Museum of Art - DeLand Fall 2014

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No Grace in Bulk Unveiling the Truth in Your Times The Paintings of John Mellencamp Connecting Generations Words of Gratitude Benefits of Membership

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November 14 Gallery Talk with Appalachian Art Collector Ramona Lampell RSVP November 15 Family Fun Saturday FREE November 22, 23 DeLand Fall Festival of the Arts DOWNTOWN DeLAND December 5 Folklife and Folk Art of Florida Presentation RSVP December 6 Children’s Holiday Workshop for ages 6 to 12 RSVP December 13 Museum Guild 21st Annual Teddy Bear Brunch RSVP December 19 DeLand Area Chamber ’s Art & Business Holiday Mixer December 28 Last day to view The Paintings of John Mellencamp

On the Cover: Hall of Fame singer-songwriter, and painter, John Mellencamp stands in front of his mixed media on canvas, El Paso, 2010, 48” x 48” at the Museum of Art - DeLand, photo by Lisa Habermehl

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NO GRACE IN

One can no more feel intimate with a wing of paintings in the Louvre than with the north shore of Lake Superior...

No matter how disciplined we are about limiting ourselves to a particular suite or section of a huge museum, there is always a threat of surfeit. Even to get to the chosen areas, you must pass through the Egyptian, Greek or Melanesian quarter, and it seems almost a misdemeanor to proceed briskly, just for passage, through any forest of treasures.

The massiveness of a major museum can be intimidating. The truth is that there is no grace to bulk, except when reduced to a postcard view of Mount Blanc, or in

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seeing the Queen Elizabeth II from another ship a mile away. Of course, it is comforting to know that the Metropolitan Museum of Art and the British Museums exist; like Everest, they attract because they are there… but that is not the same as saying that one can visit them comfortably, or digest their intensely rich and varied fare without sometimes feeling like the man in the Alka-Seltzer commercial who groans, “I can’t believe I ate the whole thing.”

A day in the dimly lit Prado or the draughty Hermitage may grandly reward the art lover by sheer profusion of masterpieces, but the experience is qualitatively different from an afternoon spent in a relatively modest ambience, like, say, in the Museum of Art - DeLand. Here, in comfortable spaces, paintings of Picasso, Miro, Raoul Dufy, Karl Zerbe, Chen Chi and John Mellencamp, and sculptures of Jill Cannady, Steve Tobin and Appalachia, were given a

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home. The Metropolitan Museum in New York is glorious but chaste by comparison; there is an immaculateness about it that is a little chilling. A painting on its walls looks down at you rather than across to you.

Here, paintings and sculptures are not displayed as archival objects, but are given a home.

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The same painting in our Museum engages you on friendly terms. One emerges from the Museum reeling slightly, but not stooped by the tonnage of what one has seen. The Museum speaks of loose lingua franca of art rather than a strict Pedaquese or Educanto, and that seems to me all right, for a change, in a world

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LK From the CEO’s Desk George S. Bolge

where not everybody is Bernard Berenson or Kenneth Clark.

The Metropolitan Museum is now New York City’s No. 1 tourist attraction. Some years ago, its exhibition Impressionist Epoch drew more than a half-million people at a rate of 1,500 per hour. Its mighty Van Gogh show attracted more paid admission than a vintage-year Notre Dame football team playing in Yankee Stadium on the same day. But an art museum is not a ballpark, and it is barbaric to view the work of a master while being jostled in a long, shifting line of people.

I prefer to go on a rainy day, and come early or late, or at any unlikely hour, so that I may stand before a painting for a while, a minute, or until closing time if I so wish, without being borne off on an inexorable human tide. This season, I encourage you to do the same, come to the Museum of Art - DeLand and spend some quality time with Mellencamp’s mixed media on canvas Working Man Blues, or with S.L. Jones’ carving, John Henry, and later, with a work of William Crutchfield or Richard Anuszkiewicz. #MOARTDELAND MoArtDeLand.org

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George S.Bolge, Chief Executive Officer, stands between Richard Frank’s watercolors (l to r) Presence, 2003, and Ancient Totem, 2008, in the Chris Harris Gallery.

Left, a Museum visitor takes in Jill Cannady’s A Day at the Shore, 2013, three panels, each 32” x 30”, encaustic on wood.

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Art: Unveiling the truth of your times R arely do three exhibits converge upon the truth, and it is Central Florida’s great good fortune to have such a convergence this fall. At the Museum of Art - DeLand, one can view Chen Chi: Watercolors, O, Appalachia: Artists of the Southern Mountains, and Collector’s Choice: The Samuel Blatt Collection. Between these three exhibits, a picture of humankind’s contemporary condition emerges out of works from art stars like Picasso, traditional Chinese watercolors made in America, and folk artists from the Appalachian Mountains. Diverse origins truly confirm an essence of joy in humanity that is much-needed in these uncertain days.

Artists like Laurencin, Miro, Man Ray, and Picasso painted and drew in the late 19th and early 20th centuries. Samuel Blatt, a Floridian collector, shared these and other powerful works with the Museum of Art - DeLand. Decades of great change in society, not unlike our own, influenced the artists of the time who struggled with the transition to modernism. Leon-Augustin, a French artist known as L’hermitte, took a traditional pose – Madonna and Child – and transformed it into the intimate, touching portrait of Mother Nursing Her Child. Here we see, not the religious content of this iconic pose, but rather the personal content, the child symbolizing hope for a future still untainted and optimistic about progress.

