IN THIS ISSUE 4 LETTER FROM THE EXECUTIVE DIRECTOR 6 MOAS EMPLOYMENT SPOTLIGHT
Kristen Alford joins the Development Department and Stephanie Mason-Teague moves to the position of Director of Operations.
8 MOAS VOLUNTEER NEWS
Recap of the Annual Volunteer Brunch, Volunteer of the Quarter, and a farewell to retiring volunteers, Tom Davis and Marie Payne.
12 HIGHLIGHTS FROM SMALL WORLD: THREE CENTURIES OF CHILDHOOD FROM THE MOAS COLLECTION BY RUTH GRIM
Explore images of children and objects representing their life experiences through the past three centuries.
16 SUMMER EXHIBITS & PROGRAMMING CALENDAR 20 MOAS GUILD NEWS
BY DR. BEVERLY GRISSOM
ON THE COVER
This image, titled Trappist-1e, is part of the Visions of the Future poster series from NASA's Jet Propulsion Labratory, now on display in the Planetarium Lobby, which imagines possible future travel destinations to real exotic locations in space. Join us at MOAS this summer for this and many other amazing exhibits!
A Successful Start to 2018 with More Fun and Fundraising to Come
22 SMITHSONIAN JAZZ MASTERWORKS ORCHESTRA 2018 PERFORMANCES
Jazz Cities: Regional Style & Evolution
24 A CLOSER LOOK AT 100 FACES OF WAR BY ARLENE IRIZARRY
An interview with exhibit artist and creator, Matt Mitchell
28 ZACH IN TIME
BY J. “ZACH” ZACHARIAS
The Florida Time Machine - The Latest News from Florida: Wood Engravings from 19th Century Periodicals
32 OVER AND OUT BY SETH MAYO
Exoplanets: Worlds Beyond Our Own
GET JAZZED UP FOR THE SJMO'S RETURN TO MOAS! Read about this year's performances on page 22!
MOAS STAFF Executive Director ANDREW SANDALL RUTH GRIM, Chief Curator/Gary R. Libby Curator of Art ERIC MAUK, Curator of Exhibits MEGAN FINLEY, Curatorial Assistant ROBERT WOHLRAB, Curatorial Assistant JAMES ZACHARIAS, Senior Curator of Education and Curator of History NICOLE MESSERVY, Education Associate KELSEY HANSEN-KRAUSE, Group Tours and Education Coordinator SETH MAYO, Curator of Astronomy JASON SCHREINER, Planetarium Coordinator FAWAAZ DILJOHN, Planetarium Educator STEVE CONKLIN, Director of Finance DIANNE MORRIS, Finance Associate STEPHANIE MASON-TEAGUE, Director of Operations KRISTEN ALFORD, Director of Community Relations MONICA MITRY, Membership and Volunteer Coordinator JENELLE CODIANNE, Director of Marketing and Public Relations ALEXANDRA MIDDLETON, Director of Sales and Special Events TORI CARTA, Rental Manager JOHN BRUCE, Chief of Security BRANDON SHEPPARD, Facilities Manager Guest Relations Team MARK CARRUTHERS, Guest Relations Associate COREY COOK, Guest Relations Associate LORI HOEPFINGER, Guest Relations Associate CLARISSA LEON, Guest Relations Associate MICHELLE MCARDLE, Guest Relations Associate HANH NGUYEN, Guest Relations Associate LISA SHAW, Guest Relations Associate DORIS STRNAD, Guest Relations Associate Maintenance Team DEAN CORMIER, Facilities Assistant ISRAEL TAYLOR, Facilities Assistant CARLOS ZELLARS, Facilities Assistant Security Team JUSTIN ALISA, Security Officer WILL FIGUEROA, Security Officer ANDY GION, Security Officer LINDSAY MCCALEB, Security Officer AMANDA MITCHELL, Security Officer ORLANDO PACHECO, Security Officer ANGELO PIERCE, JR., Security Officer ALEXIS ROMEYN, Security Officer DORIS STRNAD, Security Officer DEVIN SULLIVAN, Security Officer
Editor JENELLE CODIANNE Contributing Writers RUTH GRIM DR. BEVERLY GRISSOM ARLENE IRIZARRY, Smithsonian Institution Traveling Exhibition Services SETH MAYO J. “ZACH” ZACHARIAS Art Director NIKKI MASTANDO, MASTANDO MEDIA
4 ARTS & SCIENCES MAGAZINE
LETTER FROM THE EXECUTIVE DIRECTOR DEAR FRIENDS,
It has definitely been a busy few months here at the Museum of Arts & Sciences with plenty going on behind the scenes as we gear up for summer and the whirlwind of energy that ANDREW SANDALL always hits us when we welcome our Summer Learning Institute campers to their classes! As I write this, we have a couple major – and much needed – projects just beginning that should be complete within the next few months. The Klancke Environmental Education Complex in Tuscawilla Preserve has been closed due to the severe damage it suffered during Hurricane Irma, which saw many sections of the boardwalk smashed by fallen trees. Thankfully, we have finally received our insurance funds to start the repair of this vital component of our site, and just a few days ago the removal of the trees that were blocking the boardwalk began. It won’t be an easy or short process as working conditions are far from ideal, but once completed, we can then begin the task of rebuilding the structures that were damaged and reopen the trail for visitors to enjoy once again. If you have visited us during, or after, heavy rainstorms, then you may have noticed the issues we have had with the roof in the Root Wing. That area is amazingly now one of the oldest parts of our building thanks to our recent constructions projects, and again, the last two hurricanes have really tested our facilities maintenance team’s ingenuity when it comes to the constant need for repairs. Thankfully, and thanks in no small part to the support of our friends in the Root family, we will be working to not only replace the roof in the Root Wing, but will also begin some cosmetic upgrades to Root Hall, bringing it more in line with the look of the newest parts of the Museum. It is a requirement for the Director of a 21st century museum to be able to find partnerships and benefactors that allow The pond overlook in Tuscawilla Preserve right after Hurricane Irma in September 2017.
us to undertake projects like this. For many years, MOAS was able to count on significant support from the State of Florida, which provided hundreds of thousands of dollars in general operating support to start every year off with a large percentage of our operating costs already covered. Since the recession in 2008, the financial landscape has changed for us all, but even before then in the early 2000s the size of grants available was dwindling. It was already a sharp drop when the Museum was granted just over $250,000 in 2002, but I know many of you will be amazed to hear that, despite having one of the highest scoring grants in the State, our award this year will be just over $10,000 – meaning that it will cover barely 0.004% of our annual operating costs. The days of starting the financial year off with 25% or more of our operating costs covered by this grant are now a long and distant memory. This is why the generosity of our supporters and donors is so important to us. The Board and staff at MOAS are incredibly proud of what we do here but know that the reality is that we have to earn pretty much every dollar we spend to operate the Museum and its programs. Our most generous benefactors are well known, but they would be the first to admit that it truly takes a village to do what we do. We have made great strides forward in improving our ability to earn income by diversifying what we do and appealing to new and wider audiences. It probably would not surprise you to learn that in all of our recent construction projects the ability to create dual-function spaces that operate well for museum purposes as well as for rentals, events, and programs was a major concern from day one of the design team coming together. We truly appreciate our members, donors, and supporters for their generosity. With traditional sources of support that have funded museums like ours for decades seemingly gone and unlikely to return, your support is more vital and more welcomed than ever.
The pond overlook in Tuscawilla Preserve after tree removal and clean up in May 2018.
BOARD OF TRUSTEES AND SPONSORS 2018 EXHIBIT SPONSORS
2018 BOARD OF TRUSTEES Melinda Dawson, President Linda Hall, Vice President Ellen O’Shaughnessy, Assistant Vice President Amy Workowski, Treasurer Katherine Hurst Miller, Assistant Treasurer Todd Huffstickler, Secretary Tom Hart, Assistant Secretary Bill Chapin, FAIA, Trustee Liaison Cici Brown, Past President Randy Dye Dr. Beverly Grissom, MOAS Guild Representative J. Lester Kaney Garrett Klayer, CPA Carl W. Lentz III, MD, FACS Rachel Samson Dr. Kent Sharples Allison Morris Zacharias
HONORARY TRUSTEES Miriam Blickman Anderson Bouchelle (Deceased) J. Hyatt Brown Alys Clancy (Deceased) Tippen Davidson (Deceased) Susan Root Feibleman (Deceased) Thurman Gillespy, Jr., MD Herbert Kerman (Deceased) Chapman Root (Deceased) Jan Thompson (Deceased)
GOLD Brown & Brown, Inc. Cici and Hyatt Brown Destination Daytona Beach Guild of the Museum of Arts & Sciences Halifax Health Spectrum Zgraph, Inc. SILVER Cobb Cole Daytona Beach News-Journal Daytona International Speedway Jon Hall Chevrolet Mastando Media NASCAR RLF Architects SunTrust Foundation BRONZE Bahama House Best Western Aku Tiki Inn Bomar Construction Embry-Riddle Aeronautical University Gary R. Libby Charitable Trust Giles Electric Family Tom and Peggie Hart Ed and Pat Jackson L. Gale Lemerand and Jill Simpkins Elanor Murray Silversphere Stuart and Lisa Sixma David and Toni Slick
ABOUT THE MUSEUM ABOUT THE MUSEUM OF ARTS AND SCIENCES The Museum of Arts and Sciences is a not-for-profit educational institution, chartered by the State of Florida in 1962 and accredited by the American Alliance of Museums. Museum collections and research include Cuban and Florida art, American fine and decorative arts, European fine and decorative arts, pre-Columbian and African artifacts, Pleistocene fossils, Florida history and regional natural history. Permanent and changing exhibitions, lectures, and classes highlight educational programs. The Museum houses changing arts and sciences exhibition galleries, permanent collection galleries, a gallery of American art, paintings, decorative arts and furniture, the Charles and Linda Williams Children’s Museum, the Cici and Hyatt Brown Museum of Art, the Cuban Fine and Folk Art Museum, a state-of-the-art planetarium, library, the Frischer Sculpture Garden, maintains nature trails in a 90-acre preserve in adjacent Tuscawilla Park, and operates Gamble Place in Port Orange. The Museum of Arts and Sciences is recognized by the State of Florida as a cultural institution and receives major funding from the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. Major Museum programs and activities for members, school children and the general public are also supported by grants from the County of Volusia, the Guild of the Museum of Arts & Sciences, Elfun Community Fund, and over 30 Major Sponsors from the community. MUSEUM HOURS: 10 a.m. – 5 p.m. Monday through Saturday 11 a.m. – 5 p.m. Sunday The Museum of Arts and Sciences is committed to the Americans with Disabilities Act by making our facility and programs accessible to all people. If you have any special requirements, suggestions, or recommendations, please contact our representative, Executive Director, Andrew Sandall, at 386.255.0285. If you prefer, you may contact the Cultural Council of Volusia County representative at 386.257.6000, or the Division of Cultural Affairs, The Capitol, Tallahassee 850.487.2980, or TT 850.488.5779.
