid marble and find himself within it: idealized, beautiful, immortal. Without art, we have no hope of discovering our divinity, our oneness with God.” 05

Author:

Sabina Murray

Title:

Forgery

Cloth:

256 pages

Publisher: Grove Press Date:

June 19, 2007

Price:

$24.00

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Pieces shown at the Whitney Museum Of American Art Biennial in 2006 Courtesy of Daniel Johnston

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Editor’s Choice

“Blindfolded While

Finger Painting” The Art of Daniel Johnston Enter

the

world

of

won the award for Best

Daniel Johnston and find

Documentary Directing at

yourself in the middle of

the Sundance Film Festival.

a heartwarming horror

More

that exists somewhere in

30+

between the calm and the

circulate,

chaos of the artist’s mind.

2006 Highwire Music Release

As an artist, songwriter and performer, Johnston is

the

epitome

The Netherlands / Belgium Tour, April 2007 Courtesy Tim Broddin

of

of

than

half

albums

a

of

continue

including

new

his to the

compilation

“Welcome To My World” and the re-release of “Hi

accomplishment. He has

How

more than 500 songs to

Story” and “Yip Jump Music.”

his credit, seven tribute/

However,

cover

depressive,

albums

and

an

Are

You/Continued as

a

manic-

Johnston’s

indie film about his life

life has been plagued by a

entitled

and

psychological agony from

Daniel Johnston, which

which he can never escape.

The

Devil

Daniel in the familiy car during a trip to Texas in 1978 Courtesy Dick Johnston

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He gravitated to Austin, Texas from West Virginia in the early 1980s, where he quickly acquired local notoriety on the music scene.

With his homemade cassettes – titles like “Songs of Pain” and “Funeral Home” that featured simple cartoon sketches on the cover – Johnston showcased a strange mix of humor and artistic vision. And when MTV arrived on the scene in 1985, briefly appearing in Austin to film their show “The Cutting Edge,” Johnston managed to make an unexpected appearance by charming his way on-camera. The exposure managed to make Johnston famous outside the city. Before long musicians from all over the country were covering his songs, offering their help with recording contracts and asking Johnston to open for them on tour. But with the story of Daniel Johnston, every step towards stardom has been but a predecessor to yet another insanity-inspired stumble. Subsequent to his appearance on MTV, Johnston began a steady decline into the dark depths of manic depressive delusions, which caused bizarre and sometimes violent behavior.

In recent years, however, his career has reached new heights. In addition to touring in the U.S., Canada, and most of Europe, there have been more than 150 recorded cover versions of Johnston songs and Johnston’s drawings have become increasingly popular in art galleries around the world. His work appeared in the 2006 biennial at the Whitney Museum of American Art. The Clementine Gallery in New York has also opened an exhibition of Johnston’s pre1990 work, collections of notebook drawings that are selling for $2,200 a piece. Clementine Gallery curator Abbey Messitte attributes the popularity of his work primarily to its sense of spontaneity and intimacy. “Daniel’s work is immensely personal,” says Messitte. “That’s something that you see obviously in a lot of artwork, but this is really like the quintessential personal expression – soul bearing. This is what I think gives it its edge, in a way, the intensity of that personal vision.”

Johnston’s drawings are embedded with incongruity – they are simple and at the same time complex, cheerful but also gloomy, vivid yet contextually ambiguous. His artwork often deals with themes similar to those expressed in his music. His personal struggles are on display, intermingling with the humorous and absurd.

It is as if the serious and ludicrous converge on paper as a reflection of what is in his mind, absolutely brilliant chaos.

“I’ve gone to church all my life, and there were always humorous things,” says Johnston. “Like the small books we used in our classes always had a sense of humor to them, the drawings and the illustrations. I would always make it like a cartoon, like Jesus with someone he was healing.

I would put a balloon with something like ‘Take two aspirin and call me in the morning.”

Courtesy of Daniel Johnston

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Exerpts from His Many Spiral Bound Notebooks Courtesy of Daniel Johnston

Ron English [Marilyn with Mickeys], Courtesy of Ron English

Americana

Artists

Turn

By Blair Maynard

All that it is to be an American can be found in the STUFF of Americana – from baseball, jazz and apple pie to comic books, the diner, wagon trains and the music of George Gershwin.

The 20th century, in particular, was a time of great change for America, from which grew Americana artworks of transformation and revival with visual elements intermittently related to both the marginal and mainstream aspects of American culture.

Pop ART PRANKSTER

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On a sunny afternoon in April 1999 Ron English and a number of other artists traversed a rooftop adjacent to New York City’s 14th Street. They carried with them a bucket, a paint roller, wheat flour, water and a large poster.

Within 20 minutes they had painted over a billboard’s Nissan ad, replacing it with their own satirical take on Apple’s then-popular “Think Different” ad campaign.

But the Apple ads contained black-and-white photos of inspirational icons like Albert Einstein and Miles Davis.

In this case, the ad’s familiar typeface and logo were the same but the icon was a bug-eyed Charles Manson. It remained on the billboard for about two months.

Early 20th century Americana artists like Edward Hopper and Norman Rockwell created works that documented the era and reflected on issues related to contemporary society. Only afterwards did these images become part of the Americana iconography. It was pop artists like Andy Warhol – inspired by America’s burgeoning mass media – who incorporated pre-established iconography into works of fine art. Now, as both a painter and prankster, neo-pop artist Ron English has taken Americana to a whole new place, incorporating America’s icons – be they Mickey Mouse, Marilyn Monroe or Ronald McDonald – into works of fine art for the purpose of commenting on contemporary issues, particularly modern society’s merchandising mindset.

During the prewar period – between 1910 and 1920 – fundamental concepts concerning art in America were being seriously reconsidered as large influxes of people moved into urban settings where living conditions were dismal and harsh. The City became a starting ground for the skepticism of the realist movement, an ideology that aimed to promote truth and accuracy through art.

Clinical, dispassionate, and critical of life, the realists depicted scenes containing the less glamorous aspects of the industrialized world. Visual artists projected, to a greater or lesser extent, an alienated vision of the era.

In their work, anecdote disappears, and transient effects of mood and climate vanish. The impelling individual gesture of a brush stroke is replaced by a smooth, impersonal surface, which masks the artist’s emotional presence.

Andy Warhol [Self Portrait], Courtesy of Wexner Center of the Arts

Edward Hopper illustrated the hollow beauty and sense of finely-honed detachment that characterized the time period through a wide range of settings – everything from Chinese restaurants to movie theaters, gas stations, tenements, offices, ocean views, and empty streets. But despite the variety of locations in which they appear, the people who populate Hopper’s paintings are always the same: emotionless and isolated.

In Sunday (1926) a solitary man in shirt sleeves sits on the curb outside a vacant store, peering down at the cracked pavement. In Pennsylvania Coal Town (1947) a street-sweeper stands amid deserted sidewalks, staring into the desolate distance. In Hopper’s world, women, too, are nearly always cut off from human contact; they often seem to be just waiting. A woman stands at the foot of a stairway in the back of a theater, the fragments of a film seen playing on the screen, her expression one of forlorn concentration (New York Movie, 1939).

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Ron English [top: MCSuper, below:Supersize this Billboard], Courtesy of Ron English

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Andy Warhol [left: Marilyn, right:Cow Wallpaper], Courtesy of Wexner Center of the Arts

Edward Hopper [New York Movie] 1939 Oil on Canvas, Courtesy of Thyssen-Bornemisza Collection

Edward Hopper [Nighthawks] 1942 Oil on Canvas, Courtesy of The Art Institute of Chicago

Edward Hopper [Self Portrait] 1925-30 Oil on Canvas, Courtesy of Whitney Museum of American Art, New York

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[Photograph of Ron English] Courtesy of Ron English

One key aspect of Hopper’s art is his depiction of light and its effects in creating shadows, unique because it lacks the subtlety of warmth. Hopper’s light is generally cold, clear, and stark; it is wedded to his angular forms, which are usually generated out of distinct masses of color in a way that creates an oddly compelling result. In Nighthawks (1942) the elements of confinement and isolation are portrayed through the diner’s harsh electric light, enhancing the mood and emotion of the painting. The customers sit together at the counter but are miles apart; they share the diner’s light as they share the bleak, cold shadows of their introverted solitude.

The end of World War II brought thousands of young servicemen back to America to pick up their lives and start new families in new homes with new jobs. With energy never before experienced, American industry expanded to meet peacetime needs. Americans began buying goods not available during the war, which created corporate expansion and jobs. There was growth everywhere and the baby boom generation was underway.

Norman Rockwell’s prolific output (nearly 4000 images, including 800 magazine covers) chronicled the rapidly evolving social, cultural and technological changes of the time period, focusing primarily on individuals in everyday scenes. He told stories through his illustrations that reflected idealized views of American life and showed ordinary people doing ordinary things. Although he lived through more than eight subsequent decades of national change and revolution, Rockwell’s artistic style remained the same.

“Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed,” said Rockwell. “My fundamental purpose is to interpret the typical American. I am a story teller.”

Rockwell’s decades of magazine covers confirm his own admission that he painted America the way he wanted it to be rather than as it was. In the case of Private Willie Gillis, for example, a fictional everyman who first appeared in 1941, Rockwell censored the trauma of World War

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Ron English [Ronald Cows], Courtesy of Ron English

II. Willie’s career was documented visually

by Rockwell from induction to discharge in 11 covers, but never was the character seen in combat.

be the life of a child, a student, a soldier, or a workingman, whether in the Mamoroneck, New York of his youth, or anywhere else he lived after that. As a result, his characters were universal.

Critics denigrated the sentimentality of Rockwell’s depictions of everyday life, noting the absence of poverty and degradation in his paintings. In the five decades that Rockwell painted for the Saturday Evening Post, AfricanAmericans rarely appeared in his covers. But it was the Post’s and not Rockwell’s philosophy to exclude illustrations of American Indians and, except during World War II, limiting the roles of women to homemaker, teacher, secretary and nurse.

The visual elements in Rockwell’s illustrations are not photographic. But his paintings possess a depth, texture and complexity that were not apparent in the original magazine reproductions.

Along with the artful detail, his cast of characters was loaded with nuances bestowed by the illustrator’s genius. The characters sparkled, glowed, and communicated directly with the audience. And the message they sent was always the one Rockwell intended the audience to receive. In a century of rapid social change, economic disparity, war, and technological advances, Rockwell’s pictures gave Americans a sense of connection to the reassuring constants of their heritage. The cumulative effect of his decades of work is an appreciation of the emotionally rewarding details of life that are often overlooked.

Later in his career, the subtle but insidious effects of prejudice were as much a part of Rockwell’s paintings as his poignant compositions of children at play, families at holiday time, adolescent rites of passage, and the simple pleasures of courtship. Very much in touch with his surroundings, Rockwell lived many of the situations that eventually became the subjects of his pictures. He painted what he knew to

Contrary to Rockwell – who did not paint “ideas” in any strict sense but rather folksy

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Ron English [Camo Tramp Boy], Courtesy of Ron English

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Ron English [The Last Breakfast], Courtesy of Ron English

situations that partook of minor melodrama, superficial sentiment, and humor, sometimes touched with the gentlest irony – scholars and critics view the artworks of pop artist Andy Warhol as a complex, multifaceted interaction between popular entertainment and the public at-large. Unlike the many artists who strive to portray the beautiful, pop art challenges traditional interpretations on the meaning of art by intentionally choosing to depict the mundane. Pop artists like Warhol introduced the use of a commonplace and familiar subject matter, incorporating commercial symbols and pop culture imagery into the realm of fine art, and inevitably capturing much of what would ultimately distinguish the social fabric of the time. “Once you ‘got’ Pop, you could never see a sign the same way again,” said Warhol. “And

once you thought Pop, you could never see America the same way again.”

Along with the superabundance of consumer goods, Warhol turned his attention in the early 1960s to supermarket products. He borrowed banal mass-produced objects and exhibited them in the venue of an art gallery – as Marcel Duchamp had done already in the 1910s with his urinal and bottle-rack. “An artist is somebody who produces things that people don’t need to have,” said Warhol. “What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest.”

Using multiple formats, Warhol depicted a postwar American culture characterized by the context of mass entertainment. The widespread availability of cameras and tape recorders

5 SYMPOSIUM | 27

had managed to make everyone an artist, transforming artworks into the conceptually indistinct objects of a decentralized reality. This prompted Warhol to place less emphasis on the means of production and more emphasis on the means of reproduction. “Business art is the step that comes after Art,” he wrote in his book The Philosophy of Andy Warhol. “I started as a commercial artist, and I want to finish as a business artist. After I did the thing called ‘art’ or whatever it’s called, I went into business art. I wanted to be an Art Businessman or a Business Artist. Being good in business is the most fascinating kind of art.”

The dreadfulness experienced by a wealthy, popular icon like Jackie Kennedy after the assassination of her husband was conceptually symmetrical to the horror exhibited by the accident scene in 129 Die in Jet-Plane Crash (1962). Mug shots of criminals and photographs of gangster funerals were a documentation of the time period in keeping with the race riots seen in Red Race Riot (1963). Taken from a press photograph, the image of an electric chair in Orange Disaster (1962-1963) – the mechanism for one man’s death documented for the eyes of all – speaks volumes about the interaction between man, media and public.

Warhol merged the public with the private, the glamorous with the mundane, celebrity with anonymity, and ravenous voyeurism with seeming indifference. He added a third category to the modernist dialogue on art and life: popular media. The universal connection between all three was illustrated by Warhol with pictures depicting the morbid qualities they each possessed.

Part profit and part reporter – but always set apart by detached ambivalence – Andy Warhol visually recorded America’s innocence as it was corrupted by commercial gluttony. And he managed to accurately predict the inescapable outcome. Well before the proliferation of media culture, he famously foresaw that everyone would have their 15 minutes of fame – virtually

Ron English [Clown Kids Playing Poker], Courtesy of Ron English

28 | SYMPOSIUM 5

Ron English [Billboard Liberation], Courtesy of Ron English

foretelling the advent of American Idol and YouTube.

By the 1980s, art movements had brought anything and everything into the realm of possibility. Art was stripped of convention, the aesthetic lines long ago drawn in the sand smudged, even obliterated. Cartoonists and graffitists – the “taggers and bombers” (those who wrote messages and those who used spray paint) who lived in the streets and tried, illegally, to communicate their message – were suddenly a part of the fine art scene.

