Tuesday, May 21, 2019

Jeanne Jaffe at Arts Warehouse in Delray Beach

This is a repost of an event listing at the Arts Warehouse from their website

Jeanne Jaffe “Past, Present…”

April 20 - May 29


A solo Exhibition by Installation and Sculpture Artist, Jeanne Jaffe, titled “Past, Present…”

How people create meaning from the complexity of sensation, memory, myth, and cultural history is the overarching theme of all of Jaffe’s work. Specifically, Jaffe uses her sculpture and installations to explore how identity is constructed from early pre-verbal bodily experience, and later influences of language and culture. The work selected for “Past, Present…” are examples of this exploration.
The pre-verbal sculptures give concrete form to intangible sensations and early bodily experiences by creating hybrid forms –fusions of animate and inanimate worlds – thus appearing simultaneously familiar, yet strange. Throughout Jaffe’s more recent body of work, well-known folktales, history, and poetry are re-imagined through a contemporary lens. This theme is specifically showcased in the “Past, Present…” exhibition as an installation based on poet T. S. Eliot’s “Four Quartet’s”, a Buddhist-like meditation about letting go of all attachments.

Jeanne Jaffe is a multi-disciplinary artist who is Professor Emeritus in Multi-disciplinary Fine Arts at the University of the Arts in Philadelphia, a visiting artist/professor at Xian Academy of Fine Arts in China each fall and the coordinator of International Projects at the Jaffe Center for Book Arts. Ms. Jaffe is the recipient of fellowship grants from the Gottlieb Foundation, the National Endowment for the Arts, the Pennsylvania Council on the Arts, the Mid Atlantic/NEA, Mino Artist Residency in Japan, the Leeway Foundation and the Virginia A. Groot Foundation among many others. Works by Ms. Jaffe were reviewed in Art in America, Sculpture Magazine, and exhibited both nationally and internationally.

Special Programming: During the run dates of the Exhibition, Jaffe will be working onsite in a gallery-adjacent studio space for a two-week Residency Exchange, May 13th – May 27th 2:30pm – 6pm most days. If you’d like to confirm if Jaffe is in the gallery, please call ahead. Visitors will have the opportunity to watch Jaffe at work in the studio, study her process, and use of materials and even contribute to the work. Her focus during the Residency Exchange will be completing one piece for Past, Present…, which will be continuously installed and added on to in the gallery during the residency period. This piece will involve participation from the public visiting the gallery as it progresses. Viewers can become collaborators, and create fragments to be used in future work displayed in the exhibition. In-Gallery Hours will be posted soon!

Workshop: Jaffe will be hosting a Shadow Puppet Workshop on May 21st from 6 PM – 9 PM. Register for this class through Eventbrite by clicking here.

Jeanne Jaffe is part of our Jaffe Collection family at FAU libraries. She is the Coordinator of International Programs. You can find out more about the Jaffe Collection by following this link.

Monday, April 29, 2019

Film Nook now showing Cheryl Maeder's Frequency

We are thrilled to be showing The film short, Frequency 
by artist Cheryl Maeder. 


Over a period of five months, I researched and filmed reflections on a lake’s surface.  Every day that I filmed the lake’s surface, it took on a different pattern from sunny to overcast to rain, from calm, to turbulent.  On the editing of the film, I worked with Artist Mary Tidy-Coyle, an innovative conceptual artist.  There is always a transformative synergy in our collaborations.

Frequency communicates through non-verbal language the vastness of the infinite universe. 

It takes us on a psychological journey- questioning whether our universe is just one or many co-existing parallels?

The film is streaming during open library hours which can be found here.
or call 561-799-8530

Artist bios: Cheryl Maeder

I am a Fine Art Photographer and Video Installation Artist.
The core of my work has always been about “connection”; the innate connection to the self, each other and to all other life forms on this planet. We are not separate from nature. We are nature, the environment and the infinite universe.