Executive Director Emeritus Gary R. Libby Sponsor of the MOAS Portable Planetarium
Arts & Sciences is published quarterly by the Museum of Arts & Sciences, 352 S. Nova Road, Daytona Beach, Florida 32114, telephone 386.255.0285, website www.moas.org. Income from contributors helps offset a portion of the expense involved in the production of this publication. ADVERTISING INQUIRIES All inquiries regarding advertising should be directed to the MOAS Communications Department at 386.255.0285, ext. 320.
A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL OR RECOMMENDATION BY THE STATE. THE TOLL-FREE NUMBER IS 1.800.435.7352. FLORIDA REGISTRATION #CH-1851
MOAS EMPLOYMENT SPOTLIGHT
New Faces and New Positions at MOAS We would like to extend a warm welcome to Kristen Alford who joined the MOAS Development Department this past May as our new Director of Community Relations. Kristen had been working in a similar position for the Daytona Tortugas since 2015 and started her career at the Baseball Hall of Fame in Cooperstown, NY. Tasked with building our presence in the local business and philanthropic community, we are very much looking forward to watching her grow and develop this new position at the Museum. We would also like to congratulate Stephanie Mason-Teague who has moved to the Director of Operations position. Stephanie had been acting in this role for the past nine months after having joined the Museum staff as the Director of Development back in 2016. Her responsibilities will be to continue to improve our services to visitors as well as the physical condition of the museums and campus, and she will be working hard to keep our visitor experience at the highest possible level as befits our amazing collections, programs, and buildings.
6 ARTS & SCIENCES MAGAZINE
Kristen Alford, left, joins the MOAS Development Department and Stephanie MasonTeague, right, moves to the position of MOAS Director of Operations.
at the MUSEUM OF ARTS & SCIENCES
Your dream wedding starts with your dream venue. The Museum of Arts & Sciences and the Cici and Hyatt Brown Museum of Art in Daytona Beach feature a variety of truly unique settings for a wedding to remember. Our venues offer a modern-day bride the prestige of an artistic aesthetic while embracing the beauty of an endless color palette to play with. From rustic elegance to contemporary sophistication and classic traditional to refined intimacy, the Museum of Arts & Sciencesâ&#x20AC;&#x2122; stunning ceremony and reception locations offer you the wedding day backdrop that you have always wanted. Book a single room or a whole wing, include additional galleries or utilize the entire museum.
Book your walk-through today! Tori Carta, Rentals Manager 386-256-3607 or firstname.lastname@example.org
COMMUNITY SUPPORT HAS ALWAYS BEEN ONE OF OUR PRACTICE AREAS. Dedicated to our clients and our community since 1925.
Offices in Daytona Beach & DeLand 386.255.8171 | CobbCole.com For additional information or questions regarding this message, please contact Matthew S. Welch, Partner.
MOAS VOLUNTEER NEWS
Annual Volunteer Brunch Celebration On April 17, 2018, the Museum of Arts & Sciences held its Annual Volunteer Appreciation Brunch to celebrate another wonderful year at the Museum and to thank all those who helped make it possible. The Museumâ&#x20AC;&#x2122;s volunteers were treated to brunch by River City Catering, complete with mimosas, in the Planetarium lobby. Brunch was followed up with a You Run the Show presentation with MOAS Curator of Astronomy, Seth Mayo, who took our volunteers on a trip throughout the Universe to answer all of their hard hitting questions. Various milestone anniversaries were recognized from one year all the way up to 20 years of service to the Museum. During the last fiscal year of 2017, our MOAS volunteers contributed a total of 17,990 service hours to the Museum. According to pointsoflight.org, the value of a volunteer hour is $24.14 in 2017. This means that in the past year, MOAS volunteers contributed more than $400,000 in valued services. These hours of service do not go unrecognized and the generosity of our volunteers cannot be overstated. 8 ARTS & SCIENCES MAGAZINE
Various milestone anniversaries were recognized from one year all the way up to 20 years of service to the Museum.
VOLUNTEER OF THE QUARTER
Melissa takes great pleasure in volunteering at the
Museum of Arts & Sciences whenever she has the opportunity. The Museum has been part of her life
since she was a young child. The fact that she can give something back to a place that has provided her with such fond memories feels great! Melissa began
One Year Anniversaries
PATRICK FORESTELL Events ANNE GALYA Docent WAYNE GALYA Guest Relations BARBARA WELLER Guest Relations
Three Year Anniversaries
ANN COLMAN Docent CAROL GABRIEL Guest Relations PHILIP KEYON Guest Relations NANCY LAUBIS Guest Relations RUTHIE NICKELL-CORTES Docent CHONG REICHARD Guest Relations BOB SKINNER Docent/Administrative CAROL ANN MORITZ Docent
Five Year Anniversary
CAROL ZOFKO Administrative
Ten Year Anniversary LU ROBERTS Guest Relations
Fifteen Year Anniversaries
BRENDA AXELSON Guest Relations LUCY JACKMAN Guest Relations JIM KOTAS GE Volunteer CARLA TOPPER Docent
Twenty Year Anniversary MARYLOU MCPHERSON Guest Relations
volunteering in 2015 in the Membership Department.
She would fold and stuff the membership invoices, which she found both relaxing and satisfying. Her favorite
job has been assisting during the quarterly
wine tasting events, which have allowed Melissa
her passion of food
and beverage with
the community. She hopes to see you at the next wine tasting!
Tom Davis and Marie Payne!
The MOAS staff and fellow volunteers wish a warm farewell to two longtime volunteers, Tom Davis and
Marie Payne. Tom has served as a docent since 2006, providing tours for visitors and groups at MOAS and
the Cici and Hyatt Brown Museum of Art. Marie has served as a docent since 2000, providing tours for
visitors of all ages at MOAS. We want to thank both Tom and Marie for their time and dedication to the
Museum and wish them both the best of luck in their future endeavors.
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EXHIBIT FEATURE | BY RUTH GRIM, CHIEF CURATOR/GARY R. LIBBY CURATOR OF ART
m o r f s t h g i l h g
O W L L A M S
: RLD :
f o s e i r u t n e C e e r h T e h t n i d o o h d l i h C n o i t c e l l MOAS Co
mages of children and objects representing their life experiences through the past three centuries are common in the collection of the Museum of Arts & Sciences. As such, they provide a unique view of childhood in the West since the 1700s
Fig. 7 - Humpty Dumpty
and demonstrate some of the marked changes in ideas about children and the process of growing up that occurred over the centuries. Highlighted here are some of the paintings, games, toys, and prints to be seen in the current exhibition.
Fig. 1 - Wellcome Images. Founding Hospital: Captain Coram and several children, the latter carrying implements of work, a church, and ships in the distance. Steel engraving by H. Setchell after W. Hogarth (artwork not on display in the Small World exhibition).
One of the most dramatic changes in the western understanding of childhood since the 1700s was the growing recognition that play was important and essential to a child’s development. This concept is so ingrained in our contemporary idea of childhood that it is easy to forget that for generations the biblical phrase “Idle hands are the devil’s workshop” from Proverbs 16:27 held sway when raising children. Working class children, in particular, were given tasks at a very young age and modern notions towards child labor and discipline were a long way in the future. In this print dating from the mid-1700s (fig. 1), for example, children at the Foundlings Hospital are shown with a spinning wheel and other textile implements as this was a part of their life at the orphanage – making woolen cloth to produce their own clothing. Documents show the children started working as young as age four or five. Gradually, through the course of the “Age of Enlightenment” when the systematic and scientific education for all youth age groups began to move to the norm, children were moved into early schoolhouses for at least part of
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Fig. 2 - Jean-Francois Millet, French, 1814-1875, Trussing Hay, 1850, oil on canvas, Musée du Louvre, Fance (artwork not on display in the Small World exhibition).
the day, however, working in the fields might often follow. (fig. 2). It is against this backdrop that it is almost a relief to see the many images that emerged in the 19th century of children doing what they do best – play. MOAS has a charming quartet of paintings by the New England painter, Charles Osgood (1809-1891), that show children Playing Ghost (fig. 3), tickling each other, trying to tie a rib-
Fig. 3 - Charles Osgood, American, 1809-1891, Playing Ghost, c. 1850, oil on canvas
bon to a dove, and teaching a puppy how to shake hands. All of the children appear toddler age and are more cherubic than portraitlike, signifying that the paintings are more allegorical or representative of certain themes or emotions than based on real scenes. Nevertheless, they ring true and warm our hearts with their celebration of innocent childhood. The children’s clothing appears to be high-end, so these works were undoubtedly meant for a well-to-do family or establishment and reflect happy, healthy years of privileged babies. One of the most famous such privileged children in the painted world is the Infanta Margaret Theresa in Diego Velázquez’ Las Meninas (fig. 4). Considered one of the most studied masterpieces in Western art for the many different references and pictorial tricks
Velazquez included in this painting. It is also a classic example of traditional notions of childhood that lasted for centuries prior to the Enlightenment. The Infanta Margaret Theresa is dressed in an elaborate little gown that Fig. 4 - Diego Velázquez, Spanish, 1599-1660, Las Meninas, 1656, oil on canvas, Museo Nacional del Prado, Spain (artwork not on display in the Small World exhibition)
is a miniature version of the type worn at the royal court in Spain in the 17th Century. With a tightly-fitted bodice, pinched and layered sleeves, and a full hoop-skirt, this is hardly an outfit a child would feel free to play in, in stark contrast to the loose clothing worn by the children in the Osgood paintings. This was by design, for children of royal standing at court during this age would rarely be shown at play and were depicted essentially as miniature adults. Presumably, they were expected to act that way, too – at least when in the public eye. Other sections of the Small World exhibition focus on popular games and toys from past centuries. Two of the most interesting of these are early examples of image projection and animation. A 19th century Magic Lantern projected charming little vignettes of children and adults at play and leisure (fig. 5) and a Praxinoscope used a spinning wheel of images which were reflected in mirrors to create animated scenes of figures moving, such as skipping rope. Pre-dating the sophisticated media available to children today, these precursors were common and prove that pictures have entertained little ones throughout the ages. The lantern slides included in the exhibition show scenes, such as children playing the age-old game of war – in this case, a battle led by mounted captains – and a series of visual fishing jokes in which one character’s large nose attracts a large fish jumping out of the water and another fisherman loses his toupee. Slapstick humor has not changed. Other games and toys in this section include Billy Whiskers Party, (fig.6) an early version of pin-theFig. 6 - Saalfield Publishing Co., American tail-on-the20th century, Billy Whiskers Game, 1915, screenprint on fabric donkey that was popular in the early years of the 20th century. It was based on a popular book series written by Frances Trego Montgomery and published 14 ARTS & SCIENCES MAGAZINE
Top: Fig. 5 - Two magic lantern slides, c. 1900, painted glass Bottom: Fig. 8 - Paul Landacre, American, 1893-1963, Children’s Carnival at Night, n.d., etching
from 1903-1921. The game instructions are written on this fabric screen print along with the marketing suggestion to purchase the Billy Whiskers books to give out as prizes. Dolls and their accessories – the frequent companions to most youngsters – also occupy this section. Victorian baby dolls with their classic ceramic features join simple yet much-loved stuffed versions such as Humpty Dumpty dressed in stars and stripes (fig. 7). Later works in the exhibition include mid-20th century prints by Paul Land-
acre (fig. 8) and Luis Quintanilla. Paul Landacre’s (American, 1893-1963) image of a Children’s Carnival at Night captures all the wonder of childhood as the rides and games of the carnival seem to come alive with magical energy under the nighttime lights. Landacre’s hallmark was the dramatic contrast between light and dark so associated with the art of etching. Here he uses it to stunning effect and captures a delightful, almost fantastical image – as if seen through the eyes of a child – to remind us of those early years of innocence when so much was fascinating and awe-inspiring.