Artist Ron English is famous for his achievements in “culture jamming,” having participated in more than 900 assaults on billboard media, sometimes aided by like-minded organizations such as the Billboard Liberation Front. In 2002, he plastered the words “Jihad is Over! (If You Want It)” on the same Times Square billboard that John Lennon and Yoko Ono famously sponsored in 1969 as part of their peace campaign, only then it read “War is Over! If you Want it,” and theirs was signed “Happy Christmas from John & Yoko.”

Then again, in 2003, on a billboard located in Jersey City, he lampooned an ad for the H2 Hummer with the words: “Jesus Drove an SUV. Mohammad Pumped His Gas.” “I thought of staging a play on the scaffold,” says English. “I just remember looking at a billboard and wondering how I could possibly use that much space. First I thought of it as a huge canvas.

Only later did I pay attention to the advertisement subversion aspect of it. My early billboards were more like paintings. There were a lot of social commentary in them, but they weren’t specifically commenting on the advertising medium. That evolved gradually for me.”

Hijacking billboards is only one of the ways English confronts people with his art. He is also an exceedingly talented painter and photographer, continuing the pop art movement with the use of pop culture imagery. But, unlike traditional pop artists, English’s work aims to communicate the artist’s views on controversial topics.

Among his favorite targets is the iconic figure of Ronald McDonald, portrayed by English as an obese proto-pedophile. English’s rendering of the McDonald’s franchise spokesman depicts a portly figure preying on his pre-teen audience, taking advantage of their naiveté to sell them everything from fake dairy shakes to re-processed chicken nuggets. In some cases, English combines icons, showcasing the beautiful figure of Marilyn Monroe with Mickey Mouse breasts – perhaps a comment on corporate advertising’s use of sexual imagery.

“I don’t take a bland enough look at the surface of pop culture,” says English. “The pop guys only commented on it in the sense that it existed – there it is. But I’m passionately engaged in pop culture, I have opinions about it, I bring the subconscious into play with it. My work is more about social commentary. It just has the look of pop because I’m using pop iconography as a sort of visual vocabulary with which to comment on my life and times. And in this way I feel more akin to the social realists or even the surrealists. It’s like this: art is polite society, and there’s two things you don’t mention in polite society, politics and religion. My work is filled with both, and that may make it unpalatable to polite society, but at least it’s never boring.” 05

Ron English [Clown Kids Smoking], Courtesy of Ron English

5 SYMPOSIUM | 31

A Brief History of the American Palate

By Olivia Garcia

“There is no American food. When we begin to list American foods, either we talk about regional things like lobster or shrimp Creole, or we talk about spaghetti and pizza and hot dogs...One could argue it’s what makes us great. The fact that we don’t have a cuisine is a measure of our democracy and of our ethnic heterogeneity.”

-- Sidney Mintz, Anthropologist The two concepts essential to understanding American food are regionalism and diversity, with an emphasis on the latter. Long before Europeans set foot on American soil, the Native Americans nurtured themselves off the bounty of the land. They taught the settlers how to plant and cultivate the sacred trinity of Native American cuisine – corn, beans and squash. All three foods played a vital role in defining American cuisine. They retain their importance today across the continent – grits, cornbread and hoppin’ john in the South, tortillas and pinto beans in the Southwest, baked beans and succotash in the Northeast and pumpkin pie just about everywhere in America during Thanksgiving.

Some of the strongest influences on American cuisine came from African slaves. American food is inconceivable without that influence. Strong examples of this influence are barbecue in its many variations, all kinds of fritters and a mess of greens. Africans brought with them important techniques including smoking meats, frying grains and a variety of beans into fritters, boiling leafy green vegetables, and making up hot, spicy sauces.

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ICA H C

SA

C AN R F

C

NI A R O IFOR LL L A

ISCO SOUR D O U H G

Imported by European migrants, bread has always been a staple for the American family. San Francisco Sour Dough bread is an American original and uses the Lactobacillus sanfranciscensis starter (some of which has been maintained for over 150 years.)

N

The origins of this true American sushi can be traced to sushi chef, Ichiro Mashita of L.A.’s Tokyo Kaikan in the 70s. The cucumber, avocado and crab meat inside-out roll with flying fish roe or sesame seeds has basically been credited for taking sushi from ethnic delicacy to supermarket staple from coast to coast.

GO HOT DO G The state dish of Texas, “true” Chili con Carne is a stew made from meat, chili peppers and spices only, no beans! Today, chili has evolved into an All-American dish and most recipes include beans of some sort. It has become a menu staple of every American diner, cafeteria and fast food joint.

AS CHILI TEX

The true Chicago-Style is a steamed all-beef hot dog served on a poppy seed bun with mustard, onion, sweet green relish, tomato slices, celery salt and a dill pickle spear — No ketchup! Other notable dogs include the Little Rock Arkansas - invented the cheese dog, Connecticut Split Dog - deep fried then grilled, or the Seattle Style hot Dog - served with cream cheese, onions, sauerkraut on a toasted bun.

Regional cuisines emerged as settlers modified their culinary traditions in accordance with local conditions. The simple, sturdy foods of the Northeast are examples; more than any other of the English origins in our country. Meats and vegetables imported from the homeland merged with local ingredients such as turkey, maple syrup, lobster, clams, cranberries and always corn to provide delicious specialties such as Indian pudding, Boston brown bread, clam chowder and Maine boiled lobster.

Southern settlers, also of English stock, benefited from a kinder climate. A Southern dinner is hardly complete without numerous side dishes including breads, biscuits, salads and condiments.

Of all Southern dishes, fried chicken achieved the most popularity outside the region. At home, Southerners continue to use a great deal of pork.

Hams from Virginia are universally recognized to be our Nation’s finest. Bacon and salt pork appear as flavoring agents with greens and beans. Ham biscuits are a classic accompaniment to breakfast

and dinner and ham with red-eye gravy is a regional favorite.

Just north of the Deep South, the geography of the Carolinas proved conducive to rice growing and produced several rice-based dishes. Specialties such as Hoppin’ John – cooked rice and blackeyed peas flavored with salt pork – and Charleston Red Rice are examples of local rice dishes. The Carolina version of barbecue uses a stiff dose of vinegar in its sauce which places its locals strongly at odds with the Texas and Kansas City locals who prefer a much sweeter sauce. I personally prefer the Carolina’s version, the famous favorite.

Southern Louisiana – just a small portion of the state – has given rise to two major cuisines: Creole and Cajun. Outsiders easily confuse the two, and with good reason. Both reflect French influences and both styles frequently begin their dishes with a roux. Another similarity is the use of rice and the area’s abundant seafood. They are often highly spiced and borrow culinary concepts from one another.

But Creole cooking is considered “city food” growing out of the region’s earliest colonial history.

The French first settled the area and fought with Spain for control long before the Louisiana Purchase. The French infused their cuisine with local ingredients and were strongly influenced by Spanish, African and Caribbean food. The result is a refined, scrumptious cuisine served in multiple courses.

Cajun cuisine, on the other hand, is “country food.” The French of Nova Scotia were expelled by the British in 1755. And, after years of aimless wandering, they finally settled in Southern Louisiana where they learned to rely on available ingredients such as game, shrimp, and crawfish.

Cajun food is often cooked with several ingredients in one pot, using few herbs but served with plenty of hot sauce. The subtleties of Cajun food come from patient, long simmering of carefully chosen ingredients. Specialties include crawfish etouffe, gumbos, and rice dishes like jambalayas.

5 SYMPOSIUM | 33

ORK PIZZ A WY E N

New York pizza is thin, wide and “foldable”. The hand tossed dough owes its perfect texture to NYC’s tap water (some people believe). Chicago is deep-dished and cooked in a pan with lots of fillings. California pizza is all about non-traditional toppings like bbq sauce, peanuts, blue cheese and foie gras.

VIR

GINIA HAM

Gumbos are divided along those that use okra as a thickener and those that use filé powder.

Common amongst both is a strong stock, the “holy trinity” (celery, bell peppers and onions) and meat and/or fish. Usually served on rice.

Virginia Ham AKA country ham originate from the Southern United States. They are salt and nitrate cured and may be smoked before being aged for a period ranging from a few months to a year. This technique allowed longterm storage prior to refrigeration.

To cook, the ham must be soaked and scrubbed for hours to remove the protective salt and molds. Country ham is usually served with red-eye gravy, a reduction of pan drippings and coffee.

C

OL R A

INA BARBEC

UE

NA G U M ISIA BO U LO

Barbecue comes in many forms: Memphis style is either wet or dry and favors ribs and pulled pork, Carolina’s style is mostly pulled and smoked, served with a vinegar based sauce, Kansas City BBQ is all about the thick sweet tomato and molasses sauce, and Texas is the home of beef ribs and briskets served with a side of spicy sauce.

Southwest cuisine is the “Granddaddy” of American regional cuisine. Prior to 1845 – when the Spanish began to relinquish control – the entire area was part of Mexico, which explains why the Southwest cuisine of today bears a strong resemblance to Mexican food. It still draws heavily on native influences, in particular corn, beans and chilies. The word “chili” is Aztec in origin; this is a cuisine with very deep roots.

By the beginning of World War II, a good number of Italian dishes had become as “American as apple pie.” The first dish to enter the American household was spaghetti with tomato sauce, followed shortly thereafter by additional kinds of pastas. Pizza took off after World War II in New York City, followed

by Chicago’s deep-dish double-crusted style that has since spread nationwide and is referred to as ”Chicago Style.”

Corn tortillas remain the essential Southwestern “bread.” Pinto beans stewed or refried are the most popular source of protein. Tamales are a traditional “party” food on both sides of the border. Salsas made of tomatoes, tomatillos and chilies are used in a number of dishes. Pork and beef were introduced by the Spanish settlers and altered to suit local palates. New Mexico’s carne adovado consists of pork stewed in a sauce made up of dried red peppers. In Texas, beef is mixed with pinto beans to create chili con carne.

Meanwhile, housewives picked up helpful tips on how to cook lamb dishes and other popular favorites from local Italian butchers. And Italian farmers helped popularize such vegetables as artichokes and eggplant. Campbell’s canned version of minestrone and Oscar Meyer’s baloney had their origins as bologna in the Italian delis all over the country.

But perhaps no ethnic group has had as much influence on the American palate as the Italians.

Immigration continues to broaden the spectrum of American cuisine. While officials huff and puff over tightening the border with Mexico, citizens flock to Mexican eateries, inhaling tacos, quesadillas, chili verde, and chilies rellenos. Going

out for a burrito has become as much a part of the American experience as grabbing a quick burger.

The combination of several regional styles has given rise to fusion cuisine. The idea behind fusion is to take ingredients from more than one cuisine, mix them together and create something new.

Needless to say, some of the finest fusion can be found in our very own South Florida where the flavors come from the Caribbean, South America and Cajun country.

American cuisine has come a long way since the early days of just plain corn and beans. Today, the United States has arguably the finest cuisine in the world. Though regional styles remain, the constant flux of immigrants will ensure that the American palate will always be introduced to new, interesting flavors. In the words of anthropologist Dr. Sidney Mintz, “The fact that we don’t have a cuisine is a measure of our democracy and of our ethnic heterogeneity ... One could argue it’s what makes us great.” 05

5 SYMPOSIUM | 35

E

THE ART ENTREPRENEUR

By Huey Delahauterive

OF THE

Perry Milou is a well-known painter and curator from Philadelphia. The Milou Gallery opened in the Wynwood Art District on the corner of 36th Street and Miami Avenue in May 2008. In addition to being a painter, Milou is a ringmaster of sales and promotion practicing the art of the entrepreneur.

“I’m a businessman and an artist,” says Milou.

Before moving to Miami, Milou had already achieved success as an artist and curator in Philadelphia. In 2005, his paintings of Marilyn Monroe were published in a coffee table book entitled The Art of Marilyn, he was commissioned by the Philadelphia Museum of Art to paint a portrait of Benjamin Franklin and he was selected to participate in the international Art Expo held at the Jacob Javitz center in New York City. Like other successful artists, Milou extends his creative skills beyond the realm of the canvas by taking advantage of any given opportunity to garner publicity.

In 2007 a sexually themed art show held at Milou’s gallery became part of a scandal after his landlords started to threaten him with eviction.

“We had some sexual education seminars along with the exhibit to try to market the event. The landlords were against what I was doing. Not necessarily with the art, but with the lectures that were going on alongside it. They said I was having a sexfair weekend,” says Milou. “No one was really showing up. My landlords tried to convict me, I contacted the news and that weekend there were 300 people. It was great.”

“I think that it takes a certain type of artist whose mind works that way,” says Milou. “I’m in a neighborhood here where there’s not a lot of foot traffic. There’s a tremendous amount of galleries but the traffic’s not coming because it’s just not a retail neighborhood. I landed and said, ‘I’ve got to create a project that’s going to be written about, that’s going to have some buzz in the media and bring attention to my gallery.”

For next year’s Art Basel, Milou is working on The Pucker-Up Project, a series of three eightfoot-square paintings, each featuring 1,024 squares that combine to create a unique image.

“It’s called The Pucker-Up Project because I’m going to approach a big cosmetic company like MAC or Maybelline and try to get them to underwrite giving me their product. What I’ll do is attach a charity to it have women pay a hundred dollars to kiss a square. It’ll be an interactive thing, something I promote for Art Basel.”

Milou’s work predominantly falls under the category of pop art. In his “Playing Cards” series of 16 paintings, he features a pop icon with a

36 | SYMPOSIUM 5

corresponding insignia and theme words incorporated around the border. Elvis Presley is the king of spades, Bono is the two of clubs and Marilyn Monroe is the queen of diamonds. In addition to relating each figure to a matching symbol and quote, Milou uses distinctive techniques to illustrate characteristics related to the icon. James Dean is seen amid Milou’s trademark rain effect, communicating a bleakness associated with the actor’s tumultuous characters.