I was born in Elmwood Park, New Jersey, USA, and in my early 20s moved to Zurich, Switzerland, where I studied photography at the Zurich University of the Arts.  After 8 years in Switzerland, I returned to United States and opened my photography studio in San Francisco, where I photographed international advertising and fashion campaigns. I transitioned from photographing fashion models to photographing real women. I wanted to celebrate the beauty of women in all shapes and sizes. My photography work became the inspiration for the Dove Campaign on Real Women, Real Beauty which transformed the way women are viewed in the global media.  In 2005, I relocated my studio to the Miami area and deeply immersed myself into fine art photography and filmmaking.

While the foundation of my work is photography, investigations into video and large-scale installations have expanded my visual world.  By immersing myself into the world of new technologies and shifting between the mediums, new opportunities for rewarding and creative collaborations have occurred for large-scale installations.  Through continuous experimentation, I utilize my camera as a precision instrument to replace the traditional tools of an artist’s studio, such as brushes and paint.  I focus my camera on the otherworldliness between reality and the abstract.

·         Permanent Collection Frost Museum, Miami & Coral Springs Museum of Art
·         The Louvre Museum, Paris, Group Exhibition
·         Museum of Contemporary Art, Rome, Italy, Miami New Media Film Festival, Public Art Platform, Art & Technology, Curated Thesis on Water, Climate Change & Communities Traveling Group Exhibition (Bogota, Caracas, Valencia, Miami, Santo Domingo, San Nicolas & Rome)
·         Montefiore Medical Center, Radiation & Oncology Dept., Permanent Collection
·         Solo Exhibition Miami International Airport Sept. 2016-2017
·         PBS, Filmmaker Project:  featured Filmmaker, funded by
National Endowment for the Arts
·         Submerge, Public Art Video Installation, City of West Palm Beach, Canvas Outdoor Museum
·         Auctioned at Sothebys New York

·         Exhibited at major art fairs worldwide including Art Miami, Scope NY, Art Toronto, Art London and Art Shanghai

Artist bios:  Mary Tidy-Coyle

Mary Tidy-Coyle is a nationally showing/published artist and curator. She is originally from Philadelphia, PA, where she received her BFA from the Tyler School of Art at Temple University, and her MFA from the Pennsylvania Academy of the Fine Arts. Currently Tidy-Coyle lives and works as a professor teaching Drawing, Painting & Art History, while continuing to produce and show her work.

In her artwork she is a creator of fiction- a storyteller, giving her audience just enough to compose their own narratives. As artist, filmmaker and actor she adorns many disguises in her video work.  By inserting herself into an invented world her performance as ‘actor’  allows for the re-invention of self, commenting on  issues of identity and gender.  In her constructed collages and paintings she juxtaposes people, places and things, relying on imagination & memory to create an unknown reality; leaving her audience to muse.

Wednesday, April 17, 2019

Chromatic by Linda Behar showing at Product 81 in Miami

Fordistas & StArt present - Chromatic by Linda Bahar

Explorations of modern standards of beauty, society and the individual’s sense of self.

Linda Behar is a Venezuelan artist who’s lived, worked and studied in the United States for nearly twenty years. Originally trained as a civil engineer, her interest in art led her to attend the Academia Taller Art y Fuego in Caracas where she studied glass casting and pate de verre. She continued studying new materials and methods at Florida Atlantic University where she received a Masters of Fine Arts with an emphasis on printmaking. Her current work integrates new technologies and traditional printmaking techniques, specifically woodblock printing. Behar has exhibited internationally, received numerous awards and has been a dedicated teacher in Venezuela as well as at the University of Miami, and Florida Atlantic University. ​

Behar’s work focuses on the modern standards of beauty placed on the female body and seeks to bring forward the contradictions between expectations and the individual’s sense of self. In Maccabees, she aims to create images that echo the past while embracing the future and empower women to fight for their rights in society. She used the concept of paper dolls as medium of culture and social expectation to question the representation of women’s bodies and gender identities throughout history.​

In her collaborative work entitled Chromatic, Behar invites over 300 women from a variety of backgrounds and cultures to participate in a project inspired by the complex geometric patterns of modern coloring books to explore gender identity throughout history and body language as it relates to gender norms. The black and white prints use traditional art nouveau iconography to represent confident nude women in through-provoking poses.