Are you d r iv ing fo r t he a rts ? Purchase a Florida Arts License Plate and support the arts in your county.
The Florida Arts License Plate is available in all local tag offices or through the mail. Locate your tag office at
www.flhsmv.gov/locations www . f l h s m v. g o v / o f f i c e s PSJ PHOTOGRAPHY
SUMMER EXHIBITS Visions of the Future
ONGOING THROUGH 2018 – PLANETARIUM LOBBY This colorful, creative poster series from NASA’s Jet Propulsion Laboratory, now on display in the Planetarium Lobby, imagines possible future travel destinations to real exotic locations in space. The retro-style artwork takes inspiration from travel advertisements of the past and combines them with intriguing objects within our Solar System and far-off exoplanets. Photo Credit: Trappist-1e, NASA
Art and Science: The Paintings of James H. Vredevoogd
APRIL 21 THROUGH JULY 22, 2018 – ROOT HALL James H. Vredevoogd, a native of Michigan, taught painting, sculpture, and performance art at Edinboro College in Pennsylvania for 32 years. His painting style is self-described as “Surreal Realism” in that he paints images that appear dreamlike or surreal in a realistic manner. Relying on scientific theory, literature, and philosophy, his paintings are as beautiful as they are enigmatic and invite the viewer to “read” his narratives on canvas. A neighbor to the west, Jim Vredevoogd and his wife Jeanette (also an artist) have called Dunnellon, FL home for several years now. Photo Credit: James H. Vredevoogd, Cat’s Cradle, 2017
Brett Weston: Significant Details
THROUGH JULY 29, 2018 – KARSHAN CENTER OF GRAPHIC ART An exhibit that focuses on Weston’s close-up photography, featuring 42 photographs spanning nearly 60 years. The works – more than half of which are on view for the first time – share the high-contrast and graphic qualities of Weston’s panoramic photographs while emphasizing the “significant details,” the tendency toward abstraction and extremes in tonality that Weston explored throughout his career. Exhibit courtesy of Brett Weston Archives and the Pasadena Museum of California Art with the exhibition tour organized by Photographic Traveling Exhibitions, Los Angeles, CA. Photo Credit: Brett Weston, Cracked Glass, 1954
Shutters on the Battlefield: An Intimate Look at Photography in WWII
THROUGH AUGUST 5, 2018 – NORTH WING CORRIDOR The Second World War was at its time, the most documented war in human history. The entire war was photographed from start to finish by professional photographers and regular civilians caught up in one of the most turbulent times of the 20th century. Nearly every event around the world was documented with photographs to create a record of what happened. From the beaches of Normandy to the Holocaust, and even in the snowy mountains of Attu located in the North Pacific, cameras went everywhere. The rolls of film shot during those epic years that were saved on cameras brought home by servicemen or were captured on battlefields by their former owners. These snapshots from a private local collection provide unique views of the war, often by those who fought it. Photo Credit: Photographer Unknown, Raising the Flag on Iwo Jima
Modern Aspirations: Art Deco from the Collection
THROUGH OCTOBER 23, 2018 – BOUCHELLE CHANGING GALLERY The style of visual arts, architecture, and design known as Art Deco first appeared in France just before World War I and flourished through the “Roaring Twenties” and up until the beginning of WWII. It emphasized streamlined form in keeping with a “modern” age of speed and rapid advancements in the design of buildings, furniture, jewelry, fashion, cars, movie theaters, trains, ocean liners, and everyday
objects. It was also the style of the Jazz Age, Flappers, and Prohibition as a new freewheeling culture emerged and women were allowed more comfortable clothing such as menswear and danced in short dresses and cut their hair short. This exhibition brings paintings, sculpture, graphic, and decorative arts together from the collection to look at the many ways this style manifested itself in Western culture nearly 100 years ago. Photo Credit: Harrington Mann, The Blue Coat
Small World: Three Centuries of Childhood in the MOAS Collection
JUNE 30, 2018 THROUGH AUGUST 19, 2018 – FORD GALLERY An exhibit highlighting children in everyday life through paintings, prints, and objects in the MOAS collection. Throughout the 18th and 19th centuries in Europe, the idea and significance of childhood and childhood experience changed. This exhibition will look at this phenomenon as reflected in the art from these centuries to the present. Photo Credit: Marie-Eleonore Godefroid, Prince Charles Lucien Murat, c. 1820
All Aboard! Vintage Railroad Memorabilia from the Root Family Museum
AUGUST 9, 2018 THROUGH OCTOBER 7, 2018 – NORTH WING CORRIDOR For generations, many sights and accommodations awaited those who chose the train as their preferred long-distance system of transportation. This exhibit displays the ephemera of this period of railroad travel including brochures, menus, tickets, luggage tags, promotional material, and other printed materials. These objects are potent visual reminders of a time when “All Aboard!” was a familiar refrain in American life. Photo Credit: INTERSTATE TRAVELER train and motor coach timetable, June 1926, New York and Boston Auto Tourist Co.
Whistler & Company: The Etching Revival
SEPTEMBER 1, 2018 THROUGH NOVEMBER 25, 2018 – KARSHAN CENTER OF GRAPHIC ART Expatriate American artist, James Abbot McNeill Whistler played an essential role in the etching revival of the 19th and early 20th centuries. The exhibition includes nearly a dozen works by Whistler, whose gritty images of the River Thames, views of Venice, and Parisian scenes revived, at least in part, the art of etching in the 19th century. Other artists who participated in the etching revival include Muirhead Bone, Mortimer Menpes, Charles Meryon, Maxime Lalanne, Joseph Pennell, and Frank Duveneck, among others. Whistler & Company: The Etching Revival is organized by the Reading Public Museum, Reading, Pennsylvania. Photo Credit: James Abbott McNeill Whistler, Billingsgate, 1859
100 Faces of War
SEPTEMBER 1, 2018 THROUGH NOVEMBER 25, 2018 – FORD GALLERY 100 Faces of War, a traveling exhibition from the Smithsonian, features 100 oil portraits of Americans who went to war in Iraq and Afghanistan, by artist Matt Mitchell. Representing a cross section of home states, military branches, jobs, and backgrounds, every portrait includes a candid, first-hand account of war. This exhibit is sponsored locally by the Florida Humanities Council. 100 Faces of War is an exhibition organized for travel by the Smithsonian Institution Traveling Exhibition Service in collaboration with artist Matt Mitchell. Copyright © 20052014, Matt Mitchell. All rights reserved.
Stay in touch! For the latest exhibit and programming information, sign up for our e-newsletter on the Museum’s homepage at MOAS.org!
16 ARTS & SCIENCES MAGAZINE
Currently on Display in the Cici and Hyatt Brown Museum of Art "The Latest News from Florida": Wood Engravings from 19th Century Periodicals
A. WORLEY BROWN & FAMILY GALLERY Wood engravings from 19th century illustrated magazines and journals documenting events in the remote land of Florida - a state that few northerners knew a lot about or would ever visit. The works in this exhibit are grouped into three sections - "life", "industry", and "war". "Life" includes depictions of daily activities and amusements. "Industry" includes depictions of processes such as citrus growing and harvesting and preparing Spanish moss for commercial purposes. "War" includes depictions of the armaments, military activities, fortification structures, and naval events. These topics proved to be of interest to those who bought these publications. Featured Painting: Harper’s Weekly, Ft. Pickens 1861
Fun in the Sun
SENA H. AND THOMAS L. ZANE GALLERY This exhibition consists of over 30 works from the collection that represent Floridians and tourists enjoying the events, activities, and natural treasures available in Florida. Paintings feature scenes of fishing, beach going, horse racing, annual celebrations, and more. Featured Painting: Adolf Arther Dehn, 4th of July in the Keys, ca. 1940
FRANCE FAMILY GALLERY Experience a myriad of Florida weather in just one day. The Florida Weather gallery offers a look at Florida weather as represented by art. Florida is known for weather that changes with uncanny speed. Sun, rain, wind, clouds, storms, and fog all play a part in what the artist sees and wants to capture. The color, technique, rhythm, and texture are focused to evoke the full sensation of what is Florida's revealing environmental trait.Featured painting: Naomi Duckman (Furth); Storm on Seven Mile Bridge, Florida Keys, 1935
The Seminole and the Everglades
FRANCE FAMILY GALLERY The Everglades is a region of tropical wetlands that occupies the southern portion of Florida. Water leaving the vast, shallow Lake Okeechobee in the wet season forms a slow-moving river 60 miles wide and over 100 miles long. Human habitation in the southern portion of the Florida peninsula dates from 15,000 years ago. The region was dominated by the native Calusa and Tequesta tribes. After European colonization, both tribes declined. The Seminole nation emerged out of groups of Native Americans, mostly Creek, from what are now the northern Muscogee peoples. Artists from the early 19th century on have found the visual characteristics of the people and the land compelling subjects for artworks. The climatic conditions change frequently giving new dimensions of color, motion, and light to the landscape. The dramatic variables are a challenge to the painter attempting to capture a specific moment. The flora and fauna are often unique and fascinating. Rendering them is as often for scientific documentation as it is for the decorative motif. Featured painting: James F. Hutchinson; Seminole Man, 1992
The Volusia County gallery contains paintings with the county as the subject. Volusia County has encouraged both well-known and less-known artists to portray the environments and people from the county from the last quarter of the 19th century and on. Featured painting: James Calvert Smith; Stop the Train, ca. 1950
For more information about the Cici and Hyatt Brown Museum of Art, please visit www.moas.org
SUMMER PROGRAMS Ongoing Events Wednesday Yoga in the Gallery Wednesdays, 5:30pm-6:30pm Take a break from your busy day and enjoy weekly Yoga in the Gallery at the Cici and Hyatt Brown Museum of Art. Meet in the lobby to join registered yoga instructor, Ashley Brooks of Holistic Movements, for an hour-long session that will provide you with an opportunity to practice a series of gentle yoga poses. Class is open to all experience levels. Please bring a mat, towel, and water. Space is limited and registration is required. RSVP to the Museum at 386-255-0285. $5.00 for members, $10.00 for future members.