“My art peters between commercial and fine art, as do the artists I represent,” says Milou. In addition to Milou, Thomas Dellapenna, Denise Fike, Frank Hyder and Brett Sauce are artists featured in the gallery. “Sauce’s is more towards commercialism. Fike’s is more towards fine art. Everybody wants to put labels on all the art. It doesn’t really matter to me. I’m an artist and a salesman. I’m painting and I’m selling. You can call it what you want.” 05

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By Emily Watson

A EULOGY FOR

AMERICAN

COUNTERCULTURE Walk into a Starbucks – or any other chain that claims to endorse the new-found American ideology – and you might find yourself thinking that America’s counterculture has lost its way. You take a look at the new mass of counterculture refugees and ask yourself what happened. They wear Abercrombie & Fitch clothing that was pre-torn in a Beijing factory by some kid making five cents an hour, and their hair is multi-colored in a custom design by Manic Panic.

It seems that America’s counterculture has found itself abandoned in a sea of corporate oblivion. It has turned itself into one large conglomerate of pre-conceived notions and ideals. And the philosophy, fashion and music of the formerly subversive have been bleached into a blandness that’s safe for the whole family.

Is America’s counterculture one-in-the-same with America’s mainstream culture? Yes. Have the thoughts and ideologies of the rebellious youths been co-opted by a corporate America that says, “It’s cool to be different as long as everyone’s buying the same stuff?” Well, yeah that’s true too.

First, let’s note the two major forces in American society: the mainstream and the counterculture that opposes it. The counterculture is something different from mere subculture. Subcultures abound in large numbers, possessing beliefs prescribed to specific demographics. The counterculture is generational, encompassing all the demographics that comprise a specific age group. Typically a rejection of the mainstream social order emphasized by previous generations, counterculture ideals and characteristics are typically defined by the influence they have over America’s macrolevel social order – from music to fashion to art to intellectual thought.

Now let’s take it back to the roots of postmodern America – the 1950s – when the underlying qualities of America’s counterculture movements first emerged.

During this time, it was the Beat Generation who represented America’s counterculture movement. They were a group of American writers who celebrated non-conformity, spontaneous creativity and emphasized the visceral engagement of open emotion – a controversial set of ideals at the time.

But most of the Beats were true academics – college kids from Columbia University.

They saw themselves on the fringes of society, because they were. Some were homosexual,

some were drug-addicted, and some simply opposed the status quo. But their standing as a counterculture movement was about more than their affinity for sex, drugs and the dangerous unknown. They were true artists, dedicated to establishing something new through creativity. They were willing to experience the gritty world of the downtrodden for the sake of its artistic merit. And that’s how they found themselves involved with characters like William Burroughs (author of Junky and Naked Lunch) Neil Cassady (who later inspired the character of Dean Moriarty in Jack Kerouac’s On the Road) and Gregory Corso (who joined the group by impressing Allen Ginsberg with poetry he had written while imprisoned on a burglary charge).

Next was the revolutionary Hippie movement.

Yes, drugs and free sex were still embraced much like the beats, but so were transcendentalism, and the peace movement. Extreme antiestablishment rebellion also presented itself in a multitude of aesthetically pleasing ways. It would be hard to counter the point that the hippie movement didn’t affect every part of society. Like Bob Dylan prophetically wrote, “Your sons and your daughters are beyond your command, The youth were coming together to change things, to shake up the old ways. The hippies thought they had it; they were creating a new world, a wave of energy that consumed and frightened the mainstream. With their psychedelic music and persona, their efforts to expand their perspective and embody a more open society. The hippies in America’s sixties were making a difference and had the ability and support to envision greater things than the mainstream culture could grasp.

No longer is there a definable group that strives to break new ground in culture. The counterculture has been absorbed by the mainstream and melted together into a colorless group. Everybody it seems wants to have ideals akin to the beats and hippies, the fashion of the “punks” merged with the

individuality embodied by the “Goths.” But still no one wants to come up with a new found idea, a new found musical or artistic color to add to the palette. Americans seem to want to have their thoughts spoon fed to them, yet still grasp for a countering of the already beaten paths. The problem is that rather than coming up with original nonlinear ideals all that can be done is to mix what we already have. Our new found philosophy seems to be, “We can be everything at once, and we are better off that way.”

As stated by Dr. James T. Clark, a wellnoted sociologist, “The countercultural revolution has just seemed to have gone bankrupt. We live in a world where there are just as many things to rebel against as there were in the sixties, but we just don’t.

With the advent of new technology there is a lack of independent culture and society is turning more and more into one large super organism. It is my belief and the belief of my colleagues across the nation that hegemony of the conservative mainstream has wiped out America’s chances for positive rebellion of ideals in a subtle yet deliberate manner ” Dr. Clark’s words ring out a call for alert in the minds and souls of many. As history has shown, it has always been the unpopular thinkers who have moved us past our preconditioned necessity of conformity.

Without a strong counterculture, America may find itself adrift in an island of mass conventionality. One sure sign is our musical taste which has already faced the devastation of pop songs invading the previous indie label audiences. Only time will tell if America can reclaim a sense of rebellion and once again let individuality flourish. Perhaps we can once again break through the boundaries of the melting pot and like crazy alchemists happen upon originality. Until then, listen to the Grateful Dead with a copy of On the Road in your hands, but don’t be alarmed when the book starts burning. 05

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Miami, Fl. 33180 305-932-6166

INDEPENDENT VISUAL ART GALLERY

www.gallart.com

With the original gallery in Paris the Miami gallery showcases contemporary artists from across the globe.

2534 N Miami Ave. Miami, Fl. 33127 305-573-3554 www.gallerybertin.com

46 NW 36th St. #2 Miami, Fl. 33127 305-576-7616

www.independentvisualart.com

IVORY ART GALLERY 180 NE 39th ST. Miami, Fl. 33137 305-571-9302

GALLERY DE JA VU

JASON SCHOEN FINE ARTS

1390 Ocean Dr. Miami Beach, Fl. 33139 305-695-7355

1221 Brickell Ave., Ste. 900 Miami, Fl. 33131 305-858-4887

JORGE M SORI FINE ART

EVELYN AIMIS FINE ART

GALLERY EMMANUEL PERROTIN

www.evelynaimisfineart.com

61 NE 40th ST. Miami, Fl. 33137 305-438-9006

www.EuArtGalleryMiami.com

3780 NE 199th Ter. Miami, Fl. 33180 305-792-0300

Private art dealer and collection 305-573-2130

2970 Ponce De Leon Blvd.

Coral Gables, Fl. 33134 305-567-3151

GALLERY NORDSOUTH

KEVIN BRUK GALLERY

FENIX FINE ARTS

16600 NW 54th Ave. Hialeah, Fl. 33014 305-621-0110

www.nordsouth.com

www.Kevinbrukgallery.com

1756 W 8th Ave. Hialeah, Fl. 33010 305-649-6089

2249 NW 1st Pl. Miami, Fl. 33127 305-576-2000

KUNST HAUS GALLERY COURTESY OF JORGE M SORI FINE ART

151 NW 24 ST. Miami, Fl. 33127 305-576-1278 th

This gallery offers a unique selection of work by American Modernists, Latin American Masters and early southwest artists 3162 Coodore Plz. Miami, Fl. 33133 305-444-2600 www.hirschfineart.com

1628 Michigan Ave Miami, Fl. 33139 305-674-7076

GALLERY BERTINTOUBLANC

ETRA FINE ART

HIRSCH FINE ART

GALERIA DEL SOL

ESTATES ART GALLERY 345 Lincoln Rd. Miami Beach, Fl. 33139 305-672-7892

www.haroldgolengallery.com

www.galeriacubearte.com

GALLERY ART

www.etrafineart.com

www.dlfinearts.com

742 SW 16th Ave. Miami, Fl. 33135 305-643-2555

123 NW 23rd St. Miami, Fl. 33127 305-573-3903 www.ejfa.net

www.dharmastudio.com

2043 N Miami Ave. Miami, Fl. 33127 305-576-1804

A favorite of Symposium Magazine this gallery is a “must-see” for you Low-Brow art Patrons.

314 NW 24th ST. Miami, Fl. 33127 305-989-3359

GALERIA ARCHE

PERRY MILOU GALLERY

www.dorschgallery.com

DOT 51 INC.

51 NW 36th ST. Miami, Fl. 33127 305-573-9994

www.dotfiftyone.com

DURBAN SEGNINI GALLERY 372 SW 38th Ave. Miami, Fl. 33146 305-774-7740

3312 N Miami Ave. Miami, Fl 33127

305-438-1333 www.kunsthaus.org.mx

LEITER GALLERY

Gallery featuring original works in the areas of painting, sculpture and design 6900 Biscayne Blvd.

Miami, Fl. 33138 305-754-9062

www.durbansegnini.com

www.leitergallery.com

EFFUSION

LINCOLN CENTER ART GALLERY

1130 Ocean Dr. Miami Beach, Fl. 33139 305-538-3558

www.effusiongallery.com

JORGE M SORI FINE ART

COURTESY OF ARTSPACE VIRGINIA MILLER

COURTESY OF PERRY MILOU GALLERY

G

G is for GALLERY

FINEARTGASM.COM

618 Lincoln Rd. Miami Beach, Fl. 33139 305-535-7415

ARTSPACE VIRGINIA MILLER

LOCUST PROJECTS

105 NW 23rd ST. Miami, Fl. 33127 305-576-8570

LUIS ADELANTADO MIAMI 98 NW 29th St. Miami, Fl. 33127 305-438-0069

www.luisadelantadomiami.com

LYLE O. Reitzel GALLERY 2441 NW 2nd Ave. Miami, Fl. 33127 305-573-1333 www.lyleor.com

MAMUSHKA INTERNATIONAL FINE ARTS 31 NW 36th ST. Miami, Fl. 33127 305-573-1445

MARIA CALAS ART GALLERY 2391 Coral Way Coral Gables, Fl. 33145 305-854-6068

MARPAD ART GALLERY 1518 Ponce De Leon Blvd.

Coral Gables, Fl. 33134 305-444-9360

MAXOLY GALLERY 810 SW 16th Ave. Miami, Fl. 33135 305-631-0025

MGI ART GALLERY 1516 SW 8th ST. Miami, Fl. 33135 305-642-8922

www.martagismail.com

MIAMI ART GROUP GALLERY

Miami Art Group offers the finest art to serious collectors while also providing unique purchasing options to the corporate and hospitality markets.

126 NE 40th ST. Miami, Fl. 33137 305-576-2633 www.miamiartgroup.com

continued on page 43 >

G

G

5 SYMPOSIUM | 43

G is for GALLERY

MIARTE GALLERY

PATOU FINE ART

www.miartegallery.com

www.patoufineart.com

85 Merrick Way Coral Gables. Fl. 33134 305-445-2783

MIDORI GALLERY ANTIQUE FAR Eastern ART 3168 Commodore Plz. Miami, Fl. 33133 305-443-3399

2610 Ponce De Leon Blvd.

Coral Gables, Fl. 33134 305-443-2573

PHTHALO GALLERY 250 NW 23 ST. Miami, Fl. 33127 305-438-0218 rd

MILDREY GUILLOT

PRADO FINE ART COLLECTION

www.mildreyguillot.com

www.pradoart.com

1654 SW 8th ST. Miami, Fl. 33135 305-642-6122

Milou Gallery 17 NW 36th St Miami, Fl 33127 305-573-8450

www.milougallery.com www.perrymilou.com

MOLINA ART GALLERY 1634 SW 8th ST. Miami, Fl. 33135 305-642-0444

www.molinaartgallery.com

NADER’S ART GALLERY

Featuring Latin American and contemporary Art 62 NE 27th ST. Miami, Fl. 33137 305-576-0256 www.garynader.com

NUEZ ART GALLERY 1648 SW 8th ST. Miami, Fl. 33135 305-631-2772

www.rauldelanuez.com

OPERA GALLERY

9700 Collins Ave., Ste. 218 Bal Harbour, Fl. 33154 305-868-3337 www.operagallery.com

OXENBERG FINE ARTS 2730 SW 3 Ave Miami, Fl. 33129 305-854-7104 rd

www.oxenbergart.com

Pan American Art Projects 2450 NW 2nd Ave Miami, Fl. 33127 305-573-2400

www.panamericanart.com

70 Miracle Mile Miami, Fl. 33134 305-476-8444

PRAXIS INTERNATIONAL ART

2219 NW 2nd Ave. Miami, Fl. 33127 305-443-9700 / 305-573-2900 www.praxis-art.com

RAMOS MASTERS COLLECTION

7003 N Waterway Dr., Ste. 207 Miami, Fl. 33155 305-262-5917 www.ramoscollections.com

REED SAVAGE GALLERY

Across the street from Merrick Park in Coral Gables this contemporary Fine Art Gallery represents established and emerging artists from around the world 4217 Ponce De Leon Blvd.

Coral Gables, Fl. 33146 305-446-1222 www.reedsavage.net

RENEE GALLERY 1331 SW 8 ST. Miami, Fl. 33135 305-856-6789 th

ROSSIL GALLERY

SILVANA FACCHINA GALLARY 1929 NW 1st Ave. Miami, Fl. 33136 305-576-4454

SPINELLO GALLERY 2294 NW 2nd Ave. Miami, Fl. 33127 305-573-1963

www.spinellogallery.com

STEVE MARTIN Fine Art 66 NE 40th ST. Miami, Fl. 33137 305-484-1491

www.stevemartinfineart.com

SUNSET GALLERY & FRAMING 5864 Sunset Dr. South Miami, Fl. 33143 305-667-0925

THE HAITIAN ART FACTORY 835 NE 79th ST. Miami, Fl. 33138 305-646-7200 / 305-758-6939 www.haitianartfactory.com

THE WIRTZ GALLERY

TOP ART GALLERY PAINTING APPRAISELS & SALES

www.4artinc.com

www.fnbsm.com

19201 Collins Ave. Sunny Isles Beach, Fl. 33160 305-937-3751

550 Biltmore Way, Ste. 111 Coral Gables, Fl. 33134 305-648-3007 / 305-529-1115 www.tresart.us

UNDERCURRENT ARTS 2563 N Miami Ave. Miami, Fl. 33127 305-571-9574

www.undercurrentarts.com

UNZUETA GALLERY

URIBE BROWN FINE ART

COURTESY OF PAN AMERICAN ART PROJECTS

www.shergallery.com

1932 S Halsted #100 Chicago, IL 60608 312-850-1816

Bette Cerf Hill Gallery 1821 W Hubbard St. #210 Chicago, IL 60622 312-622-3003 www.bettecerfhill.com

TRESART

SHADES OF AFRICA

3585 NE 207th ST. Aventura, Fl. 33180 305-932-9930

CHICAGO 4Art, Inc.