Library staff collaborated with this artist and we all contributed by coloring one of her prints. It is really exciting to see her work grow and this project take on a life of its own. Linda is a great artist. She was kind enough to present a printmaking demo to our students and we enjoy following her projects and exhibitions.

If you are in the MIami area stop by the show

Monday, April 1, 2019

Julia Oldham’s Fallout Dogs

We are proud to be showing the film Fallout Dogs by Julia Oldham in our film nook. It will be showing through the month of April. Come by to view the film anytime the library is open. Below is the trailer for the film and an essay written by the artist.

FIRST CONTACT: The Dogs of Chernobyl  Julia Oldham

On April 26, 1986, I was a child of seven, safe in rural western Maryland, when an explosion
ripped through Reactor 4 of the Chernobyl Power Plant, in what was then the Soviet Union.
Over the following three days this terrible accident would release about 400 times the amount
of radioactive material than the atomic bomb dropped on Hiroshima. Around 300,000
residents of the city of Pripyat and the settlements around Chernobyl would be evacuated.
Details of the meltdown would be kept secret by the Soviet government.

On May 6, 2018, I am 38 years old, and my partner Eric and I are climbing into a van in Kiev,
Ukraine to be borne away into the countryside, our destination the Chernobyl Exclusion Zone.
After a two-hour journey through dense forests and tiny villages with our driver Nikolai, we
arrive at the first Chernobyl security checkpoint. There’s nothing to see yet -- just a road, a
security kiosk, some tough-looking security officers, a traffic gate, a coffee stand, and a
souvenir shop. There is forest on both sides of the road. Here we are united with our guide
Ludmilla, a 36 year old Ukrainian woman with a shock of bright pink hair, punky clothes, blue
Adidas, and a pair of radioactive trefoil earrings. She gives me a big hug.

Ludmilla and I have been emailing for months in preparation for the creation of Fallout Dogs.
She knows the dogs in the zone better than anyone, having spent years feeding them, giving
them medications and minor medical procedures when they are injured. I have told her that I
want to create a portrait of Chernobyl that is led by the movements and behaviors of the dogs,
and that I want to go wherever they spend their time. We have five days to accomplish this,
which is about as long as a tourist like myself is allowed to stay in the Zone.

In half an hour we pull over to the side of the road and Ludmilla leads us on foot down a back
road to a rowdy pack of gorgeous mutts who are leaping, barking, dancing and delighted to
see her. She carries a plastic shopping bag of freeze dried liver, tracheas, kidneys, and other
kinds of goodies that she calls her “stinky stuff.” Everywhere we go, the crinkling of this bag is
a lightning rod for dogs.

“This is Samantha,” she says, pointing to a large shepherd-y looking dog who is dashing into
the forest. And she points to another big dog with a puppyish gait and huge feet, and says,
“And this silly-pants doesn’t have a name yet. What should we name him?” I suggest Mr.
George, and he is dubbed Mr. George Silly Pants forever after. “Silly-pants” is Ludmilla’s pet
name for all the dogs with the goofiest personalities.

Following our new dog friends, we walk along a path that leads to the abandoned village of
Zalissia, my first glimpse into the haunting remnants of human life in the Zone. The Zalissia
Town Hall was once a beautiful wooden building, and inside it there is a stage for public
presentations with a delicately ornate but decaying proscenium. Above the stage is a large red
sign that says in Ukrainian, “Long Live Communism, the Future of Humanity.” The floor is
partially gone, so we walk gingerly along the remaining planks, not wanting to fall through and
break our legs. The dogs join us and scamper around in the town hall, wrestling and trying to
get Ludmilla’s attention. This space is now theirs.

As we continue walking through Zalissia, we pass traditional Ukrainian village houses that have
been empty for over three decades, an old Lada Zhiguli car rotting away in what was once a
driveway, openings to root cellars, and scattered possessions, like kid’s shoes, left behind. The
most poignant moment for me is when I come upon an old dog house sinking into the earth,
and a ceramic food bowl just outside it, filled with leaves, soil and rainwater. The heartrending
duality of this abandoned dog house alongside the presence of the joyous and energetic strays
sets the stage for Fallout Dogs and the portrait of Chernobyl that I want to share. This is the
beginning of my story.