July Thursday, July 12 5:30pm-7:30pm Wine Tasting: Wines of Summer Join us at the Cici and Hyatt Brown Museum of Art for our wine tasting series with S.R. Perrott. Spend the evening among friends while you sip up knowledge on swirling, tasting, and describing wines while learning about different pairings with light appetizers. This month’s program will be focused on Wines of Summer, featuring Rosé’s, white wine, and great summer red wines, perfect for any hot weather occasion. This event is for ages 21 and over. Seating is limited. RSVP by calling the Museum at 386-255-0285. $25.00 for members, $35.00 for future members. Saturday, July 14 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Laser Retro 8:00pm Laser Beatles
9:00pm Pink Floyd – The Wall $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. Admission goes on sale one week prior to the shows. Thursday, July 19 2:00pm-3:30pm Florida Vistas Book Club: A Death in Live Oak by James Grippando Join us for our next Florida history book club meeting at the Cici and Hyatt Brown Museum of Art. When the body of Jamal Cousin, president of the preeminent black fraternity at Florida’s flagship university, is discovered hogtied in the Stygian water swamps of the Suwanee River Valley, the death sets off a firestorm that threatens to rage out of control when a fellow student, Mark Towson, the president of a prominent white fraternity, is accused of the crime. Light refreshments will be served. RSVP by calling the Museum at 386-255-0285. Free for members, $5.00 for future members. Thursday, July 26 8:30am-5:00pm MOAS Member Trip to the Cummer Museum of Art and Gardens and the Museum of Contemporary Art Jacksonville Take a trip with MOAS to downtown Jacksonville. Begin the day at the Cummer Museum of Art and Gardens. Tour the temporary exhibit, Storytelling: French Art from the Horvitz Collection with a docent and then continue to explore the rest of the Museum. Enjoy lunch at the Black Sheep Restaurant, a local farm to table restaurant in the heart of Jacksonville. End the day with a docent lead tour of the Museum of Contemporary Art Jacksonville on the campus of the University of North Florida.
Must be a MOAS member to attend. Kindly RSVP by July 19 by calling 386-255-0285. Please meet at the Cici and Hyatt Brown Museum of Art no later than 8:30am. A full schedule can be found in the online calendar at MOAS.org. $60.00 for members. Includes transportation and museum admission. Lunch is not included. Friday, July 27 8:30pm-11:30pm Summer of Planets Viewing Party Join us for a Moon and planet gazing event in our front entrance courtyard! There will be a spectacular planetary showing with Venus, Jupiter, Saturn, and Mars, along with a full Moon visible throughout the evening. Mars will be the main attraction, rising a little later in the evening and at opposition – opposite of the Sun in the sky, and its closest and brightest since 2003. There will be a plethora of telescopes (weather permitting) setup with local stargazing experts that can help you enjoy the celestial view. The MOAS Planetarium will be hosting live shows about stargazing and Mars for your enjoyment. Guests are welcome to bring their own outdoor chairs, telescopes/binoculars, and their curiosities about the universe. The outdoor telescope viewing portion of this event is free to the public. All Planetarium shows are $2.00 per person for both members and future members. Saturday, July 28 7:00pm-9:45pm Summer Saturday Laser Rock Concert 7:00pm Laser Country 8:00pm Laser Vinyl 9:00pm Laser Zeppelin $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. Admission goes on sale one week prior to the shows.
SUMMER PROGRAMS Monday, July 30 5:00pm-7:00pm MOAS After Hours Join us for our monthly MOAS After Hours and enjoy after-hours access to the galleries, live music, happy hour drink specials, and food for purchase from a local food truck! Enjoy a special tour with MOAS Chief Curator/Gary R. Libby Curator of Art, Ruth Grim, of the new Small World exhibition in the Ford Gallery. This exhibition contains paintings, prints, and objects from the collection that show children at play. This exhibition looks at the change in the significance of childhood and childhood experience throughout the 18th and 19th centuries in Europe. Free for members, $5.00 for future members.
August Thursday, August 2 6:00pm-7:30pm Evening with Florida History Join us for a presentation on Florida history in the Root Family Auditorium. Free for members, $7.00 for future members. Grand Hotels of Florida Part II Join Senior Curator of Education and History, James “Zach” Zacharias, for a look at the second grouping of grand hotels in Florida. Discover the cultural and architectural history of the many great historical hotels and resorts that still service Florida tourists today. Learn about grand hotels such as the Alcazar Hotel, the Gasparilla Inn & Club, the Vinoy Park Hotel, Casa Marina Key West, along with many others.
The Fallen Local Heroes of WWII Discover the many stories of Daytona area heroes during World War II. Learn how they served our country and how they became fallen heroes. Join local historian, Joe Vetter, and discover how many of our streets became memorialized with the names of these fallen heroes.
Saturday, August 11 1:00pm-5:00pm Volusia Collectors Day: Anything and Everything Join us for a fun day at the Museum and see what treasures fellow Volusians collect. Everybody collects something, and people collect for many reasons. Objects are important as they illuminate abstract ideas and trigger happy memories. From young to old, learn the history of the collections on display and how the collector came to be. Discover unique collections from antique fans and political campaign memorabilia to vintage cameras – as well as so much more! Free for members or with paid museum admission. Saturday, August 11 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Electrolaze 8:00pm Laser X (contains some explicit lyrics) 9:00pm Laser Metallica $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. Admission goes on sale one week prior to the shows. Tuesday, August 14 6:00pm-8:00pm Cocktails & Creations: Instructional Painting with Lauren Breegle of Lauren’s Art Club Join us in the Entry Court at the Museum of Arts & Sciences for the next event in our Cocktails & Creations series. Take a quick 18 ARTS & SCIENCES MAGAZINE
tour of the All Aboard! Vintage Railroad Memorabilia from the Root Collection exhibit and get inspired for an instructed paint night themed around artwork in the collection with Lauren Breegle of Lauren’s Art Club. Enjoy a complimentary signature cocktail, light appetizers, and music while you let the creative juices flow! Ages 21 and older are welcomed. Seating is limited. RSVP by August 10 by calling the Museum at 386255-0285. $30.00 for members, $35.00 for future members. Thursday, August 16 2:00pm-3:30pm Florida Vistas Book Club: Colored Town, Dr. Mary McLeod Bethune and Me by Jessie Mae Walton-Woodard Join us for our next Florida history book club meeting at the Cici and Hyatt Brown Museum of Art. An inspirational story of a child who was mentored and loved by Dr. Mary McLeod Bethune, a woman of greatness. Jessie Mae Walton-Woodard spent many days with Dr. Bethune during her formative years. This memoir gives the reader a heartwarming account of the love of an insightful woman and a village child. Light refreshments will be served. RSVP by calling the Museum at 386-255-0285. Free for members, $5.00 for future members. Saturday, August 18 11:00am-2:00pm Family Craft Day Join MOAS Educators, Kelsey Hansen and Nicole Messervy, for a fun-filled day of crafts and more! This craft day we will be celebrating Florida native animals. Numerous craft tables will be set up in the West Wing for families to enjoy. From 12:00-2:00pm the Central Florida Zoo will have six animals present to visit and learn about. Free for members or with paid museum admission. Saturday, August 18 3:00pm-3:45pm You Run the Show! Join us in the Planetarium for this audience guided show that can take you anywhere in the universe that you would like to go! Come with your questions, curiosities, and interests as we navigate freely through the Planetarium’s vast digital universe. We cannot wait to explore the universe with you! Free for members or with paid museum admission. Thursday, August 23 3:00pm-4:00pm Root Family Museum Collections During the Gilded Age and Progressive Era Come observe the Gilded Age as reflected in objects from the Root Family collection. The Gilded Age and Progressive Era was a time of great change in American Society from 1865-1920. The story of this time period can be seen through Coca-Cola, teddy bears, patent medicines, factories, trains, and much more. Join Senior Curator of Education and History, James “Zach” Zacharias, for a unique discussion through this amazing collection. Learn the history of these objects within the context of the Gilded Age and Progressive Era. Free for members or with paid museum admission. Saturday, August 25 7:00pm-9:45pm Summer Saturday Laser Rock Concert 7:00pm Laser U2
8:00pm Laser Beatles 9:00pm Pink Floyd – The Dark Side of the Moon $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. Admission goes on sale one week prior to the shows. Monday, August 27 5:00pm-7:00pm MOAS After Hours Join us at the Museum of Arts & Sciences for exclusive after-hours access to all of the galleries, including a planetarium show! Enjoy live music by solo fingerstyle guitarist, Amber Russell, happy hour drink specials, and food for purchase from a local food truck. Free for MOAS members, $5.00 for future members. Thursday, August 30 12:00pm-1:30pm Lunch and Learn: The Collection Up Close and Personal at the Cici and Hyatt Brown Museum of Art Join Senior Curator of Education and History, James “Zach” Zacharias, at the Cici and Hyatt Brown Museum of Art for a unique art history experience. This fun and interactive Lunch and Learn will first send you through the galleries in search of specific images and details. Discover important details and key stylistic traits in various works of art throughout the galleries. Return back to the Education Room to discuss the significance as it relates to the subject matter of the painting. This Lunch and Learn will help you look at the overall Florida landscape on a deeper level. Call the Museum at 386-255-0285 to RSVP and place your lunch order. Space is limited and advanced RSVP and paid lunch are required. Lecture and tour is free plus the price of paid lunch for members. Lecture is $5.00 plus the price of paid lunch for future members. Friday, August 31 5:30pm-7:00pm Renaissance Society Preview: 100 Faces of War The Museum invites our MOAS Renaissance Society members to enjoy an exclusive preview of the new traveling exhibition from the Smithsonian Institution, and sponsored locally by the Florida Humanities Council, 100 Faces of War. American portrait painter, Matt Mitchell, showcases the Iraq and Afghanistan wars through these 100 portraits of those who served in the military. Participate in a brief exhibition tour during the evening with MOAS Chief Curator/Gary R. Libby Curator of Art, Ruth Grim. Enjoy an open bar throughout the evening. Kindly RSVP by August 24 by calling 386-255-0285 ext. 315 or by emailing email@example.com. You must be a Renaissance Society member to attend this preview. Free for Renaissance Society members.