1607 SW 8th ST. Miami, Fl. 33135 305-541-0012

SHER GALLERY AT THE WATERWAYS

the best in functional & decorative contemporary objects, furniture and sculpture. We showcase the best emerging talent alongside your favorite artists working in wood, clay, fiber, metal and glass.

5750 Sunset Dr. South Miami, Fl. 33143 305-662-5414

6909 W Flagler ST. Miami, Fl. 33144 305-266-3789

1117 NE 163rd ST. North Miami, Fl. 33162 305-947-4322

FUNCTION + ART --CHICAGO

www.ramonunzueta.com

2600 NW 87th Ave. Suite 21 Doral, Fl. 33172 561-414-1575

VON MORGEN LC 1629 NE 1st Ave. Miami, Fl. 33132 305-533-1299

WENTWORTH GALLERIES 1118 NW 159 Dr. Miami, Fl. 33169 305-624-0715 TH

www.wentworthgallery.com

ZU GALERIA FINE ARTS

2248 SW 8 ST. Miami, Fl. 33135 305-643-0059 th

Carrie Secrist Gallery 835 W Washington Blvd.

Chicago, IL 60607 312-491-0917 www.secristgallery.com

Donald Young Gallery 933 W Washington Blvd.

Chicago, IL 60607 312-455-0100 www.donaldyoung.com

Douglas Dawson Gallery 400 N Morgan St. Chicago, IL 60642 312-226-7975

www.douglasdawson.com

Dubhe Carreno Gallery 1841 S Halsted St. Chicago, IL 60608 312-666-3150

www.dubhecarrenogallery.com

Flatfile Galleries 217 N Carpenter St. Chicago, IL 60607 312-491-1190

www.flatfilegalleries.com

Frederick Baker Inc. 1230 W Jackson Blvd.

Chicago, IL 60607 312-243-2980

www.frederickbakerinc.com

Function + Art

1046 W Fulton Market Chicago, IL 60607 312-243-2780 www.functionart.com

PAN AMERICAN ART PROJECTS

T: 312-243-2780 1046 W. Fulton Market Chicago, IL 60607 www.functionart.com

Gescheidle

1039 W Lake St., 2nd Fl. Chicago, IL 60607 312-226-3500 www.gescheidle.com

G.R. N’Namdi Gallery 110 N Peoria St. Chicago, IL 60607 312-563-9240

www.grnnamdigallery.com

Kasia Kay Art Projects 1044 W. Fulton Market Chicago, IL 60607 312-492-8828

www.kasiakayartprojects.com

Kavi Gupta Gallery 835 W Washington Blvd.

Chicago, IL 60607 312-432-0708 www.kavigupta.com

Linda Warren Gallery 1052 W Fulton Market Chicago, IL 60607 312-432-9500

www.lindawarrengallery.com

Logsdon 1909 Gallery & Studio 1909 S Halsted St. Chicago, IL 60608 312-666-8966

www.logsdon1909.com

Mars Gallery

1139 W Fulton Market Chicago, IL 60607 312-226-7808 www.marsgallery.com

McCormick Gallery 835 W Washington Blvd.

Chicago, IL 60607 312-226-6800

www.thomasmccormick.com

Navata Schulz Gallery 1039 W Lake St. Chicago, IL 60607 312-421-5506

www.navtaschulzgallery.com

Packer Schopf Gallery 942 W Lake St. Chicago, IL 60607 312-226-8984

www.packergallery.com

44 | SYMPOSIUM 5

G

COURTESY OF KASIA KAY ART PROJECTS

G is for GALLERY

Jonathan LeVine Gallery 529 West 20th St., 9E New York, NY 10011 212-243-3822

www.jonathanlevinegallery.com

Lehmann Maupin 540 West 26th St. New York, NY 10001 212-255-2923

www.lehmannmaupin.com

Lehmann Maupin 201 Chrystie St. New York, NY 10002 212-254-0054 KASIA KAY ART PROJECTS --CHICAGO

www.lehmannmaupin.com

Leo Koenig Peter Miller Gallery 118 N Peoria St. Chicago, IL 60607 312-951-1700

Prism Contemporary Glass 1048 W Fulton Market Chicago, IL 60607 312-243-4885

www.prismcontemporary.com

Rhona Hoffman Gallery 118 N Peoria St. Chicago, IL 60607 312-455-1990

www.rhoffmangallery.com

560 Broadway New York, NY 10012 212-925-6190

Walsh Gallery

118 N Peoria St., 2nd Fl. Chicago, IL 60607 312-829-3312 www.walshgallery.com

N.Y.C. Ameringer & Yohe Fine Art 20 West St. New York, NY 10019 212-445-0051

www.ameringer-yaho.com

Bonni Benrubi Gallery 41 E 57th St., 13th Fl. New York, NY 10022 212-888-6007

www.bonnibenrubi.com

Calvin Morris Gallery 210 11th Ave., #201 New York, NY 10001 212-226-3768

www.calvinmorris.com

Coda Gallery

472 Broome St. New York, NY 10013 212-334--0407

www.codagallery.com

Woodward Gallery

www.numberthirtyfive.com

www.woodwardgallery.net

39 Essex St. New York, NY 10002 212-388-9311

133 Eldridge St. New York, NY 10002 212-966-3411

NY Studio Gallery 154 Stanton St. New York, NY 10002 212-627-3276

www.nystudiogallery.com

Peter Blum Gallery Chelsea 526 West 29th St. New York, NY 10001 212-244-6055

www.peterblumgallery.com

L.A. 1301PE

6150 Wilshire Blvd.

Los Angeles, CA 90048 323-938-5822 www.1301pe.com

www.dcmooregallery.com

Eli Klein Fine Art 462 W Broadway New York, NY 10012 212-255-4388 www.ekfineart.com

www,franklinparrasch.com

www.thomasrobertello.com

Number 35

724 Fifth Ave. New York, NY 10019 212-247-2111

www.thearchitrouve.com

939 West Randolph St. Chicago, IL 60607 312-421-1587

www.westwoodgallery.com

DC Moore Gallery

Franklin Parrasch Gallery

Thomas Robertello Gallery

www.leokoenig.com

www.neuhoffgallery.com

568 Broadway New York, NY 10012 212-925-5700

www.davidnolangallery.com

The Architrouve 1433 W Chicago Ave. Chicago, IL 60622 312-563-0977

545 W 23rd St. New York, NY 10011 212-334-9255

Westwood Gallery

41 East 57th St., 4th Fl. New York, NY 10022 212-838-1122

COURTESY OF DC MOORE GALLERY

www.petermillergallery.com

David Nolan Gallery

Neuhoff Gallery

20 West 57th St. New York, NY 10019 212-246-5360

Galeria Ramis Barquet 41 East 57th St. New York, NY 10021 212-644-9090

DC MOORE GALLERY --NEW YORK CITY

Galeria Ramis Barquet

Lisa Cooley

www.ramisbarquet.com

Peter Blum Gallery Soho

532 West 24th St. New York, NY 10011 212-675-3421

34 Orchard St. New York, NY 10002 212-680-0564

Greenberg Van Doren Gallery

Louis K. Meisel Gallery

www.peterblumgallery.com

www.meiselgallery.com

12 East 94th St. New York, NY 10128 646-672-9212

www.ramisbarquet.com

730 Fifth Ave. New York, NY 10019 212-445--0444

www.gvdgallery.com

Guild & Greyshkul 28 Wooster St. New York, NY 10013 212-625-9224

www.guildgreyshkul.com

Heller Gallery 420 West 14th St. New York, NY 10014 212-414-4014

www.hellergallery.com

Howard Greenberg Gallery 41 East 57th St. New York, NY 10022 212-334-0010

www.howardgreenberg.com

Jan Krugier Gallery 980 Madison Ave., 3rd Fl. New York, NY 10075 212-755-7288 www.krugier.com

www.lisa-cooley.com

99 Wooster St. New York, NY 10012 212-343-0441

141 Prince St. New York, NY 10012 212-677-1340

Salon 94

Marian Goodman Gallery

www.salon94.com

24 West 57th St. New York, NY 10019 212-977-7160

www.mariangoodman.com

Marlborough Gallery Chelsea 545 West 25th St. New York, NY 10001 212-463-8634

www.marlboroughgallery.com

Marlborough Gallery NY 40 West 57th St. New York, NY 10019 212-541-4900

www.marlboroughgallery.com

Mary Boone Gallery 745 Fifth Ave. New York, NY 10151 212-752-2929

www.maryboonegallery.com

Salon 94 Freemans 1 Freeman Alley New York, NY 10002 212-529-7400 www.salon94.com

Sloan Fine Art

128 Rivington St. New York, NY 10002 212-477-1140

www.sloanfineart.com

Spanierman Gallery 45 East 58th St. New York, NY 10022 212-832-0208

www.spanierman.com

Staley-Wise Gallery 560 Broadway 3rd Fl New York, NY 10012 212-966-6223 www.staleywise.com

Anderson Galleries 354 N Bedford Dr. Beverly Hills, CA 90210 310-858-1644

www.andersongalleries.com

ANDLAB

600 Moulton Ave., #303 Los Angeles, CA 90031 323-222-2225 www.andlab.com/art

Andrew Weiss Gallery 179 South Beverly Dr. Beverly Hills, CA 90212 310-246-9333 www.andrewweiss.com

Anna Helwing Gallery 2766 S La Cienega Blvd.

Los Angeles, CA 90034 310-202-2213 www.annahelwing.com

Art Slave Gallery 216 S Spring St. Los Angeles, CA 90012 213-598-3155

www.artslavegallery.com

Bert Green Fine Art 102 West 5th St. Los Angeles, CA 90013 213-624-6212 www.bgfa.us

5 SYMPOSIUM | 45 COURTESY OF KAREN LYNNE GALLERY

COURTESY OF GAGOSIAN GALLERY

Lawrence Asher Gallery 5820 Wilshire Blvd., #100 Los Angeles, CA 90036 323-935-9100 www.lawrenceasher.com

La Luz de Jesus Gallery 4633 Hollywood Blvd.

Los Angeles, CA 90027 323-666-7667 www.laluzdejesus.com

Manny Silverman Gallery Photo by: Joshua White

GAGOSIAN GALLERY --LOS ANGELES

619 N Almont Dr. Los Angeles, CA 90069 310-659-8256

www.mannysilvermangallery.com

Carl Berg Gallery 6018 Wilshire Blvd.

Los Angeles, CA 90036 323-931-6060

www.carlberggallery.com

Carmichael Gallery of Contemporary Art 1257 N La Brea Ave. West Hollywood, CA 90038 323-969-0600

www.carmichaelgallery.com

Couturier Gallery 166 N La Brea Ave. Los Angeles, CA 90036 323-933-5557

www.couturiergallery.com

David Kordansky Gallery

510 Bernard St. Los Angeles, CA 90012 323-222-1482

www.davidkordanskygallery.com

David Salow Gallery 977 N Hill St. Los Angeles, CA 90012 213-620-0240

www.davidsalowgallery.com

Fahey/Klein Gallery 148 N La Brea Ave. Los Angeles, CA 90036 323-934-2250

www.faheykleingallery.com

Gagosian Gallery 456 N Camden Dr. Beverly Hills, CA 90210 310-271-9400 www.gagosian.com

George Stern Fine Arts 8920 Melrose Ave. West Hollywood, CA 90069 310-276-2600 www.sternfinearts.com

Hamilton-Selway Fine Art 8678 Melrose Ave. West Hollywood, CA 90069 310-657-1711 www.hamiltonselway.com

Infusion Gallery

Marc Selwyn Fine Art 6222 Wilshire Blvd., #101 Los Angeles, CA 90048 323-933-9911

www.marcselwynfineart.com

Martin Lawrence Galleries

Universal CityWalk 1000 Universal Studios Dr. Universal City, CA 91608 818-508-7867 www.martinlawrence.com

719 S Spring St. Los Angeles, CA 90014 213-683-8827

Mary Goldman Gallery

Jack Rutberg Fine Arts

www.marygoldman.com

www.infusiongallery.com

932 Chung King Rd. Los Angeles, CA 90012 213-617-8217

357 N La Brea Ave. Los Angeles, CA 90036 323-938-5222

Michael Kohn Gallery

Jonathan Novak Contemporary Art

www.kohngallery.com

www.jackrutbergfinearts.com

1880 Century Park East, #100 Los Angeles, CA 90067 310-277-4997 www.novakart.com

Karen Lynne Gallery 216 N Canon Dr. Beverly Hills, CA 90210 310-858-8202

www.karenlynnegallery.com

Karyn Lovegrove Gallery 500 S Hudson Ave. Los Angeles, CA 90020 323-525-1755

www.karynlovegrovegallery.com

8071 Beverly Blvd.

Los Angeles, CA 90048 323-658-8088

M. J. Higgins Fine Art & Furnishings 104 East 4th St. Los Angeles, CA 90013 213-617-1700 www.mjhiggins.com

Morono Kiang Gallery Bradbury Building 218 West 3rd St. Los Angeles, CA 90013 213-628-8208

www.moronokiang.com

KAREN LYNNE GALLERY --LOS ANGELES

Karen Lynne Gallery was chosen as the first American delegation to represent the United States in the prestigious Societe Nationale des Beaux-Arts (SNBA) exhibit at the Carrousel du Louvre in Paris. This was a unique honor because the United States has never been represented in the 100-plus years the SNBA has been in existence.