You can read Julia’s bio and find out more about her artwork by visiting her website here.

Follow us on Instagram for more images @FAUjupiterlib

Monday, March 25, 2019

Art New England journal

The current issue of Art New England journal [Mar/Apr2019, Vol. 40 Issue 2, p65-65, 1/2p]  has an article about one of our artist collaborators and friends, Linda Behar. Last summer our female staff members participated in her community coloring project, Chromatic, discussed in this article. Ms. Behar sent us prints and we colored them in. To see them all displayed together is very moving.

Here is a snapshot of the article [click to enlarge]

You can interlilbrary loan articles from this journal thorough our ILLIAD service.

To learn moare about this artist please go to her website here LINDA BEHAR

Wednesday, March 20, 2019

Performance and Installation at The Box Gallery

Performance and Installation

The Box Gallery
811 Belvedere Road, West Palm Beach, Florida 33405

Friday, April 5, 2019 | 7 PM

Special “Collective Action” 2019
“Black Point” by Muu Blanco

MUU explains it: “a black circle surrounded by white materializes the image of a bullet piercing through the human body. It is also the vanishing point for blood and bodily fluids. Blackpoint
recreates the focal spot that symoolizes the beginning and the end of an object’s track that
breaks unexpectedly and violently in a body. Entrance and exit, greeting and farewell, and
evident and indelible seal”. Blackpoint is, precisely, that “black hole” that is able to absorb and
dissolve –in an unpredictable instant- the stillness of our everyday and its certainties, its rituals
and possibilities.

Venezuela is heterogeneous, not because of its cultural or racial mixture, but because it is
made of shreds, of disperse and diverse narratives that overlap, oppose and even obliterate
each other, that deny and afflict violence upon themselves. In these last years that fragmentary
condition has been increased, dividing the social body in fractions that disavow one another,
so the nation –that text built by and for everyone, from agreements and symbolic practices became unreachable, splitting and plunging itself between an ungraspable, nostalgic identity
and an insufficient, fissured, impossible everyday.

Blackpoint, the performance in two movements by MUU Blanco, wanders trough the cracks
and wounds of that unreachable nation that is Venezuela nowadays, amongst-us and for
everyone, and does it by installing himself precisely in the arduous site of its tensions,
disconnections and controversies and reflecting on two antagonistic narratives: on the one hand, the heroic which deals with identity and patriotic values (allegorized by the beauty of its
landscapes and is territory) and, on the other, the raw sonic and visual attestation of the
violence -and repression- that abducts and taints its own social body (documented in the
events that occurred in Caracas, from February and March 2014). Amongst these two
narrations, one of them symbolic and aesthetic (the landscapes) and the other being broken
and elusive (the facts), MUU’s work installs itself as a calling, almost an outcry, to starkly
acknowledge the place where one lives and the place each one of us occupies in it, to reflect
on the both personal and collective task of fighting against the diffuse ways in which evil is
present, beyond our own wishes and personal opinions.

In this calling, this outcry, MUU is accompanied by RĂ¼diger Safranski who, in his book Evil or
the drama of freedom, undertakes a dense historical reflection on the ways in which evil occurs
in the world and how man, in the search of its own possibilities of becoming human tries to
counteract it. In this historical task of facing evil RĂ¼diger Safranski grants art a meaningful role,
not because of its capacity to produce beauty (and with it, good, as Plato would say) but, on
the contrary, because art is able to gather –or funnel- in present life –and in presence itself- the
intensities, potentialities and risks that are necessary to bring into play –that is, make way tofreedom, that difficult and fragile faculty that allows us to act being what we are. As a
discourse, Blackpoint thematizes freedom, its weaknesses, choices and liabilities, and does
so by facing that unavoidable –and also irrepressible- reality that situates us as part of a sociopolitical weave that surpasses us but in which we are not only participants but responsible.