September Saturday, September 1 5:30pm-7:00pm Member Exhibition Reception: 100 Faces of War Enjoy an opening reception for the new exhibition, 100 Faces of War, from the Smithsonian Institution, and sponsored locally by the Florida Humanities Council. American portrait painter, Matt Mitchell, showcases the Iraq and Afghanistan wars through these 100 portraits of those who served in the military. Enjoy a cash bar throughout the evening. Free to the public.
SUMMER PROGRAMS Wednesday, September 5 3:00pm-4:00pm Whistler & Company: The Etching Revival Join Ruth Grim, Chief Curator/Gary R. Libby Curator of Art for a lecture on the exhibition Whistler & Company: The Etching Revival from the Reading Public Museum in Pennsylvania. James Abbot McNeill Whistler (1834-1903), one of the most familiar names in American art at the turn of the last century, nevertheless, spent most of his career in England where he played an essential role in the etching revival of the 19th and early 20th centuries. This lecture will examine his gritty imagery of the River Thames, views of Venice, and Parisian scenes brought forth through etching, a medium that had lost popularity over the ages. Valued for its ability to render atmosphere and strong light and dark contrasts, etching came into its own during the Renaissance but found its greatest champion in Rembrandt in the 17th century. The Dutch master produced thousands of copies of his prints and helped elevate the art of etching during his lifetime. But after his death, it fell off in popularity and it was up to Whistler and his circle to revive the art form c. 1890. Rediscovering the unique properties of this medium, they created prints prized for their evocative images of a particular time and place using this time-honored art form from the past. Free for members or with paid museum admission. Saturday, September 8 10:00am-3:00pm Natural History Festival Join for us for the 13th Annual Natural History Festival, a fun and exciting day of fossils, marine specimens, minerals, ecology, and more! A full schedule with lecture descriptions can be found at MOAS.org. Free for members or with paid museum admission. Schedule 10:00am - Fossil Hunters TV Show 11:00am - River of Grass, River of Time: The State of the Everglades in 2018 with Clayton Ferrer 12:00pm - 40 Years of Exploring Volusia Ecosystems with David Griffis 1:00pm - A Short History of Nearly Everything with Jeff Rogers 2:00pm - Smithsonian Environmental Research in the Indian River Lagoon with Dr. Valeri Paul, Director of the Smithsonian Marine Station at Fort Pierce, Florida Saturday, September 8 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Laser Spirit 8:00pm Laser Zeppelin 9:00pm Pink Floyd – The Wall $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. Admission goes on sale one week prior to the shows. Thursday, September 20 2:00pm-3:30pm Florida Vistas Book Club: Before his Time: The Untold Story of Harry T. Moore by Ben Green Join us for our next Florida history book club meeting at the Cici and Hyatt Brown Museum of Art. In Jim Crow Florida, a young black man’s courageous fight to obtain equal rights for blacks ends in a personal tragedy that remains unsolved to this day. This is his story. Light refreshments will be served. RSVP by calling the Museum at 386-255-0285. Free for members, $5.00 for future members.
Saturday, September 22, 2018 10:00am-5:00pm Smithsonian Museum Day Live! Enjoy free Museum admission when you present a Museum Day Live! coupon. Beginning August 15th, visit Smithsonian. com/museumday for details and to download your coupon. Coupon does not include planetarium admission. Saturday, September 22, 2018 1:30pm-2:30pm 100 Faces of War: Art Therapy Panel Discussion Addressing the growing field of Art Therapy, panelists will discuss the history of this practice and the goals involved in using the arts for emotional and psychological healing. Many different strategies and approaches have been identified over the years and it is now recognized almost universally that artistic expressions such as painting, sculpture, literature, music, theater, etc. can begin the healing process when other avenues have failed. The panelists included bring viewpoints from national to local and academic to community-based to show the many resources available to the public. In conjunction with 100 Faces of War, a traveling exhibition from the Smithsonian Institution, and sponsored locally by the Florida Humanities Council, the Art Therapy Panel will be held in the Root Family Auditorium and will be moderated by Ruth Grim, MOAS Chief Curator/Gary R. Libby Curator of Art. The panelists participating are Heather Spooner, Assistant Scholar, Center for Arts in Medicine, University of Florida; Susan Saloom, American for the Arts National Initiative for the Arts & Health in the Military; M.B. McClatchey, Florida Poet Laureate for Volusia County and Professor of Classics at ERAU; Robin Saenger, Founding President, Peace 4 Tarpon Community Initiative. Free for members and veterans, free with Smithsonian Day Live! coupon from Smithsonian.com/museumday, or included with paid museum admission. Saturday, September 22, 2018 2:45pm-5:00pm 100 Faces of War: Hands-on Art Session In conjunction with 100 Faces of War, a traveling exhibition from the Smithsonian Institution, and sponsored locally by the Florida Humanities Council, join Heather Spooner, Assistant Scholar and Instructor at the University of Florida’s Center for Art in Medicine, at the Museum of Arts & Sciences in an art making session designed to build on the notion of using art forms to explore and work through personal issues. This class is for ages 18 and older. Space for this class is limited. Call the Museum at 386-255-0285 to RSVP in advance. Free for members and veterans, or included with paid museum admission. Monday, September 24 5:00pm-7:00pm MOAS After Hours Join us at the Museum of Arts & Sciences for exclusive after-hours access to all of the galleries, including a planetarium show! Enjoy live music, happy hour drink specials, and food for purchase from a local food truck. Free for MOAS members, $5.00 for future members.
Friday, September 28, 2018 6:00pm-10:00pm Passport to the Jazz Age Join us at the Museum of Arts & Sciences for Passport to the Jazz Age, the Museum’s 8th Annual Gala Fundraiser! Enjoy an evening filled with prohibition era cocktails, a progressive dinner showcasing the Museum, and a fabulous silent auction. Finish the evening with an exclusive performance by the Smithsonian Jazz Masterworks Orchestra as they transport you to different cities that played a significant role in the incubation of jazz music and developed unique regional styles that would slowly influence and inform the larger language of jazz. Call the Museum today at 386-255-0285 to purchase admission or visit MOAS.org. $95.00 per person. Table sponsorships are available.
Saturday, September 29, 2018 3:00pm-5:00pm Smithsonian Jazz Masterworks Orchestra Matinee Concert Jazz Cities: Regional Style & Evolution It is commonly accepted that New Orleans was the birthplace of jazz, but many cities and regions around the country played a significant role in the incubation of jazz music and developed unique regional styles that would slowly influence and inform the larger language of jazz. Paired with the continual evolution of technology, changing regional characteristics, migration, education, and cultural shifts, we will explore jazz as it has continued to evolve around the country and in new generations. Please reserve admission in advance by calling 386-255-0285 or in-person at MOAS. This event is popular and will sell out. $20.00 for members, $35.00 for future members. Saturday, September 29, 2018 7:00pm-9:00pm Smithsonian Jazz Masterworks Orchestra Evening Concert Jazz Cities: Regional Style & Evolution It is commonly accepted that New Orleans was the birthplace of jazz, but many cities and regions around the country played a significant role in the incubation of jazz music and developed unique regional styles that would slowly influence and inform the larger language of jazz. Paired with the continual evolution of technology, changing regional characteristics, migration, education, and cultural shifts, we will explore jazz as it has continued to evolve around the country and in new generations. Please reserve admission in advance by calling 386-255-0285 or in-person at MOAS. This event is popular and will sell out. $20.00 for members, $35.00 for future members.
Find up-to-date programming information at moas.org.
GUILD NEWS | BY DR. BEVERLY MCMURTRY GRISSOM, MOAS GUILD PRESIDENT
A Successful Start to 2018
With More Fun and Fundraising to Come
ore successful fundraising events have been held by the Guild! It is gratifying to see such hard work bear so much fruit! Our fashion show was a sellout, as was the garden party. The committee members, led by Judy Krombholz and Marilynn Sternberg respectively, who donated their time and talents to these two really excellent events, deserve our congratulations and our profound gratitude. Artful Interludes continue to be very popular friendraisers for our Guild. Sue Fream and Ruth Snyder have been steadfast and creative in their efforts to offer interesting cultural excursions. Mike Armstrong, George Fortuna, and a cadre of devoted event volunteers had everything under control to stage our Annual Childrenâ&#x20AC;&#x2122;s Museum Golf Classic. Well, everything except the weather!
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Soaker rains for two days and a forecast of more of the same on the day on which the Tournament was scheduled forced the decision to postpone our Tournament to Friday, October 26th. While disappointing, the delay gives us more time to find more sponsors and players. This is an opportunity for YOU to step up and help us make this tournament the biggest and best weâ&#x20AC;&#x2122;ve had to date. Do you know someone who could be a sponsor, donate items for the popular silent auction, or form a foursome for golf? If you do, have them contact Mike Armstrong, PitneyB@aol.com, (203) 414-2379. Work on our fabulous Halifax Art Festival, scheduled for November 3-4, 2018, has begun in earnest. As a point
of accuracy, the work began the day after the last HAF!! It is a huge job and takes many volunteer hours. George Fortuna and his team have a depth and breadth of experience in how to organize and operate a superior festival. We already have more signed artists than we had this time last year! The reputation of the quality of our festival continues to grow, making the event increasingly popular with artists and the public. When we needed a new chair or cochairs for our Family Festival of Trees, who stepped forward? Two of our hard-working volunteers, Kathy Wilson and Karrie Houlton! I want to publicly thank them for readily signing on to take over this project. We have other vacancies at this time that must be filled. Read on.
Leadership and volunteer opportunities abound in our Guild at this time! This is a very busy and productive Guild. It takes hundreds of volunteer hours to produce the events that raise funds and friends for our Museum. We are always open to new ideas and energy. As you might expect, circumstances change in people’s lives that create turnover in our active volunteer base. Frankly, some volunteers and leaders get burned out after a few years. You often see the same familiar names and faces chairing and/ or working our fundraisers. They love what they do for the Guild, and they have such fun working together. Beyond the satisfaction of knowing they have accomplished something meaningful for the Guild, Museum, and community, they make many new friends with whom they share good times and good teamwork. While paying dues, attending meetings, and coming to events is helpful, there is more that is needed to be the support our museum wants and needs from us. I urge you to step forward and help us do our work; the personal gratification, fun, and friendships you gain will be an enrichment to your life.