216 N. Canon Dr. Beverly Hills, CA 90210 karenlynnegallery.com

Papillon Gallery

Thinkspace Gallery

www.papillongallery.com

www.thinkspacegallery.com

462 N Robertson Blvd.

West Hollywood, CA 90048 310-289-1887

4210 Santa Monica Blvd.

Los Angeles, CA 90029 323-913-3375

Red Dot Gallery

Timothy Yarger Fine Art

www.weeneez.com

www.yargerfineart.com

COURTESY OF LAWRENCE ASHER GALLERY

500 S Spring St. Los Angeles, CA 90013 213-817-6002

354 N Bedford Dr. Beverly Hills, CA 90210 310-278-4400

Stephen Cohen Gallery

Tobey C. Moss Gallery

www.stephencohengallery.com

www.tobeycmossgallery.com

7358 Beverly Blvd.

Los Angeles, CA 90036 323-937-5525

Tasende Gallery

8808 Melrose Ave. West Hollywood, CA 90069 310 276 8686 www.tasendegallery.com

The Hive Gallery

729 S Spring St. Los Angeles, CA 90014 213-955-9051

www.thehivegallery.com LAWRENCE ASHER GALLERY --LOS ANGELES

T: 310.858.8202 F: 310.858.8203

7321 Beverly Blvd.

Los Angeles, CA 90036 323-933-5523

M 46 | SYMPOSIUM 5

COURTESY OF MOCA

is for MUSEUM

S. FLORIDA

AFRICAN-AMERICAN RESEARCH LIBRARY & CULTURAL CENTER 2650 Sistrunk Blvd.

Fort Lauderdale, Fl. 33311 954-625-2800

www.broward.org/library/aarlcc. htm

BOCA RATON MUSEUM OF ART 501 Plaza Real Boca Raton, Fl. 33432 561-392-2500

www.bocamuseum.org

BONNET HOUSE MUSEUM & GARDEN

AH TAH THI KI MUSEUM

900 North Birch Rd. Fort Lauderdale, Fl. 33304 954-563-5393

www.ahtahthikimuseum.com

BOYNTON BEACH CHILDREN'S SCHOOLHOUSE MUSEUM

Big Cypress Reserve Clewiston, Fl. 33440 863-902-1113

AH TAH THI KI MUSEUM AT OKALEE

Hard Rock Casino & Hotel Hollywood, Fl. 33019 954-965-9664 The Ah-Tah-Thi-Ki Museum at Okalee Village houses two permanant exhibits covering the Seminole reservations and an archaeology exhibit. They also have a contemporary art gallery, and we feature special traveling exhibits. www.ahtahthikimuseum.com

ANN NORTON SCULPTURE GARDENS 253 Barcelona Rd. West Palm Beach, Fl. 33401 561-832-5328 www.ansg.org

ANTIQUE CAR MUSEUM

www.bonnethouse.org

129 E Ocean Ave. Boynton Beach, Fl. 33435 561-742-6780

www.schoolhousemuseum.org

BROWARD COUNTY LIBRARY & CULTURAL INFORMATION CENTER 100 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-357-7444 www.broward.org/library

BURT REYNOLDS MUSEUM

100 N US Highway 1 Jupiter, Fl. 33477 561-743-9955 Preserving the history of the cultural contributions of Burt Reynolds

CASON COTTAGE HOUSE MUSEUM

5 NE 1st St. Delray Beach, Fl. 33444 561-243-2577 Restored Historic House 1915-1935 www.db-hs.org

CENTRO CULTURAL ESPANOL DE COOPERACION IBER AMERICANA 800 Douglas Rd. Suite #170 Coral Gables, Fl. 33134 305-448-9677

CHILDREN'S SCIENCE EXPLORIUM

300 S Military Trail Boca Raton, Fl. 33486 561-347-3912 Children’s Science Explorium provides a hands-on exploration and challenges school age children and enhance their understanding of how physical science impacts everyday living. www.scienceexplorium.org

CORAL SPRINGS MUSEUM OF ART 2855 Coral Springs Dr. Coral Springs, Fl. 33065 954-340-5000 www.csmart.org

www.burtreynoldsmuseum.org

www.antiquecarmuseum.org

ARMORY ART CENTER

1700 Parker Ave. West Palm Beach, Fl. 33401 561-832-1776

BASS MUSEUM OF ART

2121 Park Ave. Miami Beach, Fl. 33139 305-673-7530 History The Bass Museum of Art was established by agreement in 1963 when the City of Miami Beach accepted the gift of the art collection of John and Johanna Bass upon condition that it would maintain the collection in perpetuity, provide for the exhibition of the collections, and keep it open and available to the public. www.bassmuseum.org

BOCA RATON HISTORICAL SOCIETY 71 N Federal Highway Boca Raton, Fl. 33432 561-395-6766 www.bocahistory.org

The museum is a site for discovering new artists, contemplating the work of contemporary masters, and learning about our living cultural heritage, and is known for its provocative and innovative exhibitions. MoCA maintains an active exhibition schedule, presenting 8 to 10 exhibitions annually.

www.ccemiami.org

1527 SW 1st Ave. Fort Lauderdale, Fl. 33315 954-779-7300 All the museum’s vehicles are maintained in running condition by the inhouse workshop, located within the museum premises.

www.armoryart.org

MOCA (Miami)

CUBAN HISTORICAL MUSEUM 3131 Coral Way Coral Gables, Fl. 33145 305-567-3131

CUBAN MUSEUM INC. 214 Giralda Ave. Coral Gables, Fl. 33134 305-529-5400

www.cubanmuseum.org

DALEUS Museum & ART GALLERY

The Boca Raton Museum of Art presents changing exhibitions of national and international importance, and a wide range of educational programs, lectures, gallery tours, and studio art classes. The Museum’s permanent collection includes a superb assembly of modern masters including works

by Degas, Matisse, Modigliani and Picasso; important American and European modern and comtermporary works by artists ranging from Louise Nevelson to Andy Warhol; an outstanding photography collection; and important collections of PreColumbian and African art.

COURTESY OF BOCA RATON MUSEUM OF ART

CURRENT EXHIBIT: 07/02 - 08/7 • 57th Annual All Florida Juried Competition and Exhibition • Boca Museum Artist’s Guild Biennial Members’ Exhibition • I Shot Warhol, Wesselmann, Lichtenstein, Rosenquist, and Indiana: Photographs by Bob Adelman and William John Kennedy T: 561.392.2500 F: 561.391.6410 www.bocamuseum.org Hours: Sat, Sun 12pm-5pm Tues, Thur, Fri 10am-5pm Wed 10am-9pm Closed Holidays

Hours: Tue-Sat 11am-5pm Sun 12pm-5pm Last Friday of each month 7pm-10pm for Jazz at MOCA (Closed Mondays)

GOLD COAST RAILROAD MUSEUM 12450 SW 152nd St. Miami, Fl. 33177 305-253-4675

www.goldcoast-railroad.org

HAITIAN HERITAGE MUSEUM 600 Brickell Ave. Miami, Fl. 33131 305-371-5988

www.haitianheritagemuseum.org

1688 NE 123 ST North Miami, Fl. 33181 305-891-0030

HIBEL MUSEUM OF ART

www.daleus.com

5353 Parkside Dr. Jupiter, Fl. 33458 561-622-5560

DEERFIELD BEACH HISTORICAL SOCIETYBUTLER HOUSE

www.hibel.com

HISTORICAL MUSEUM OF SOUTHERN FLORIDA

rd

380 E Hillsboro Blvd.

Deerfield Beach, Fl. 33442 954-429-0378

101 W Flagler St. Miami, Fl. 33130 305-375-1492

www.deerfield-history.org

www.hmsf.org

DELRAY BEACH HISTORICAL SOCIETY ARCHIVES & GALLERY

HISTORIC STRANAHAN HOUSE MUSEUM

51 N Swinton Ave. Delray Beach, Fl. 33444 561-274-9578 BOCA RATON MUSEUM OF ART In Mizner Park

T: 305.893.6211 F: 305.891.1472 www.mocanomi.org

delraybeachhistoricalsociety.org

335 SE 6th Ave. Fort Lauderdale, Fl. 33301 954-524-4736 www.stranahanhouse.org

FLAGLER MUSEUM

HOLOCAUST MEMORIAL OF MIAMI BEACH

1 Whitehall Way Palm Beach, Fl. 33480 561-655-2833

1933 Meridian Ave. Miami Beach, Fl. 33139 305-538-1663

www.flaglermuseum.us

www.holocaustmmb.org

FENG SHUI CULTURAL CENTER

IGBO CULTURAL ASSOCIATION INC.

86 Miracle Mile Coral Gables, Fl. 33134 305-446-9315

www.fengshuiculturalcenter.com

FORT LAUDERDALE HISTORICAL SOCIETY

219 SW 2nd Ave. Fort Lauderdale, Fl. 33301 954-463-4431 www.oldfortlauderdale.org

1799 NE 164th St. North Miami Beach, Fl. 33162 786-871-4006

IGFA FISHING HALL OF FAME AND MUSEUM 300 Gulf Stream Way Dania, Fl. 33004 954-927-2628 www.igfa.org

5 SYMPOSIUM | 47 COURTESY OF MIAMI CHILDREN’S MUSEUM

INTERNATIONAL SWIMMING HALL OF FAME MUSEUM

PALM BEACH INSTITUTE OF CONTEMPORARY ART

SPADY CULTURAL HERITAGE MUSEUM

www.ishof.org

www.kmoser.com/pbica/

www.spadymuseum.org

1 Hall of Fame Dr. Fort Lauderdale, Fl. 33316 954-462-6536

601 Lake Ave. Lake Worth, Fl. 33460 561-582-0006

JEWISH MUSEUM OF FLORIDA

PALM BEACH MARITIME MUSEUM

301 Washington Ave. Miami Beach, Fl. 33139 305-672-5044

www.jewishmuseum.com

JUPITER INLET LIGHTHOUSE & MUSEUM 500 Captain Armours Way Jupiter, Fl. 33469 561-747-8380 www.jupiterlighthouse.org

KOUBEK MANSION AND GARDENS

2705 SW 3rd St. Miami, Fl. 33135 305-284-5137 The University of Miami’s Koubek Mansion and Gardens is situated in the soul of Miami, contributing to the rich cultural traditions found in “Little Havana.” A historic site, it has been home to numerous weddings and cultural events. www.koubekmansion.com

LATIN QUARTER CULTURAL CENTER OF MIAMI 1501 SW 8th St., 2nd Floor Miami, Fl. 33135 305-631-0588

LIGHTHOUSE CENTER FOR THE ARTS 373 Tequesta Dr. Tequesta, Fl. 33469 561-746-3101

www.lighthousearts.org

LOWE ART MUSEUM 1301 Stanford Dr. Coral Gables, Fl. 33124 305-284-3535 www6.miami.edu/lowe

MARGULIES PHOTOGRAPHY COLLECTION 591 NW 27th St. Miami, Fl. 33127 305-576-1051

www.margulieswarehouse.com

MIAMI ART CENTRAL 5960 SW 57th Ave. Miami, Fl. 33143 305-455-3333

www.miamiartcentral.org

MIAMI ART MUSEUM 101 W Flagler St. Miami, Fl. 33130 305-375-3000

www.miamiartmuseum.org

MIAMI CHILDRENS MUSEUM

980 Macarthur Cswy.

Miami, Fl. 33132 305-373-5437 Come play, learn, imagine and create at Miami Children’s Museum with hundreds of interactive and bilingual exhibits and daily programs for the whole family and so much more. www.miamichildrensmuseum.org

MIAMI CHILDREN’S MUSEUM on Watson Island W: www.miamichildrensmuseum.org Hours: Daily 10am-6pm Adm: $12

MIAMI-DADE KENDALL CAMPUS ART 11011 SW 104th St. Miami, Fl. 33176 305-237-2322 www.mdc.edu

MIAMI MUSEUM OF SCIENCE & PLANETARIUM 3280 S Miami Ave. Miami, Fl. 33129 305-646-4200-34 www.miamisci.org

MOCA AT GOLDMAN WAREHOUSE 404 NW 26th St. Miami, Fl. 33127 305-573-5441

www.mocanomi.org

MORIKAMI MUSEUM & JAPANESE GARDENS 4000 Morikami Park Rd. Delray Beach, Fl. 33446 561-495-0233 www.morikami.org

MOS' ART CENTER

700 Park Ave. West Palm Beach, Fl. 33401 561-296-1806

MUSEUM OF ART/FORT LAUDERDALE 1 East. Las Olas Blvd.

Fort Lauderdale, Fl. 33301 954-525-5500 www.moafl.org

MUSEUM OF CONTEMPORARY ART/MOCA

770 NE 125th St. North Miami, Fl. 33161 305-893-6211 MOCA established its Permanent Collection in 1994. Its Permanent Collection now numbers more than 400 works. The permanent collection reflects significant artistic developments in contemporary art by emerging and established artists from the U.S. and abroad. www.mocanomi.org

SUMMER GAMES: - Traditional Torches - Ring Puzzle - Fantastic Gym - Triathlon Tryouts - Bounce Your Way to Victory - Olympic Glory Photo Opportunity

MUSEUM OF DISCOVERY AND SCIENCE 401 SW 2nd St. Fort Lauderdale, Fl. 33312 954-467-6637 www.mods.org

MUSEUM OF LAKE WORTH 414 Lake Ave. Lake Worth, Fl. 33460 561-586-1700 www.lakeworth.org

MUSEUM OF POLO & HALL OF FAME 9011 Lake Worth Rd. Lake Worth, Fl. 33467 561-969-3210

www.polomuseum.com

MUSEUM OF THE AMERICAS 2500 NW 79th Ave., Suite 104 Doral, Fl. 33122 305-599-8088 www.museumamericas.org

MUSIC ART PRODUCTIONS OF FLORIDA 2218 NW 82nd Ave. Doral, Fl. 33122 305-593-0740

NAVAL AIR STATION FORT LAUDERDALE HISTORICAL ASSOCIATION 4000 W Perimeter Rd. Fort Lauderdale, Fl. 33315 954-359-4400

NORTON MUSEUM OF ART 1451 S Olive Ave. West Palm Beach,Fl. 33401 561-832-5196 www.norton.org

OLD DILLARD MUSEUM 1009 NW 4th St. Fort Lauderdale, Fl. 33311 754-322-8828 www.broward.k12.fl.us/ olddillardmuseum

7719 S Dixie Highway West Palm Beach, Fl. 33405 561-547-3775 The opening of the Palm Beach Maritime Museum in 1999, after 6 years of preliminary work, is a major event for South Florida. Following a lengthy restoration and construction program, we now have four facilities: 1. the former U.S.Coast Guard Station, Boathouse and President John F. Kennedy command post and bomb shelter on Peanut Island; 2. the marine science field office and dock on the Intracoastal Waterway; 3. an educational center, preview building and ferry dock at Currie Park in West Palm Beach (Museum tours leave from this site for Peanut Island and the Kennedy Bunker at the Coast Guard Station and 4. the new location for our Palm Beach Maritime Academy K-8 Charter School at 7719 S. Dixie Hwy. in West Palm Beach. www.pbmm.org

PALM BEACH MARITIME MUSEUM CURRIE PARK 2400 N Flagler Dr. West Palm Beach, Fl. 33407 561-832-7428 www.pbmm.org

PATRONS OF THE VATICAN MUSEUM 7525 NW 2nd Ave. Miami, Fl. 33150 305-759-2733

SCHACKNOW MUSEUM OF FINE ARTS SMOFA 7080 NW 4th St. Plantation, Fl. 33317 954-583-5551 www.smofa.com

SOCIETY OF THE FOUR ARTS 2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7226 www.fourarts.org

SOUTH FlORIDA RAILROAD MUSEUM 1300 W Hillsboro Blvd.