That is why Blackpoint is not exactly a performance but a sort of “collective action” in which all
spectator will be unavoidably an active participant who will have to deal with the contradictions
displayed, that will forcefully answer to sounds as is absorbed by images, its sequences,
overlaps and inconsistencies. In this sense, Blackpoint proposes itself as an event –as a
happening- in the most literal sense of the word: it is a collective –public and political- space in
which something common is imposed and agitated; something n common builds stories,
encounters, citations, clashes and meetings.

As we said, Blackpoint two different narratives polemicize: at first, beautiful sequences of
paintings –landscapes- recover the “heroic deed” of giving birth to a nation on an Eden-like
land, a land filled with riches and beauties, a land so generous that has been able to obliterate
any other form of civic constitution. The landscape, so, represents in Venezuela not only a
pictorial genre, but a symbolic formula from which the nation becomes potentiality, heritage
and welfare: the landscape is at the same time an identity statement and a model for existence.
This heroic sequence is accompanied by a musical fusion in which heterogeneity affirms its
own strength, and where the Latin substrate is at the time founding and fundamental. An
introduction of joy and recognition, of appearance and festiveness: a commemorative start in
which MUU attends his possessions, his assets –as a person and as a member of a social
body- with the lucid irony of the one who knows that there, in the activity of becoming a territory, danger and impotence are also housed.

This first narrative is broken, in a demand for assistance –in an emergency- by that in
crescendo testimony, by real screams and shots there heard, by a swarm of images captured
on the streets, in which the insurmountable fractures and wounds of a rickety and decomposed
social body are shown. This testimony, far from being structured as a “narrative” inscribes itself
precisely as the place in where there is no longer possible to narrate, where stories are
dismantled and dissolved, where the amongst-all shows itself as impossible and freedom, in
any of its possible assumptions, is fractured. Superimposed on the heroic narrative of
landscapes, the images and sounds of protests come to show how what has been outraged
and violated is life itself: the life of this social body that we are, more and more, ceasing to be;
a social body that faces and cripples itself. In the end, as MUU announces, what remains is
the Blackpoint, that bottomless absence, that void, that calls on each one for an answer to
rebuild the limits of what is doable in order to assume strangeness before ourselves and the
others. by Sandra Pinardi, Caracas,

The Box Gallery
811 Belvedere Road
West Palm Beach, Florida 33405

Thursday, March 14, 2019

Video Lounge featuring Allison Kotzig

The Jupiter Library is launching a new art program that has an interactive lounge that features film and video projects produced by international artists. Staff at the Jupiter library transformed a small corner on the first floor into a comfortable seating area, where patrons can relax as they watch the featured videos.

Our  goal is to expose students to a new art medium, spark conversation and inspire possible projects for students. We have curated a series of videos from conceptual artists and filmmakers that will stream in the video lounge Monday through Friday from 10 a.m. to 3 p.m.  Each film will be exhibited for a one month period.

Our first feature artist is Allison Kotzig. Her film short called Ghost Orchid is being streamed now through March 29th.  The artist website is https://www.facebook.com/AllisonKotzig

"My video work explores dream and trance states brought about by light reflection and movement as they relate to identity, transformation, mystery and transcendental experience," said Kotzig. 

Ghost Orchid  


A Mambo interrupts time. In the interstices of the seconds, the spirits of the Ghost Orchids change form to dance and play in the Florida Everglades.

Concept, direction, editing: Allison Kotzig
Cinematography: Melissa McCabe
Mambo: Manbo Vivi
Ghost Orchids/Dancer: Glavidia Alexis
Ghost Orchids/Dancer: Tamara Augustin
Special thanks to Prem Subrahmanyam for his footage of actual Ghost Orchids in bloom.
Music: Manbo Vivi “Nan Gran Chemen” re-mixed by Allison Kotzig with everglades sounds

Here are a few video stills from the Ghost Orchid.

We are excited about this project because it will give the students and community the chance to learn more about video art as an art medium in a welcoming setting.

For updates about the art lounge, be sure to follow the Our Instagram