WHAT WE NEED NOW: • Spring Fashion Show Chair • Garden Party Chair • Artful Interludes Chair Be assured that each of the aforementioned committee chairs will already have individuals who are willing to work on the events. Which role will you fill? Beyond these chair positions, we are always looking for new volunteers to help with our many projects. Do enjoy your summer and please search within your volunteer soul and come forward to help us fulfill our mission. The Museum needs YOU! I am presently plotting and planning some special “addons” for the Guild this fall and winter. Stay tuned! And be ready to say, “YES!”
Jazz Cities: Regional Style & Evolution
oin us Saturday, September 29, 2018 for an afternoon performance from 3:00 p.m. to 5:00 p.m. and an evening performance from 7:00 p.m. to 9:00 p.m. of the Smithsonian Jazz Masterworks Orchestra (SJMO) Concert, Jazz Cities: Regional Style & Evolution. Admission is $35.00 for future members and $20.00 for members. Please reserve in advance at 386-255-0285 or in-person at MOAS. Reserve early! This event is popular and will sell out. The Smithsonian Jazz Masterworks Orchestra Concerts are part of the 8th Annual
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Septembers with the Smithsonian at MOAS.
It is commonly accepted that New Orleans was the birthplace of jazz, but many cities and regions around the country played a significant role in the incubation of jazz music and developed unique regional styles that would slowly influence and inform the larger language of jazz. Cities like Chicago, New York, Los Angeles, Kansas City, St. Louis, and others inspired musicians and composers to develop their own personal voice and fostered a recognizable regional sound and
style, just like another language or regional concert. Paired with the continual evolution of technology, changing regional characteristics, migration, education, and cultural shifts, jazz continues to evolve around the country and in new generations.
Featured musicians include: Scott Silbert, on clarinet and tenor saxophone, Tom Williams, on trumpet, Jennifer Krupa on trombone, Tony Nalker, on piano, James King, on bass, our artistic director Charlie Young, on alto saxophone, and our executive producer Ken Kimery on drums.
Saturday, September 29 3:00 p.m. and 7:00 p.m. Performances
SEPTEMBERS WITH THE SMITHSONIAN | SJMO PRESENTS
became a member of the Smithsonian Jazz Masterworks Orchestra, an ensemble dedicated to the preservation of American classical music.
Tom Williams (Trumpet), has led a sparkling and varied career since he began studying trumpet and drums as a child. Tom joined the renowned Duke Ellington Orchestra, under the direction of Mercer Ellington, with whom he played the national tour of the Broadway smash, Sophisticated Ladies, also touring Japan with the road company. A versatile performer, he has appeared at numerous jazz festivals and venues throughout Europe, Asia, and the United States with artist such as Donald Brown, The Vanguard Jazz Orchestra, Gary Bartz, Hank Jones, Philly Joe Jones, The Woody Herman Orchestra, Frank Foster, The Smithsonian Jazz Masterworks Orchestra, Slide Hampton, Larry Willis, Art Taylor, Milt Jackson, Marlena Shaw, and Barry Harris to name a few. Tony Nalker (Piano), Since 1989, Tony
The Musicians Charlie Young (Alto Saxophone),
multi-instrumentalist, is a native of Norfolk, VA. Presently, he resides in Washington, D.C., where he is Professor of Saxophone. As a regularly featured member of the Duke Ellington Orchestra since 1988, having performed in Europe and the U.S. with his own jazz quintet, he was invited to the first annual San Remo (Italy) Jazz Festival as Musical Ambassador for Washington, D.C. In 1995, Young
had been the pianist of the premiere jazz ensemble of the U.S. Army, The Army Blues, is currently the group’s enlisted leader, and will be retiring from the Army in early 2017. Nalker plays for the highest levels of the U.S. government and military and has performed on USO tours to Iraq and Afghanistan. He has also toured on musical diplomacy missions throughout the world for the U.S. State Department. Since 2005, Tony has served as pianist of the Smithsonian Jazz Masterworks Orchestra, performing throughout the country to share the Smithsonian’s collection of iconic jazz works with the American public. Since 2012, he has also worked with the National Symphony Orchestra Pops. He has also performed on hundreds of recordings in a variety of styles including jazz, folk, children’s music, pop, Broadway, and country.
James King (Bass), was born in Hous-
ton, Texas. He studied at Texas Southern University, the Hampton University, and the University of the District of Columbia and was a well-known bassist in the Mid-Atlantic region. Mr. King has lived and worked in the Washington, D.C. area since 1977.
During a musical career that spans more than 25 years, Mr. King – in addition to leading his own groups – has performed with Stanley Turrine, Buck Hill, Elvin Jones, Marlena Shaw, and Ronnie Wells, among others. He has appeared at major jazz festivals in North America and abroad including the North Sea, Montreal, and Pori. Mr. King appeared on the Kennedy Center Millennium Stage as part of the December 25, 1999 Christmas Day Jazz Jam, and he performed in the K.C. Jazz Club with Stephanie Nakasian in her Tribute to June Christy, and also T.S. Monk and his ensemble.
Scott A. Silbert (Clarinet and Tenor Saxophone), a prolific arranger and composer, he has contributed over 50 arrangements for use by the Navy Band’s Commodores jazz ensemble, the Concert Band and Ceremonial Band. In addition, Silbert has performed with the National Symphony Orchestra (Washington, D.C.), the Bruce Gates Jazz Consortium, and appeared with Rosemary Clooney, Bob Hope, Milt Hinton, Stanley Turrentine, and Bob Crosby.
Jennifer Krupa (Trombone),
is an active trombonist and composer in Washington, D.C. A member of the United States Navy Band Commodores jazz ensemble, Jen also performs regularly with the Smithsonian Jazz Masterworks Orchestra, Sherrie Maricle and DIVA Jazz Orchestra, and her own group, JLQ with saxophonist Leigh Filzer. Jennifer has also earned a Bachelor of Music from the University of North Florida and a Master of Music from the University of Maryland.
Ken Kimery (Drums), Executive Director of the Smithsonian Jazz Masterworks Orchestra and Jazz Oral History Program, Ken has produced over 300 concerts in Washington, D.C. Since 1994, the SJMO has traversed the United States taking the Museum to the four corners of our country. Some of the many highlights include concerts at Symphony Hall in Atlanta, GA for the 1996 Olympic Game, the Washington National Cathedral for Duke Ellington’s Centennial, the Monterey Jazz Festival, the Kennedy Center Concert Hall, and Strathmore. ARTS & SCIENCES MAGAZINE
Amy Donahue Army, Specialist Paralegal
Nicholas B. Chavez Marine, Lance Navy, Petty Officer Second Class Sonar Technician, Torpedo Launch, USS Mobile Bay, USS Curtis Wilbur
Koufan Hersons Marine, Staff Sergeant Aviation Mechanic
Donisha Lindsey Navy, Petty Officer Second Class Navy Aviation Maintenance Administrator
Jeffrey Michael Lucey Marine, Lance Corporal Convoy Driver
Keith McKnight Air Force, Staff Sergeant Intelligence/Surveillance Camera Operator
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A CLOSER LOOK AT 100 FACES OF WAR | BY ARLENE IRIZARRY, PUBLIC AFFAIRS COORDINATOR SMITHSONIAN INSTITUTION TRAVELING EXHIBITION SERVICE
Witness the pride, sacrifice, and humanity of those who served in Iraq and Afghanistan through this traveling exhibition from the Smithsonian, featuring 100 oil portraits. Representing a cross section of home states, military branches, jobs, and backgrounds, every portrait includes a candid, first-hand account of war.
All images: Copyright © 2005–2014, Matt Mitchell. All rights reserved.
n 2005, an increasingly disturbing feeling of disconnection from recent war conflicts ignited a desire in artist Matt Mitchell to learn more about the American experience of those who served in Iraq and Afghanistan. At the time, he did not have any connection to the military. However, that changed after he read an article in a local newspaper about an Iraq veteran coming home. The story moved him profoundly. That’s when he decided to call the parents of Jeffrey Michael Lucey, who would become the first individual he painted for 100 Faces of War. Lucey’s portrait, along with 99 other portraits of and statements from those who served, are featured in the exhibition.Organized by the Smithsonian Institution Traveling Exhibition Service, it will be on view at the Museum of Arts & Sciences on September 1 through November 25, 2018. For this article, we had the opportunity to interview Mitchell who offers us a glimpse at the concept behind this exhibition, and the veterans willing to share their personal experiences of war with him.
100 Faces of War is an exhibition organized for travel by the Smithsonian Institution Traveling Exhibition Service in collaboration with artist Matt Mitchell.
What motivated you to start this project? I went to the town library to look through the records of the local papers to see if I could find articles of veterans returning. The stories about Jeff struck me. He had returned from Iraq and taken his own life a year later. I couldn’t stop thinking about him. At the time, there was no public awareness of either PTSD or veteran’s suicide. Jeff’s parents were remarkable for wanting to talk about these things with the media. I was in a bit of a conundrum, because I believe it is important to meet someone in order to do his or her portrait. I resolved to meet with Jeff’s parents to ask if they had any photos I could work off, and to try to talk with them in order to get a feel for who Jeff was. They were very gracious. We sat on their deck, and they told me stories about their son. It was a powerful experience, and obviously difficult for them. As I drove home, I resolved that I must do this project. You could say that was the true beginning of the work.
How did you decide on the format of the paintings for the exhibition? When I first visualized it, I saw it as a room filled with the spirits of many people. It would have to be a massive quantity of work in terms of portraits in order to reflect the scale of the wars. I did not want the portraits to look like they were from some bygone era. Part of the feeling of modernity would be that each of them would be facing forward and placed in the frame in a casual way, like a snap shot. It also became important to line up all of their eyes at the same height, and to show them all in the same light in order to project a sense of equality.
Why do you work at this scale? I made the faces life size, so the viewing of the portraits feels like a personal encounter. The dimension of the paintings was determine by how much of a person you generally see when standing at conversational distance.
Why did you do 100 portraits and not 50? When talking about the American involvement in Iraq and Afghanistan we are talking about millions of people. It seemed vital to do a large number of work to reflect this. One hundred seemed like it would do the job.
Are you still in close contact with the people you painted, or the families of the fallen soldiers? Yes, I have the fortune of still being in contact with many of the people I met on this journey. Painting a portrait, especially when you work from life, is a distinctive experience. Often we would talk as I painted them, because I believe it is more important to know a person than to have them sit still in front of you. Sometimes the conversation flowed. Inevitably, it turned toward their time in the wars, yet it was in the context of making something. We were not talking politics. I was trying to represent them as a human being to the public through the arcane, intuitive means of putting brush to canvas. Facebook allows a lot of us to keep up with each other, and I have gotten to be friends with a couple of the people who live locally.
military in Iraq and Afghanistan. Yet it was challenging to come to a reasonable idea of a cross section. The wars were in progress, and the information online was much more difficult to find. After I had been working on the project for five years, I had the good fortune to meet Dan Burland, a sociologist of the military. He volunteered his time to help me make clear categories, and to find the statistics I needed in order to make a better cross section.