Deerfield Beach, Fl. 33442 954-698-6620 www.sfrm.org

SOUTH FLORIDA SCIENCE MUSEUM 4801 Dreher Trail N West Palm Beach, Fl. 33405 561-832-1988 www.sfsm.org

SIDNEY SAMOLE CHESS MUSEUM 13755 SW 119th Ave. Miami, Fl. 33186 786-242-4255

www.chessmuseum.org

170 NW 5th Ave. Delray Beach, Fl. 33444 561-279-8487

THE HOLLYWOOD HISTORICAL SOCIETY

1520 Polk St. Hollywood, Fl. 33020 954-923-5590 Our mission is to collect, preserve and disseminate information about the history of Hollywood, Florida. To preserve Hollywood’s historical resources and landmarks. To educate and encourage public awareness of Hollywood’s heritage. To pass on an enduring community to succeeding generations. In 1920, the developer Joseph W.Young, Jr. purchased the first square mile to begin the Florida city he would call Hollywood-by-the-Sea. His city was planned from the start with wide boulevards, parks, vistas, and harmonious architecture derived from styles then popular in southern California where he had lived, from bungalows to mission, Moorish, and Spanish-eclectic, styles still evident in buildings throughout Hollywood. hollywoodhistoricalsociety.org

THE MIAMI SPRINGS HISTORICAL MUSEUM 26 Westward Dr. Miami Springs, Fl. 33166 305-884-4406

THE SOCIETY OF FOUR ARTS 2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7227 www.fourarts.org

UM JAMES L KNIGHT INTERNATIONAL CENTER 400 SE 2nd Ave., Suite 402 Miami, Fl. 33131 305-284-5137 www6.miami.edu

UNIVERSITY OF MIAMI CONVOCATION/BANK UNITED CENTER 1245 Dauer Drive Coral Gables, Fl. 33146 305-284-8244

www.bankunitedcenter.com

VIZCAYA MUSEUM & GARDENS 3251 S Miami Ave. Miami, FL 33129 305-250-9133

www.vizcayamuseum.org

WEST PALM BEACH MUSEUM OF CONTEMPORARY ARTS

5301 S Dixie Highway West Palm Beach, Fl. 33405 561-588-1965

WILLIAM T KIRBY NATURE CENTER 10900 Jack Nicklaus Dr. North Palm Beach, Fl. 33408 561-624-6952 www.macarthurbeach.org

48 | SYMPOSIUM 5

14710 SW 128th St. Miami, Fl. 33196 305-233-5197

www.wingsovermiami.com

WOLFSONIAN MUSEUM 1001 Washington Ave. Miami Beach Fl. 33139 305-531-1001 www.wolfsonian.org

WORLD EROTIC ART MUSEUM

1205 Washington Ave. Miami, Fl. 33139 305-532-9336 The collection includes art, sculptures, tapestries, and artifacts from many of the world’s most influential cultures, past and present, exquisite ancient to contemporary classics.

COURTESY OF PEGGY NOTEBAERT NATURE MUSEUM

WINGS OVER MIAMI MUSEUM

National Italian American Sports Hall of Fame 1431 W Taylor St. Chicago, IL 60607 312-226-5566 www.niashf.org

Peggy Notebaert Nature Museum 2430 N Cannon Dr. Chicago, IL 60614 773-755-5100

PEGGY NOTEBAERT NATURE MUSEUM -CHICAGO

www.naturemuseum.org

Pritzker Military Library

Over 30 artists, writers, filmmakers, scientists, and landscape architects consider America’s big green carpet in Lawn Nation: Art and Science of the American Lawn. Only at the Nature Museum, May 23 through September 7.

610 N Fairbanks Ct., 2nd Fl. Chicago, IL 60611 312-587-0234

www.pritzkermilitarylibrary.org

Spertus Museum 610 S Michigan Ave. Chicago, IL 60605 312-322-1700

www.weam.com

YESTERYEAR VILLAGE S FLA FAIRGROUNDS

www.southfloridafair.com

YOUNG AT ART CHILDREN'S MUSEUM 11584 W State Road 84 Davie, Fl. 33325 954-424-0085

www.youngatartmuseum.org

CHICAGO Chicago Children’s Museum 700 E Grand Ave. Chicago, IL 60611 312-527-1000

www.childrensmuseum.org

1400 S Lake Shore Dr. Chicago, IL 60605 312-922-9410 www.fieldmuseum.org

Frank Lloyd Wright Home and Studio 951 Chicago Ave. Oak Park, IL 60302 708-848-1976

1220 Fifth Avenue New York, NY 10029 212-534-1672

Guggenheim Museum

www.mcny.org

www.guggenheim.org

1083 Fifth Avenue, at 89th St. New York, NY 10128 212-369-4880

1071 Fifth Avenue, at 89th St. New York, NY 10128 212-423-3500

International Center of Photography

National Academy Museum

www.nationalacademy.org

1133 Avenue of the Americas, at 43rd St. New York, NY 10036 212-857-0000

National Design Museum

Jewish Museum

New Museum of Contemporary Art

www.icp.org

1109 Fifth Avenue, at 92nd St. New York, NY 10128 212-423-3200 www.thejewishmuseum.org

Metropolitan Museum of Art

Museum of Modern Art

2 East 91st St, at Fifth Ave. New York, NY 10128 212-849-8400 www.cooperhewitt.org

235 Bowery New York, NY 10002 212-219-1222

www.newmuseum.org

PS1 Contemporary Art Center

22-25 Jackson Ave, at 46th Ave. Long Island City, NY 11101 718-784-2084 www.ps1.org

11 West 53rd St. New York, NY 10019 212-708-9400 www.moma.org

www.lizzadromuseum.org

McCormick Freedom Museum 445 N Michigan Ave. Chicago, IL 60611 312-222-4860

220 E Chicago Ave. Chicago, IL 60611 312-280-2660

www.dusablemuseum.org

Museum of the City of New York

220 Cottage Hill Elmhurst, IL 60126 630-833-1616

www.chicagohistory.org

740 E 56th Place Chicago, IL 60637 773-947-0600

www.ellisisland.com

www.metmuseum.org

Lizzadro Museum of Lapidary Art

www.freedommuseum.us

DuSable Museum of African American History

Ellis Island Immigration Museum New York, NY 10004 212-344-0996

1000 Fifth Avenue, at 82nd St. New York, NY 10028 212-535-7710

www.gowright.org

Chicago History Museum 1601 N Clark St. Chicago, IL 60614 312-642-4600

www.spertus.edu COURTESY OF MOCA

9067 Southern Blvd.

West Palm Beach, Fl. 33411 561-793-0333

Field Museum

Ellis Island Museum

Museum of Contemporary Art

www.mcachicago.org

Museum of Science and Industry 5700 S Lake Shore Dr. Chicago, IL 60637 773-684-1414 www.msichicago.org

MUSEUM OF CONTEMPORARY ART CHICAGO

N.Y.C. American Museum of Natural History

Central Park West at W 79th St. New York, NY 10024 212-769-5100 www.amnh.org

Bronx Museum of the Arts

COURTESY OF CHICAGO CHILDREN’S MUSEUM

1040 Grand Concourse #2, at 165th S.t Bronx, NY 10456 718-681-6000 www.bronxmuseum.org

The Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 718-638-5000

www.brooklynmuseum.org

The Children’s Museum of Art 182 Lafayette St. New York, NY 10013 212-274-0986 www.cmany.org

CHICAGO CHILDREN’S MUSEUM --CHICAGO

Photo by: Tim Hursley

MUSEUM OF MODERN ART -NEW YORK CITY

From an initial gift of eight prints and one drawing, The Museum of Modern Art’s collection has grown to include 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. MoMA also owns some 22,000 films, videos, and media works, as well as film stills, scripts, posters and historical documents.

T: 212.708.9400 11 West 53 Street, between Fifth and Sixth avenues New York, NY 100195497 www.moma.org

10899 Wilshire Blvd.

Los Angeles, CA 90024 www.hammer.ucla.edu

California African American Museum 600 State Dr. Los Angeles, CA 90037 213-744-7432 www.caamuseum.org

California Science Center METROPOLITAN MUSEUM OF ART --NEW YORK CITY

Queen’s Museum of Art

Flushing Meadows, Corona Park Queens, NY 11368 718-592-9700 www.queensmuseum.org

Studio Museum in Harlem 144 West 125th St. New York, NY 10027 212-864-4500

www.studiomuseum.org

Whitney Museum of American Art 945 Madison Ave. New York, NY 10021 212-570-3600

700 Exposition Park Dr. Los Angeles, CA 90037 213-485-8567

www.californiasciencecenter.org

CHINESE AMERICAN MUSEUM 425 N. Los Angeles St. Los Angeles, CA 90012 323-724-3623 www.camla.org

FOWLER Museum

UCLA Los Angeles, CA 90095 310-206-7007 www.fowler.ucla.edu

Getty Museum

1200 Getty Center Dr. Los Angeles, CA 90049 310-440-7300 www.getty.edu

www.whitney.org

GRAUMAN’S CHINESE THEATRE

L.A. Autry National Center 4700 Western Heritage Way Los Angeles, CA 90027 323-667-2000

www.autrynationalcenter.org

6925 Hollywood Blvd.

Los Angeles, CA 90028 818-363-7298

www.manntheatres.com

Grier-Musser Museum 403 S Bonnie Brae St. Los Angeles, CA 90057 213-413-1814

www.griermussermuseum.com COURTESY OF WHITNEY MUSEUM OF AMERICAN ART

Photo by: Jerry L Thompson Architects: Marcel Breuer & Hamilton Smith 1963-1966

M

is for MUSEUM

Griffith Observatory 2800 E Observatory Rd. Los Angeles, CA 90027 213-473-0800

www.griffithobservatory.org

Heritage Square Museum 3800 Homer St. Los Angeles, CA 90031 323-225-2700

www.heritagesquare.org

Hollywood Heritage Museum 2100 N Highland Ave. Hollywood, CA 90068 323-874-4005

www.hollywoodheritage.org

Huntington Library, Art Collections and Botanical Gardens 1151 Oxford Rd. San Marino, CA 91108 626-405-2141 www.huntington.org

Japanese American National Museum 369 East 1st St. Los Angeles, CA 90012 213-625-0414 www.janm.org

KOREAN AMERICAN MUSEUM 3727 W. Sixtth St. Los Angeles, CA 90020 213-388-4229 www.kamuseum.org

Los Angeles CONSERVANCY

523 W. Sixth St., #826 Los Angeles, CA 90014

www.laconservancy.org

Los Angeles County Museum of Art 5905 Wilshire Blvd.

Los Angeles, CA 90036 323-857-6000 www.lacma.org

Moca Pacific Design Center

HUNTINGTON LIBRARY, ART COLLECTIONS & BOTANICAL GARDEN --LOS ANGELES

Museum of Jurassic Technology

Page Museum-La Brea Tar Pits

www.mjt.org

www.tarpits.org

9341 Venice Blvd.

Culver City, CA 90232 310-836-6131

Museum of LATIN AMERICAN ART

628 Alamitos Ave. Long Beach, CA 90802 www.molaa.com

2525 Michigan Ave. Santa Monica, CA 90404 310-586-6488

Museum of Television and radio 464 N. Berverly Dr. Beverly Hills, CA 90210 310-786-1025 www.mtr.org

Museum of TOLERANCE 9786 W. Pico Blvd.

Los Angeles, CA 90035 310-553-9036

www.museumoftolerance.com

www.nhm.org

Museum of Contemporary Art 250 S Grand Ave. Los Angeles, CA 90012 213-626-6222 www.moca.org

6060 Wilshire Blvd.

Los Angeles, CA 90036 323-930-2277

www.neonmona.org

136 West 4th St. Los Angeles, CA 90013 213-489-9918

MURAL CONSERVANCY OF LOS ANGELES www.lamurals.org

Peterson Automotive Museum

www.peterson.org

Natural History Museum of Los Angeles

323-512-5697

5801 Wilshire Blvd.

Los Angeles, CA 90036 323-934-7243

Museum of Neon Art

8687 Melrose Ave. West Hollywood, CA 90069 310-289-5223 www.moca.org

WHITNEY MUSEUM OF AMERICAN ART - NEW YORK

COURTESY OF HUNTINGTON BOTANICAL GARDEN

COURTESY OF METROPOLITAN MUSEUM OF ART

ARMAND HAMMER MUSEUM OF ART & CULTURAL CENTER

5 SYMPOSIUM | 49

900 Exposition Blvd.

Los Angeles, CA 90036 213-763-3466

Norton Simon museum of art 411 W. Colorado Blvd.

Passadena, CA 91105 626-449-6840 www.nortonsimon.org

The SANTA MONICA MUSEUM OF ART

www.netvip.com/smmoa

The Geffen Contemporary at Moca 152 Central Ave. Los Angeles, CA 90013 213-621-1745 www.moca.org

UNIVERSAL STUDIOS HOLLYWOOD 100 Universal City Plz. Universal City, CA 91608 818-622-3801

universalstudioshollywood.com

Velaslavasay Panorama 1122 West 24th St. Los Angeles, CA 90007 213-746-2166

www.panoramaonview.org

William S. Hart Museum and Park 24151 San Fernando Rd. Newhall, CA 91321 661-259-0855 www.hartmuseum.org

T

50 | SYMPOSIUM 5

S. FLORIDA

ACTORS' PLAYHOUSE AT THE MIRACLE 280 Miracle Mile Coral Gables, Fl. 33134 305-444-9293

www.actorsplayhouse.org

ADRIENNE ARSHT CENTER FOR THE PERFORMING ART

1300 Biscayne Blvd.

Miami, Fl. 33132 786-468-2000 A full-season lineup that will include many more presentations, including jazz from around the world; theater works both intimate and spectacular; shows for children and their families; the latest in contemporary dance; experimental multimedia shows and beloved classics; popular entertainment spanning top-selling recording stars, acclaimed cabaret artists, favorite comedians, and much more. www.carnivalcenter.org www.arshtcenter.org

ATLANTIC THEATEr

6743 W Indiantown Rd. Jupiter, Fl. 33458 561-575-3271

www.theatlantictheater.com

BROADWAY IN

www.broadwayacrossamerica. com

BROADWAY IN FORT LAUDERDALE

P.O. Box 4603 Ft. Lauderdale, Fl. 33312 1800-764-0700

500 71st St. Miami Beach, Fl. 33141 305-867-4192

www.miamibeachculture.com

CALDWELL THEATRE COMPANY

7901 N Federal Highway Boca Raton, Fl. 33487 561-241-7432 Caldwell Theatre Company opened its doors in December 1975 at the suggestion of James R. Caldwell, inventor of the rubber dustpan and founder of the Rubbermaid Corporation. During the past 33 years in four different locations, and now in its own, permanent theater facility on U.S. 1 in north Boca Raton, the Caldwell has been called South Florida’s “Cinderella Theatre” and Boca Raton’s “Jewel in the Crown.” Artistic director Michael Hall, who co-founded the theater with the late Frank Bennett, continues as artistic director, and company manager Patricia Burdett marks her 32nd season this year. www.caldwelltheatre.com

CENTRE FOR THE ARTS 433 Plaza Real #339 Boca Raton, Fl. 33432 561-961-2098

www.centre4artsboca.com

CITY PLACE

222 Lakeview Ave West Palm Beach, Fl. 33401 561-366-1000 www.cityplace.com

CITY THEATRE

444 Brickell Ave. Miami, Fl. 33131 305-755-9401

BROWARD CENTER FOR THE PERFORMING ARTS 201 SW Fifth Ave Ft. Lauderdale, FL 33312 T: (954) 462-0222

877-311-7469(SHOW) W: www.browardcenter.org

www.citytheatre.com

CONCERT ASSOCIATION OF FLORIDA (CAF)

1470 Biscayne Blvd.

Miami, Fl. 33132 1-877-433-3200 CAF, a not-for-profit organization, introduces its forty-first season as the largest and most high profile presenter of classical music orchestras, soloists, opera stars and ballet and dance companies in the Southeastern U.S.. Coined “The Lincoln Center of the South,” CAF is led by Robert F. Hudson, Jr., Chairman of the Board, Albert Carl Milano, Chief Executive Officer, and Risë Kern, Artistic Director. Interweaving strong, committed partnerships between performers renowned for their brilliance and innovative programming, CAF serves tens of thousands of people per year by putting together a dazzling mix of the best of orchestral world music and ballet. www.concertfla.org

COURTESY OF A.A.C.P.A

Pompano Beach, FL 33062 954-764-0700 Miami: 1-800-939-8587 Palm Beach: 1-800-520-2324

BYRON CARLYLE

CREATIVE CHILDREN’S THEATRE 12343 W Dixie Highway North Miami, Fl. 33161 305-895-0335

CRUZAN AMPHITHEATRE 601-7 Sansbury Way West Palm Beach, Fl. 33411 Hotline: 561-793-0445 www.livenation.com/venue

CUILLO CENTRE FOR THE PERFORMING ARTS

201 Clematis St. West Palm Beach, Fl. 33401 561-835-9226 Our intimate, 377-thrust Mainstage theatre has been home to several new plays and musicals on their way either to or from Broadway. Our new 45 seat Second Story Theatre provides a perfect setting for private meetings and cabaret-style concerts. www.cuillocentre.com

CULTURAL TRUST OF PALM BEACHES 2175 Wellington Green Dr. Wellington, Fl. 33414 561-333-4948

www.broadwayacrossamerica. com

www.culturaltrustpb.org

BROWARD CENTER FOR THE PERFORMING ARTS

2500 SE 3rd St. Pompano Beach, Fl. 33062 954-784-0768

201 SW 5th Ave. Ft. Lauderdale, Fl. 33312 954-522-5334 Box Office 954-462-0222 The Broward Center for the Performing Arts invites you to discover something new to love about the arts. Try theater, from tragedy to farce. Dance, from ballet to modern. Music, from classical to opera to pop. With performances year-round, there’s something for everyone to enjoy! www.browardcenter.org

BROWARD COUNTY FILM SOCIETY 503 SE 6th St. Fort Lauderdale, Fl. 33301 954-525-3456 www.fliff.com

CURTAIN CALL PLAYHOUSE

www.curtaincallplayhouse.com

DELRAY BEACH PLAYHOUSE

ADRIENNE ARSHT CENTER FOR THE PERFORMING ART 1300 Biscayne Boulevard Miami, FL 33132 T: (786) 468-2000 F: (786) 468-2001 W: arshtcenter.org

7/9 - 7/27 • Teatro Avante, XXIII International Hispanic Theatre Festival 7/24 - 8/17 • Slava’s Snowshow 7/25 - 8/17 • Miami Libre

950 NW 9th Street Delray Beach, Fl. 33444 561-272-1281 The Delray Beach Playhouse is a modern fully equipped 238 seat theater situated in an attractive park setting overlooking scenic Lake Ida in Delray Beach, Florida. Its productions provide unique acting opportunities for talented and motivated performers. The Playhouse is a non-profit organization, which strives to expand its commitment to serving the community at large through several outreach programs. www.delraybeachplayhouse.com

7/10 - 7/12 • RAPUNZEL presented

by The Performance Project - & The Broward Center 7/18 - 7/20 • The Backyardigans 7/26 - 7/27 • Calle Flamenca Flamenco In The Sun

COURTESY OF BROWARD CENTER FOR THE PERFORMING ARTS

is for THEATRE

DREAM THEATRE PRODUCTIONS INC.

515 Valencia Ave., #7 Coral Gables, Fl. 33134 305-446-9175

dreamtheaterproduction.net

FANTASY THEATRE FACTORY

7069 SW 47th St. Miami, Fl. 33155 305-284-8800 As a touring theatre, we are uniquely different from housed theatres in that our audiences do not come to our theatre space; we take theatre to our audience. We perform in rural and inner city schools, theatres, parks, hospitals, community centers, practically everywhere. www.ftfshows.com

FLORIDA GRAND OPERA 221 SW 3rd Ave. Ft. Lauderdale, Fl. 33312 954-728-9700 www.fgo.org

FLORIDA STAGE

262 S Ocean Blvd.

Lantana, Fl. 33462 561-585-3404

www.floridastage.org

FOLLIE'S ADULT THEATRE 2550 S Military Trail West Palm Beach, Fl. 33415 561-433-9272

FORT LAUDERDALE CHILDREN'S THEATRE

520 N Andrews Ave. Fort Lauderdale, Fl. 33301 954-763-6882 www.flct.org

GABLESTAGE BOX OFFICE

1200 Anastasia Ave. Coral Gables, Fl. 33134 305-445-1119 or 305-446-1116 www.gablestage.org

5 SYMPOSIUM | 51 MALTZ JUPITER THEATRE

1001 E Indiantown Rd. Jupiter, Fl. 33477 561-575-2223 The Maltz Jupiter Theatre is a professional nonprofit regional theatre dedicated to the performing arts whose mission is to entertain, educate and inspire our community.

345 W 37th St. Miami Beach, Fl. 33140 305-538-5500 The company specializes in mime and physical theatre and delights Florida audiences with original, culturally diverse theatrical shows influenced by artists from all over the world.

www.jupitertheatre.org

www.britishpanto.org

MANUEL ARTIME THEATER

HOLLYWOOD PLAYHOUSE

900 SW 1st St. Miami, Fl. 33130 305-575-5057

2640 Washington St. Hollywood, Fl. 33020 954-922-0404

www.manuelartimetheater.com

www.hollywoodplayhouse.com

IMAX BLOCKBUSTER 3D THEATER

INSIDE OUT THEATRE

MIAMI CITY BALLET

JACKIE GLEASON THEATER OF THE PERFORMING ARTS

2200 Liberty Ave. Miami Beach, Fl. 33139 305-929-7000

1700 Washington Ave. Miami Beach, Fl. 33139 305-673-7300

www.miamicityballet.org

MIAMI LIGHT PROJECT

www.gleasontheater.com

3000 Biscayne Blvd.

Miami, Fl. 33137 305-576-4350 Founded in 1989, Miami Light Project is a not-for-profit cultural organization which presents live performances by innovative dance, music and theater artists from around the world; supports the development of new York by South Florida-based artists; and offers educational programs for students of every age.

JAMES L KNIGHT INTERNATIONAL CENTER

400 SE 2nd Ave. Miami, Fl. 33131 305-416-5970 612 guest rooms on-site, Hyatt Regency Miami www.jlkc.com

KRAVIS CENTER FOR THE PERFORMING ARTS 701 Okeechobee Blvd.

West Palm Beach, Fl. 33401 561-832-7469

www.miamilightproject.com

MIAMI WORLD THEATER Miami Beach, Fl. 33139 305-535-9930

www.kravis.org

LAFFING MATTERZ

www.miamiworldtheater.com

219 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-763-5236

MOSAIC THEATRE

12200 W Broward Blvd. #3121 Plaintation, Fl. 33325 954-577-8243

www.laffingmatterz.com

LAKE WORTH PLAYHOUSE

www.lakeworthplayhouse.org

LAUGHING GAS COMEDY IMPROV THEATRE

4129 Laguna St. Coral Gables, Fl. 33146 305-461-1161 The Laughing Gas Comedy Improv Theatre Company is the longestrunning professional improvisational theatre troupe in South Florida. We present a 90-minute, interactive show combining music, sketches, and improvised comedy based on your suggestions from the audience. And we’ve been doing it since 1992! Laughing Gas performs every Friday and Saturday nights at The Main Street Playhouse, located at 6766 Main Street in Miami Lakes. Curtain time is 11:00 PM (box office opens at 10:45 PM). www.laughinggasimprov.com

www.mosaictheatre.com COURTESY OF NEW WORLD SYMPHONY AT LINCOLN ROAD

713 Lake Ave. Lake Worth, Fl. 33460 561-586-3549

541 Lincoln Rd. Miami Beach, Fl. 33139 305-673-3331 The New World Symphony presents a full season of concerts from October to May at the Lincoln Theatre, located in the heart of Miami Beach’s Art Deco district.

17011 NE 19th. Ave. North Miami Beach, Fl. 33162 Box Office: 305-787-6005 305-948-2957

www.miamichildrenstheater.com

www.insideouttheatre.org

NEW WORLD SYMPHONY LINCOLN THEATRE

www.mbcinema.com

11155 SW 112th Ave. Miami, Fl. 33176 305-274-3596

One East Los Olas Blvd.

Ft. Lauderdale, Fl. 33301 954-385-3060

www.new-theatre.org

www.nws.org

MIAMI CHILDREN'S THEATER

www.mods.org

4120 Laguna St. Coral Gables, Fl. 33146 305-443-5909

MIAMI BEACH CINEMATHEQUE & GALLERY 512 Espanola Way Miami Beach, Fl. 33139 305-673-4567

401 Sw 2nd St. Fort Lauderdale, Fl. 33312 954-463-4629 954-467-6637

NEW THEATRE INC.

NORTH MIAMI BEACH JULIUS LITTMAN PERFORMING ARTS THEATER

www.citynmb.com/theater

PALM BEACH DRAMAWORKS

322 Banyan Blvd.

West Palm Beach, Fl. 33401 561-514-4042

www.palmbeachdramaworks.org

PALM BEACH SHAKESPEARE FESTIVAL 103 US Highway 1 Suite F-5 Jupiter, Fl. 33458 561-575-7336 www.pbshakespeare.org

PARKER PLAYHOUSE

LAFFING MATTERZ Serious Dining, Hilarious Satire 219 South Andrews Avenue Ft. lauderdale, Florida 33301 T: 954-763-5236 F: 954-763-2457 W: laffingmatterz.com

SILVER SCREEN CINEMA CAFÉ & COMEDY CLUB

12795 Forest Hill Blvd.

Wellington, Fl. 33411 561-793-6657 silverscreencinemaandcomedyclub.com

SOL CHILDRENS THEATRE TROUPE 3333 N Federal Highway Boca Raton, Fl. 33431 561-447-8829

www.solchildrentheatretroupe.org

707 NE 8th St. Ft. Lauderdale, Fl. 33304 954-462-0222 954-763-2444 The Parker Playhouse curtain rose for the first time on February 6, 1967.

One of Fort Lauderdale’s first venues, the neo-classical Playhouse, was built

by Dr. Louis Parker and is managed now by the Broward Center for the Performing Arts. This 1,167-seat fully equipped theater plays an important role in the community by serving as a vibrant part of the area. Parker Playhouse helps fuel economic development while also bringing the community together with performances, activities and educational programming.

STAGE DOOR 26TH STREET THEATRE

POET PRODUCTIONS LLC

www.tamaractheatreof performingarts.org

www.parkerplayhouse.com

1382 W Mcnab Rd. Fort Lauderdale, Fl. 33309 954-956-7681 Exciting aerial performers, gymnasts, acrobats and contortionists from all over the world make up our awardwinning cirque-style theatrical productions. www.poetproductions.com

RISING ACTION THEATRE INC New World Symphony at LINCOLN THEATRE 541 Lincoln Road 2nd Floor Miami Beach, FL 33139 T: (305) 673-3331

(800) 597-3331 W: www.nws.edu

COURTESY OF LAFFING MATTERZ

GOLD COAST THEATRE COMPANY

840 E Oakland Park Blvd.

Oakland Park, Fl. 33334 954-561-2225 Box Office: 1-800-595-4849 www.risingactiontheatre.com

1444 NE 26th St. Ft. Lauderdale, Fl. 33305 954-344-7765

www.stagedoortheatre.com

STAGE DOOR THEATRE 8036 W Sample Rd. Margate, Fl. 33065 954-344-7765

stagedoortheatre.com

TAMARAC THEATRE OF PERFORMING ARTS

7143 NW 88th Ave. Tamarac, Fl. 33321 954-726-7898 For 26 years we have endeavored to present to you, our audience, shows that satisfy, entertain, and enlighten.