Can you tell us about the educational aspect of this exhibition? While painting these portraits I learned a lot about the wars that does not necessarily come across in the portraits. There are many things about the make-up of the armed forces today that most people would find surprising. In addition, if you look closely at the biographical information for each portrait it is possible to see reflections of particular moments in history that are important to remember. As citizens, we are inextricably tied to our military, and it seems wise to know something about the way it works. â&#x20AC;&#x192;
Do you think art is a tool to heal the traumas of war?
There is a great power in being part of a creative work, and there is something important about creating a symbolic thing with a sense of community. Some of the people I painted in my studio later told me that the experience made them feel like they had come home, even though they had been back in America for some time. For the 100 Faces of War exhibition, I was not the only one doing the work. Each of the participants had to decide what to say next to their portrait. This was very difficult for many of them to do, yet many remarked that it was a cathartic process. It is easy to imagine that these are just human tendencies, and that people would benefit from them after any war. Trying to find some creative way to reintegrate into public life after war does seem like it would be universally important.
What is the greatest satisfaction you have achieved with this project, and what experience do you want visitors to take home?
How was the process of conceptualizing this project?
Knowing that therapists at the U.S. Department of Veterans Affairs have used this exhibition to help veterans with PTSD is one of the greatest satisfactions.
It evolved slowly. First, I had the idea to do the large group of portraits. When doing the first portrait, I decided to include some words by each person (an idea encouraged by my wife). However, including writing from each of the portrait subjects made the project much more difficult. In order to show a balanced view of the wars it became necessary to try to find a cross section of those who served. I set out to do this entirely on my own, partly because I underestimated how complex the military was. As the years passed, I researched more the composition of the
I hope that veterans visiting the show feel like they can be heard. I want them to know that people can drop their politics for a moment and just listen, human to human. I hope that the civilian public leaves feeling they have seen the human dimension of the American experience of war from the inside. For everyone, I hope that they feel the great breadth of the modern American experience of war, and the need to listen to many voices in order to understand such complex things in our society.
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ZACH IN TIME | BY JAMES "ZACH" ZACHARIAS, SENIOR CURATOR OF EDUCATION AND CURATOR OF HISTORY
MOAS exhibit amazes with Florida history from the Civl War through the Gilded Age!
The Florida Time Machine
It is summer in Florida, so you can expect it to be very hot and humid no matter the year.
THE LATEST NEWS FROM FLORIDA: WOOD ENGRAVINGS FROM 19TH CENTURY PERIODICALS The wood engraving prints at the Cici and Hyatt Brown Museum of Art are a treasure trove of Florida history. These amazing and highly detailed wood engravings showcase Florida’s history from the Civil War through the Gilded Age to around 1900. These amazing documents, some now around 150 years old, are seen as a window into the state’s history that gives us insight into important historical events. Most of these woodblock engravings in the exhibit are from Harper’s Weekly: The Journal of Civilization as well as other popular publications and periodicals of the time. The illustrations were the key to their success due to an Englishmen, Thomas Bewick. He invented a new form of mechanized wood engraving working in conjunction with the movable type. Bewick used a burin tool and a dense block of wood, usually from the box tree, which allowed the illustration to be at the same level as the movable typeset. Newspapers were more easily mass produced with numerous illustrations throughout the publication, thus providing a more visual experience. Harper’s Weekly, a current events newspaper, started in 1855 out of New York City by the Harper Brothers and quickly became the most popular publication in America with a circulation of nearly 200,000. As with many periodicals, the publication was passed around and had a readership closer to 400,000 to 500,000 in some estimates. The rise of tensions between the north and south fueled its popularity, and new techniques in en28 ARTS & SCIENCES MAGAZINE
MRS. LT. GILMAN, FORT PICKENS, PENSACOLA HARBOR, FLORIDA-LOOKING SEAWARD. FORT MCRAE IN THE DISTANCE, FEBRUARY 23, 1861. HARPER’S WEEKLY. WOOD ENGRAVING ON NEWSPRINT PAPER.
graving allowed society to receive more timely news in a matter of days. Originally, the newspaper remained neutral before the Civil War but once hostilities broke out, Harper’s Weekly became a proUnion publication supporting the cause of the north. This was the first media war brought into the homes of the American public and these weekly newspapers gave birth to modern journalism. This was the first time the artists and journalists were embedded into the areas of conflict. Most of them were of Northern origin and followed the federal armies. More than a dozen journalists lost their lives during the conflict. They had the ability to witness and sketch the events unfolding in the theater of war first-hand. Artists were paid for their drawings at a rate that averaged $5.00 to $25.00 per sketch. Although photographs were becoming more common, the technology did not yet exist to mass produce them in an
efficient way. Most of these artists and engravers remained in obscurity with a few exceptions like Winslow Homer and Granville Perkins.
In Florida, artists sketched encampments, fortifications, and battles, especially Pensacola. After the Civil War, these illustrations and articles focused on themes like the Everglades, the agricultural industry, tourism, and other events that became historical milestones. These images mattered and they resonated with the general public and further proved the old saying, “a picture is worth a thousand words.” In the exhibition, "The Latest News from Florida": Wood Engravings from
GRANVILLE PERKINS, NAVAL PRACTICE, KEY WEST, APRIL 1874. HARPER’S WEEKLY. WOOD ENGRAVING ON NEWSPRINT PAPER.
19th Century Periodicals, there are many highly detailed and crisp illustrations that give us a “Kodak Moment” in Florida’s history. These images are an excellent resource that connects us to our past and let us know we are all part of history. The image, Fort Pickens, Pensacola Harbor, Florida-Looking Seaward. Fort McCrae in the Distance, February 23, 1861, shows us this important colossal fortification with a dark stormy sky and rough ominous sea. Here, Fort Pickens stands like a strong sentinel ready for action. The American flag flies prominently above the fort with a distant warship in the background. This sketch was created by Mrs. Lt. Gilman, artist and wife of one of the officers stationed at the fort. This is the only wood engraving print in the collection that was produced by a female. Fort Pickens was constructed with over 21 million bricks and is the only fortification located on the barrier island known as Santa Rosa. It sits at the entrance of the bay waiting to protect Pensacola from a foreign invading power. Ironi-
cally, it was not designed to protect an adversary from land. Fort Pickens, during the Civil War, was controlled by the Union, and it would reposition itself to fire back on 10,000 confederates that had seized control of the city, including the all-important naval yard. Union control of the fort was crucial in that it saved Pensacola and its important harbor from permanent control by the Confederates, thus having the potential to prolong the war. It was one of only a few forts in Florida that saw heavy action. It began as a retaliatory strike from an early attempt by the rebels to seize control of Santa Rosa Island. Commandant Harvey Brown gave the command on November 21 and 22, 1865 to open fire at will on rebel positions across the bay at Fort McCrea, Fort Barrancas, and the naval yard. Some 5,000 rounds were launched with the Confederates firing back roughly only 2,000 rounds. After the two-day exchange of cannon fire, Fort McCrea was leveled, and as a side effect, millions of fish floated up dead in the bay from the heavy percussions. Not long after the engagement, the Confederates withdrew from Pensacola leaving it in Union control for the rest of the conflict.
The famous American artist and illustrator, Granville Perkins, a Baltimore native worked for Harper’s Weekly and produced a sketch called Naval Practice, Key West, April 11, 1874. Here he documents a post-Civil War United States Navy torpedo practice. He captures the epitome of the drills with a torpedo exploding and creating a huge updraft of seawater. A torpedo in 1872 was any underwater explosive device. A submerged bomb or a torpedo would be dragged underwater and tethered to the stern or amidships hoping for the explosive device to make contact with an enemy ship. If it made contact it would ignite underneath causing massive destruction to the vessel. Granville depicts this emerging technology and naval scene with a dramatic, stormy sea and sky showing a chaotic scene. Key West, although having southern sympathies, was also home to Union-controlled Fort Zachary Taylor and was a depot for captured Confederate ships during the war. The timing of this illustration is the last year of the formal reconstruction period bringing the Southern states back into the fold of the Union. Continued on page 30
FRANK HAMILTON TAYLOR, GENERAL GRANT ON THE OCKLAWAHA, FEBRUARY 14, 1880. HARPER’S WEEKLY. WOOD ENGRAVING ON NEWSPRINT PAPER.
JAMES E. TAYLOR, VIEW OF A TRAIN AT TALLAHASSEE, 1868. FRANK LESLIE’S ILLUSTRATED PRESS. WOOD ENGRAVING ON NEWSPRINT PAPER.
An amazingly detailed image which is a great source for learning about Northeast Florida history is titled, General Grant on the Ocklawaha, February 14, 1880. Much has been written on the social history of the St. John’s River and its tributaries. This illustration shows former president Ulysses S. Grant on tour in Florida raising awareness for a possible run at a third term presidency in 1880. Grant takes the typical tourist excursion of a day on the river running up the Ocklawaha to Silver Springs. The Ocklawaha River is the largest tributary of the north-flowing St. John’s River. Grant would have boarded this small unique steamer, the Marion, at the river town of Palatka. Many small steamships ventured up the crooked Ocklawaha River and were built specifically for this unique narrow water system. The artistjournalist is Frank Hamilton Taylor, who was given permission to accompany the former president’s entourage on the excursion, which would have been quite an honor. Taylor shows the steamer billowing black smoke through an exotic jungle-like river ecosystem with tall palmettos towering above the vessel in the background. Vast amounts of vegetation are depicted on either side of the river giving readers a sense of its remoteness and exotic nature. Taylor depicts the image as if viewing the passing craft from the banks of the river and makes sure that the American flag is prominent on the bow of the ship. The engraver is so skilled in his creation of this image that
the steamer and vegetation are reflected in the calm tannic waters. Ulysses S. Grant made his way to the curious Silver Springs where he was greeted by the mayor and hundreds of freed slaves who saw him as a savior. Grant, however, did not win a third term and died a few years later in 1885.
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Frank Leslie’s Illustrated News, a popular New York competitor to Harpers Weekly, shows us an important scene in 1868 by James E. Taylor titled, View of a Train at Tallahassee, 1868. In this scene, a train moves through the outskirts of Tallahassee with a man and women watching the train pass through. The background is fascinating in that it shows a union encampment in a field outside the capital. This is during the time of post-Civil War reconstruction lasting from 1865-1872. Union soldiers are present to protect the capital and enforce the rule of law. The neoclassical capitol building is shown along with a large church steeple in the background. The train is the Tallahassee Railroad which moved goods, mainly cotton, from the city to Port Leon, approximately 22 miles due south of Tallahassee. This railroad is the oldest in the state and one of the earliest in the nation which began operations in 1837. During the Civil War in 1865, it was used to transport Confederate troops south of Tallahassee to the Battle of Natural Bridge, thus saving the capital from falling into Union control. In an amazing local connection, James Ormond III, while
living in Tallahassee, used the rail connection in his business dealings in the panhandle area. He also met his wife, Elizabeth while riding the train. Later, the town of New Britain in the Halifax area was changed to Ormond Beach in honor of James Ormond III. The Tallahassee Railroad was one of the longest lasting in the nation, ending its run in 1980. Today, it is part of a popular rail to trails system.