TEATRO AVANTE 744 SW 8th St. 2nd Floor Miami, Fl. 33130 305-858-2446

www.teatroavante.com

TEATRO DE BELLAS ARTES 1273 SW 8th St. Miami, Fl. 33135 305-325-0515

THE NEW VISTA THEATRE CO. 12811 Glades Rd. Boca Raton, Fl. 33498 561-470-1266 Box Office: 1-888-284-4633 www.newvistatheatre.com

“ALWAYS LAUGH WHEN YOU CAN. IT IS A CHEAP MEDICINE.” - Lord Byron

THE PERFORMANCE PROJECT 8745 SW 57th St Cooper City, Fl. 33328 954-680-9887

www.theperformanceproject.info

THE PLAYGROUND THEATRE FOR YOUNG AUDIENCES

9806 NE 2nd Ave. Miami Shores, Fl. 33138 305-751-9550 This coming season will be even busier with over 124 performances and the introduction of 2 new productions, Alice in Wonderland and The Clean House. www.theplaygroundtheatre.com

THE STUDIO THEATRE OF WELLINGTON 11320 Fortune Circle Wellington, Fl. 33411 561-204-4100

THE THEATRE

854 Conniston Rd. West Palm Beach, Fl. 33405 561-833-7305

TOWNSHIP CENTER FOR PERFORMING ARTS 2452 Lyons Rd. Coconut Creek, Fl. 33063 954-973-7022 Box Office: 954-970-0606 www.thetownship.info

RIVIERA PLAZA LLC 1560 S Dixie Highway Coral Gables, Fl. 33146 305-666-7908

SYMPHONY OF THE AMERICAS

199 N Ocean Blvd., Suite 200 Pompano Beach, Fl. 33062 954-545-0088 The Symphony of the Americas celebrates its 18th Season, bringing the best of classical music to South Florida. By presenting diverse orchestral repertoire at intimately scaled concerts by our resident orchestra and guest artists, the Symphony takes pride in the contribution it makes to the cultural environment in South Florida. symphonyoftheamericas.com

T

52 | SYMPOSIUM 5

is for THEATRE

WAR MEMORIAL AUDITORIUM

800 NE 8th St. Fort Lauderdale, Fl. 33304 954-828-5380

www.fortlauderdale.gov/wma

Steppenwolf Theatre Company

CHICAGO

1650 N Halsted St. Chicago, IL 60614 312-335-1650

About Face Theatre

www.steppenwolf.org

1222 W Wilson Ave. Chicago, IL 60640 773-784-8565

www.aboutfacetheatre.com

Apollo Theater 2540 N Lincoln Ave. Chicago, IL 60614 773-935-6100

www.apollochicago.com

Aragon Entertainment Center 1106 W Lawrence Ave. Chicago, IL 60640 773-561-9500 www.aragon.com

A Red Orchid Theatre 1531 N Wells St. Chicago, IL 60610 312-943-8722

www.aredorchidtheatre.org

Arie Crown Theater 2301 S Lake Shore Dr. Chicago, IL 60616 312-791-6190 www.ariecrown.com

Auditorium Theatre of Roosevelt University 50 E Congress Pkwy.

Chicago, IL 60605 312-922-2110

www.auditoriumtheatre.org

Broadway in Chicago 17 N State St. Chicago, IL60602 312-977-1701

www.broadwayinchicago.com

Cadillac Palace Theatre 151 W Randolph Dr. Chicago, IL 60601 312-902-1400

Chopin Theatre 1542 W Division St. Chicago, IL 60622 773-278-1500

www.chopintheatre.com

AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY -CHICAGO

T: 312.922.2110 F: 312.431.2360

The Auditorium is filled with art as well as being encased in it. Lavish mosaics, murals, plaster casts, stencils, art glass and iron casts are among the art elements housed in the theatre. Louis Sullivan’s ornamentation and designs were inspired by natural forms..

Ford Center for the Performing Arts Oriental Theatre 24 W Randolph Dr. Chicago, IL 60601 312-902-1400

www.broadwayinchicago.com

Harris Theater for Music and Dance 205 E Randolph Dr. Chicago, Il 60601 312-629-8696

www.harristheaterchicago.org

Lasalle Bank Theatre 18 W Monroe St. Chicago, IL 60603 312-902-1400

www.broadwayinchicago.com

Live Bait Theater 3914 N Clark St. Chicago, IL 60613 773-871-1212

www.livebaittheater.org

Marriott Lincolnshire Theatre 10 Marriott Dr. Lincolnshire, IL 60069 847-634-0200

www.marriotttheatre.com

50 East Congress Parkway Chicago, IL 60605 auditoriumtheatre.org

Mary Arrchie Theatre CoMPANY 735 W Sheridan Rd. Chicago, IL 60613 773-871-0442

www.maryarrchie.com

Music Box Theatre 3733 N Southport Ave. Chicago, IL 60613 773-871-6604

www.musicboxtheatre.com

Pegasus Players 1145 W Wilson Ave. Chicago, IL 60640 7773-878-9761

wwwpegasusplayers.org

Raven Theatre Company 6157 N Clark St. Chicago, IL 60660 773-338-2177

www.raventheatre.com

Redmoon Theater 1463 W Hubbard St. Chicago, Il 60622 312-850-8440 www.redmoon.org

Riviera Theatre 4746 N Racine Ave. Chicago, IL 60640 773-275-6800

COURTESY OF APOLLO THEATER

www.jamusa.com

Skyline Stage - Navy Pier 600 E Grand Ave. Chicago, IL 60611 312-595-7437

www.navypier.com

Royal George Theatre Center 1641 N Halsted St. Chicago, IL 60614 312-988-9000

www.theroyalgeorgetheatre.com

1 University Pkwy.

Chicago, IL 60466 708-235-2222

www.centertickets.net

The Chicago Theatre 175 N State St. Chicago, IL 60601 312-462-6300

www.thechicagotheatre.com

The Goodman Theatre 170 N Dearborn St. Chicago, IL 60601 312-443-3800

www.goodmantheatre.org

Tommy Gun’s Garage 2114 S Wabash Ave. Chicago, IL 60616 312-225-0273

www.tommygunsgarage.com

Tony n’ Tina’s Wedding 230 W North Ave. Chicago, IL 60610 312-664-8844

www.tonyntina.com

2124 Broadway New York, NY 10023 212-465-6500

www.beacontheatre.com

Biltmore Theater 261 West 47th St. New York, NY 10036 212-586-4307

www.newyorkcitytheatre.com

Blender Theater at Gramercy 127 East 23rd St. New York, NY 10010 212-777-6800

www.irvingplaza.com

Booth Theater

222 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Broadhurst Theater 235 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Broadway Theater 1681 Broadway New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Carnegie Hall

N.Y.C. Al Hirschfeld Theater

125 East 11th St. New York, NY 10003 212-247-7800

www.carnegiehall.org

302 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

Cort Theater

Ambassador Theater

www.telecharge.com

www.telecharge.com

138 West 48th St. New York, NY 10036 212-239-6200 800-432-7250

219 West 49th St. New York, NY 10019 212-239-6200 800-432-7250

COURTESY OF AMERICAN AIRLINES THEATER

www.broadwayinchicago.com

Photo by: James Steinkamp

The Center for Performing Arts at Governors State University

Beacon Theatre

www.telecharge.com

American Airlines Theater 227 West 42nd St. New York, NY 10036 212-719-1300

www.roundabouttheater.com

Apollo Theater 253 West 125th St. New York, NY 10027 212-531-5300

www.apollotheater.org

B.B. King Blues Club 237 West 42nd St. New York, NY 10036 212-997-4144

www.bbkingblues.com APOLLO THEATER - CHICAGO

AMERICAN AIRLINES THEATER - NEW YORK CITY

5 SYMPOSIUM | 53

Ethel Barrymore Theater 243 West 47th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Gerald Schoenfeld Theater 236 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Gershwin Theater 222 West 51st St. New York, NY 10019 212-307-4100

www.gershwin-theater.com

Hammerstein Ballroom 311 West 34th St. New York, NY 10001 212-279-7740

www.mcstudios.com

Hilton Theatre

214 West 43rd St. New York, NY 10019 212-556-4750

www.hiltontheatre.com

Imperial Theater 249 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Madison Square Garden Theater 4 Pennsylvania Plz. New York, NY 10001 212-465-6741 www.thegarden.com

Majestic Theater 247 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Marquis Theater 1535 Broadway New York, NY 10036 212-398-1900 www.marriott.com

Metropolitan Opera House

The Fillmore at Irving Plaza

www.metopera.org

www.irvingplaza.com

30 Lincoln Center Plz. New York, NY 10023 212-362-6000

Music Box Theater 239 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Neil Simon Theatre

17 Irving Place New York, NY 10003 212-777-6800

The Joyce Theater 175 Eighth Ave. New York, NY 10011 212-691-9740 www.joyce.org

Vivian Beaumont Theater

250 West 52nd St. New York, NY 10019 212-757-8646

150 West 65th St. New York, NY 10023 212-239-6200 800-432-7250

New York State Theater

Walter Kerr Theatre

www.nycballet.com

www.telecharge.com

www.neilsimontheatre.com

20 Lincoln Center Plz. New York, NY 10023 212-579-4176

Nokia Theater Times Square 1515 Broadway New York, NY 10036 212-930-1940

www.nokiatheatrenyc.com

www.telecharge.com

219 West 48th St. New York, NY 10036 212-239-2820

Winter Garden Theater 1634 Broadway New York, NY 10019 212-239-6200 800-432-7250

www.telecharge.com

Radio City Music Hall 1260 6th Ave. New York, NY 10020 212-307-7171 www.radiocity.com

Rose Theater

70 Lincoln Center Plz. New York, NY 10023 212-721-6500

www.lincoln.center.org

Shubert Theater 225 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

www.telecharge.com

Studio 54

254 West 54th St. New York, NY 10019 212-719-1300

www.roundabouttheater.com

L.A. 24th Street Theatre 1117 W 24th St. Los Angeles, CA 90007 213-745-6516 www.24thstreet.org

Academy For New Musical Theatre

5628 Vineland Ave. North Hollywood, CA 91601 818-506-8500 www.anmt.org

Acme Comedy Theatre 135 N La Brea Ave. Los Angeles, CA 90036 323-525-0202

www.acmecomedy.com

Dorothy Chandler Pavillion 135 N Grand Ave. Los Angeles, CA 90012 213-972-7211

COURTESY OF STUDIO 54

www.musiccenter.org

Geffen Playhouse 10886 Le Conte Ave. Los Angeles, CA 90024 310-208-5454

www.geffenplayhouse.com

Henry Fonda Theater 6126 Hollywood Blvd.

Los Angeles, CA 90028 323-464-0808

www.henryfondatheater.com

Hollywood Bowl

2301 N Highland Ave. Los Angeles, CA 90078 323-850-2000

www.hollywoodbowl.com

WILSHIRE THEATRE - LOS ANGELES

Hollywood Palladium 6215 Sunset Blvd.

Los Angeles, CA 90028 323-962-7600

Knightsbridge Theatre 1944 Riverside Dr. Los Angeles, CA 90039 323-667-0955

www.knightsbridgetheatre.com

Kodak Theatre

6801 Hollywood Blvd.

Los Angeles, CA 90028 323-308-6300

www.kodaktheatre.com

Los Angeles Theatre 615 S Broadway Los Angeles, CA 90014 213-629-2939

www.broadwaytheatrela.com

Odyssey Theatre Ensemble

2055 S Sepulveda Blvd.

Los Angeles. CA 90025 310-477-2055

www.odysseytheatre.com

Orpheum Theater 842 S Broadway Los Angeles, CA 90014 877-677-4386 www.laorpheum.com

Pantages Theater 6233 Hollywood Blvd.

Los Angeles, CA 90028 800-927-2770

www.pantages-theater.com

Pasadena Civic Center 300 East Green St. Los Angeles, CA 91101 626-449-7360

www.thepasadenacivic.com

Royce Hall

340 Royce Dr. Los Angeles, CA 90095 310-825-2101 www.uclalive.org STUDIO 54 - NEW YORK CITY

Stages Theatre Center 1540 N McCadden Pl. Hollywood, CA 90028 323-465-1010

www.stagestheatrecenter,com

The Wiltern

3790 Wilshire Blvd.

Los Angeles, CA 90010 800-348-8499

www.wilternthetertickets.com

The World Stage

4344 Degnan Blvd.

Los Angeles, CA 90008 323-293-2451

www.theworldstage.org

West Coast Ensemble Theatre 804 N El Centro Hollywood, CA 90038 323-906-2500

www.wcensemble.org

We Tell Stories

5740 York Blvd.

Los Angeles, CA 90042 323-256-2336 www.wetellstories.org

Wadsworth Theater 11301 Wilshire Blvd.

Los Angeles, CA 90073 310-479-3636 www.richmarkent.com

Wilshire Theater

8440 Wilshire Blvd.

Beverly Hills, CA 90211 323-655-0111 The Wilshire Theatre Beverly Hills opened its doors on September 19, 1930. For the first 50 years of its life, the Wilshire served as one of the premiere movie palaces in LA and has hosted numerous premiers and special events. In 1981, the Theatre was renovated and converted to a stage venue. www.wtbh.org

My name is Heidi Klum and I’m an American Red Cross volunteer.

Will you join me?

We all have to look out for each other.

When you help the American Red Cross, you help America.

Through her involvement with the American Red Cross, Heidi Klum helps to save lives every day.

To learn how Heidi Klum is helping, or to find out what you can do to help, visit redcross.org.

H20234 July 2006

5 SYMPOSIUM | 55

915 East Las Olas Boulevard, Fort Lauderdale, FL 33301 954-463-3711 • www.Carrollsjewelry.com