These amazing illustrations allow us to travel back in time to Civil War Florida and the bourgeoning Gilded Age to glimpse Florida’s past within the broader context of American History. These images reflect change, connect people, and capture seminal moments in our state’s history. Within these illustrations, we can observe and learn about technological change, industrial developments, and social history. There are many illustrations to see and observe in the exhibit. Too many for this article to discuss. Visit for yourself and learn more about this important historical collection of illustrated art.
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OVER AND OUT | BY SETH MAYO, CURATOR OF ASTRONOMY
Worlds Beyond Our Own
As astronomy has unveiled, it turns out that our universe is filled with planets beyond our Solar System. These extrasolar planets, or exoplanets for short, are part of a relatively new branch of astronomical study, the first being found as recently as the early 1990s.
Since then, at the writing of this article (May 2018), there have been 3,725 confirmed exoplanets detected, with thousands more to be confirmed. This renaissance of exoplanet discovery was made possible by a handful of detection methods and the reliance of observatories on the ground, and in space. This past April, NASA and SpaceX launched a new exoplanet space telescope called 32 ARTS & SCIENCES MAGAZINE
TESS (Transiting Exoplanet Survey Satellite), which will scan almost the entire night sky for planets in our local neighborhood of stars in the next couple of years.
Launch of NASAâ&#x20AC;&#x2122;s TESS (Transiting Exoplanet Survey Satellite) atop a SpaceX Falcon 9 rocket on April 18, 2018.
Surprisingly, most of the planets discovered so far have been mini-Neptune sized. A great deal are hotJupiters and the smallest number are Earth-sized and Image Credit: even smaller. Throughout Seth Mayo/ MOAS the thousands of exoplanets that have been studied, there are some truly unique and surprising worlds that continue to shape astronomersâ&#x20AC;&#x2122; understanding of how planets operate in our universe. What follows is a list of some of the most notable exoplanet, or exoplanet systems, to date that have captured our imaginations and challenge our assumptions of nature.
51 Pegasi b
You can not make an exoplanet list without discussing one of the earliest discoveries in 1995. Although its not the very first exoplanet found, 51 Pegasi b was the first confirmed exoplanet around a main-sequence, or normal star – fundamentally changing our view of planets and opening an entire new field in astronomy. At about 50 light-years distant in the famous winged horse constellation, Pegasus, this exoplanet orbits around the sun-like star known as 51 Pegasi. The “b” represents the planet, since a lettering system is used after the star name in astronomical designations. 51 Pegasi b was found to be half as massive as Jupiter and extremely close to its star, orbiting at a blistering pace of 4.2 days per revolution. This was a major surprise for astronomers since it was not believed that such a large planet could orbit so closely to a star, unlike the large gas planets that orbit far from the Sun in our own Solar System. This became the basis for a new term known as hot-Jupiters, and numerous objects of this type have been found around many other stars since its discovery. Image credit: ESO/M. Kornmesser/Nick Risinger
*All images are artist’s impressions. If you want to find a planet closest to hell-like conditions, Kepler70b would be your destination. This exoplanet – one of thousands discovered by the Kepler space telescope – as of now is considered the hottest planet ever found. The excruciatingly high temperatures on 70b reach up to 12,000 degrees Fahrenheit, hotter than the surface of our own Sun due to its extremely close orbit around its host star. It is so uncomfortably close that it only takes this planet 5.7 hours to revolve around Kepler-70 – the left-over core of a much larger star that will soon collapse into a very dense white dwarf. 70b is slightly smaller than Earth, although it was a Jupiter-sized gas planet in the past. Its shrunken state is due to its host star bloating up into a red giant phase as it ran out of fuel, engulfing 70b, and blowing away its outer gas layers. What remains is the charred core of the planet, glowing like a bright ember as it whizzes around a dying star. Image credit: MarioProtIV/Space Engine
Are there planets like Earth beyond our Solar System? That question may have been answered by the discovery of Kepler-186f, the first Earth-sized planet residing in the habitable zone – a region around a star where water could possibly exist in liquid form. This game-changing exoplanet, discovered in 2014, is named after the hugely successful Kepler space telescope that utilized the transit method of exoplanet detection as it looked at the subtle dimming of thousands of stars as planets crossed by. Having the “f” designation attached to its host star-name indicates it is the fifth planet in its local solar system, but the only one to be found in the habitable zone. Even though it is not entirely confirmed, Kepler-186f may be a rocky world with lifeessential liquid water on its surface as it orbits its cool red dwarf star every 130 days. Even though a water-bearing planet does not necessarily equate to life, the chances of it forming within those conditions certainly increase. Continual follow-up needs to be made, but so far this is one of the best examples we have to an Earth 2.0. Image credit: NASA Ames/SETI Institute/JPL-Caltech
For those Star Wars fans that know of the infamous fictional world of Tatooine with two suns, the real-life Kepler-16b happens to fit that mold. Another exoplanet discovered by the Kepler mission in 2011, 16b was confirmed to be the first circumbinary planet â&#x20AC;&#x201C; a fancy way of saying that it orbits two stars. It has been speculated for quite some time that circumbinary planets would likely exist, especially since most stars are not alone, like our sun, and have stellar companions. For a planet to have a stable orbit within a multiple star system, it needs to orbit both stars around a common center of mass, while not getting too close. The Kepler-16 star system has been studied very well since both stars align to our line-of-sight and regularly eclipse each other. 16b also eclipses the star pair, and these multiple eclipsing, or transiting, occurrences have allowed astronomers to determine the size and mass of all the objects in the system. Although 16b is reminiscent of Tatooine, this world is very different from the fictional desert planet since it was determined to be Saturn-sized with a mixed composition of gas and rock, and very cold. Luke and Anakin Skywalker may have not wanted to grow up on this multi-sun planet. Image credit: NASA/JPL-Caltech/R. Hurt
Proxima Centauri b
Perhaps our best bet for humanity to visit another planet in the future would be Proxima Centauri b. Discovered as recently as 2016 by the European Southern Observatory, this exoplanet is orbiting around the closest star to our Solar System, known as Proxima Centauri, a mere 4.2 light years away. It was found using the radial-velocity or doppler spectroscopy method, where the star wobbles in its position as an orbiting planet gravitational tugs on it, stretching or squeezing the light waves emanating from the star. Not only is it the closest exoplanet to us, it is only 30% more massive than Earth, and it happens to reside in the habitable zone. The major hitch for the chances of life on this exoplanet is its proximity 34 ARTS & SCIENCES MAGAZINE
Perhaps our best bet for humanity to visit another planet in the future would be Proxima Centauri b. to its highly active host star, Proxima Centauri. This small and very common, M-type red dwarf star, is very active and violent, having intense episodes of solar flare activity and a powerful stellar wind. This star most likely would strip away any kind of atmosphere on Centauri b, bringing down the ARTS & SCIENCES chances of a life-bearing environment. If you MAGAZINE were to stand on this planet, you would bask in the red glow of the host star as you revolved around it every 11.2 Earth days. You would also find a close double star in the sky, known as Alpha Centauri AB, that Proxima Centauri orbits around, since it is part of a triple star system. Currently, there is a research project called Breakthrough Starshot, that explores the idea of boosting a fleet of uncrewed light sail spacecraft with a powerful laser from Earth up to 20% the speed of light. This would allow the spacecrafts to possibly flyby Proxima Centauri b in 20 to 30 yearsâ&#x20AC;&#x2122; time, sending information back at the speed of light in just over four years. Image credit: ESO/M. Kornmesser
TRAPPIST-1 System The TRAPPIST-1 System may be the most tantalizing solar system beyond our own ever discovered. First found to harbor three exoplanets by the Belgian TRAPPIST (Transiting Planets and Planetesimals Small Telescope) observatory in 2015, followed by four more by NASA’s Spitzer Space Telescope and ground based Very Large Telescope in Paranal, Chile in 2017. What is more exciting is that all seven planets were discovered to be Earth-sized, orbiting a small star about 40 light years away – relatively close in astronomical terms. It was also found that at least three of these planets (TRAPPIST-1 e, f, g) reside in the system’s habitable zone, where liquid water, and possibly life, could exist. Based on careful observation of mass and size, it is most likely that all seven planets around TRAPPIST-1 are rocky. The planets may also be tidally-locked, meaning only one side is facing their host star, much like our own Moon behaves around Earth. This means one side of these planets would be in perpetual dark, and the other in perpetual day. Chances are that the most temperate zones would be right along the boundary between the day/night side of these planets. They can also orbit much closer to their sun while still maintaining habitable environments due to TRAPPIST-1 being an ultra-cool red dwarf star, being smaller and less massive than our own Sun. Follow-up observations of these exoplanet’s atmospheres are planned for NASA’s future space telescope, the James Webb Space Telescope, planned for launch in 2020. Image credit: NASA/JPL-Caltech
This summer, we will be debuting our live planetarium show, Exoplanets: Worlds Beyond Our Own, that will take audiences on a journey into the fascinating realm of exoplanet discovery. Our Planetarium Lobby also houses our new NASA-produced poster exhibit, Exoplanet Travel Bureau, which displays retro style travel artwork inspired by real exoplanets.
PSR J1719-1438 b
Out of all the exoplanets found on this eclectic list, this next one may be the weirdest and most extreme. With the poetic name of PSR J17191438 b, this entirely unique world is made of crystalized carbon, more commonly known as a diamond. The diamond world, about 4,000 light years distant, is five times larger than Earth, but oddly about 3,000 times larger than its host star. This is only possible since its host star, or PSR J1719-1438, is a pulsar – a rapidly rotating neutron star. Neutron stars are the extremely dense, leftover core of a large star that went supernova. In the case of PSR J1719-1438, its 1.4 times the mass of the Sun, condensed down to a 12-mile diameter, while spinning around about 10,000 times per minute. It is speculated that the exoplanet, 1438 b, was once a star that lost all of its outer mass as it expanded during its red giant phase. The remaining core of the star kept being stripped away by the pulsar, until all that was left over was crystalized carbon, transitioning into the planet category. If that is not enough, 1438 b may be the fastest orbiting exoplanet, completing one revolution in only 2.2 hours around its host pulsar. This is one fast diamond! Image credit: Swinburne Astronomy Productions
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