Such is Blatt ’s collection, a study of this transition into the future.

Man Ray, a New York artist known for his trailblazing photography, is represented in a rare, untitled ink-on-mylar drawing unrelated to any tradition. A woman’s regal profile, her eye and mouth closed, frames a steamship sailing in the distance. This composition of private feelings repressed, the direction of the steamship – is it coming or going?

– shows a transition into a more uncertain world.

Blatt collected Picasso’s figurative work, when he played with traditionalism. Artist and Child (instead of Madonna and Child), starts with the familiar theme, but Picasso takes the work into his own style 6

of Cubism, with hard, etched lines and a contemporary focus not on the child but rather on the Mother-artist. The ambiguity of man’s place, a mark of our unique, 20th-century outlook, is rooted in these works, and Blatt’s discerning eye collected seminal images from these important times.

Adjacent to the Blatt Collection, the Museum of Art also exhibits the work of Chinese artist Chen Chi, who moved to New York after World War 2. Taught in Shanghai the traditional Chinese watercolor on rice paper, he readily applied these techniques to his new home. Man is here represented from afar, almost swallowed up by the environment. Indeed man is absent in several images such as Sun Golden Sun with the solar disk eclipsed by a dark wash, making the sun feel all the hotter and brighter.

Chi often saw humanity from a distance, receding from the viewer, and his paintings vibrate with a pregnant silence and weight. Yet look for Chen Chi’s application of a bit of gold leaf here and there on the human figure, a subtle gesture elevating man’s place within nature.

Chi found beauty and truth in simple, yet sophisticated, compositions such as Boys Playing Ball. His traditionalist serenity is a welcome filter to the hurly-burly of the urban scene - an outsider who somehow tamed the American technocratic juggernaut and gave it a context.

European artists, collected by an American; an Asian eye, lensing the American scene; one must complete this with an ascent to the Museum’s second floor to see the exuberant, sometimes raw, folk art in O, Appalachia. Here, one views America from the inside, in contrast to Chi’s eye of the outsider looking in. Paintings, sculptures, and utilitarian objects seamlessly work together to make a vivid impression and give us an unvarnished look at man.

Ramona Love Lampell collected these works starting in the 1940s and ’50s, and built an exquisite collection of self-taught artists workMuseum of Art - DeLand Tour. Shop. Join.

by Richard Reep ing up and down the Appalachian Trail. She and her husband, writer Millard Lampell, lived in West Virginia and made it their passion to collect and exhibit art from their region. I recently spoke to Ramona Lampell, and her marvelous, soft clear voice with a trace of a West Virginia accent resonated with love for the artists she has known and collected in her lifetime.

“When I was a little girl in the hollow,” Ms. Lampell stated to me, “there were fine townfolk at the bottom of the mountain that didn’t think much of the folk at the top of the mountain. In seeking out artists, I wanted to help the bottom of the mountain find respect for those at the top. And, in the meantime, I wanted to find a way for those at the top of the mountain to live a little better.” And so she brought folk artists’ work down from the top of the mountain, found an honored place for it among the fine-arts community, and brought prosperity back up to the top of the mountain.

S.L. Jones was one such artist, working in West Virginia creating lifesized busts of specific people – Maggie and Russell, the mythic folk hero John Henry, and others. Their preternatural intensity greets the viewer, bursting forth spirit, eyes fierce and wide. “Jones was my first artist,”Lampell recalled, “and I saw his work when I went to a county fair. He had a table in the very back, and when I found his heads, I just had to have one, and then another and another.” Lampell visited the artists in their studios, which were often worksheds, kitchen tables, and front porches. With a trained eye for beauty and honesty in art, she had several galleries, building demand for these artists.

Exquisite miniatures such as the hand-painted wood scene Repent,

by Cher Shaffer, draw one away into a world apart from our technonanosecond-saturation culture, into a slower, more deliberate and human-based world. It’s an older world, one with a little mystery left in it, one that seems ancient and far away in these works, yet is fresh, immediate, and gripping in its intensity and form.

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O, Appalachia reminds us that the aesthetic and the functional are still one, in the beautiful benches, wicker baskets, and blankets rich with the touch of the human hand; conversely, paintings can proclaim allegories, tell stories, or simply announce as in James Harold Jennings’ jazzy and soulful Art World. This regression, to a time before art and function became quite bifurcated, lends folk art an atavistic sensibility, one not quite modern but not quite primitive, either. This art reminds the viewer there are still places in America not quite overrun with the tiresome disease of globalism, and that art can be highly specific and local and still connect to the people in a visceral, intense way. As Ms. Lampell said so well, “The art is uplifting. It always makes you happy.”

Together, these three exhibits round out an impression of man’s place in the world, as seen through the eyes of artists working across the last hundred years. Whether working in remote mountain villages of Appalachia, the modern metropolis or old Europe, artists who glimpsed the truth of their times are brought together here.

They set man against the uncertainty of our times, reminding us to seek, in this no less perilous era, the essence of humanity’s joy.

Author and Orlando Weekly art critic Richard Reep is an architect with VOA Associates Inc. who has designed award-winning urban mixed-use and hospitality projects. As an adjunct professor for the Environmental and Growth Studies Department at Rollins College, he teaches urban design and sustainable development; he is also president of the Orlando Foundation for Architecture. Reep’s work has been featured domestically and internationally for the past 30 years.

Left to right, Claude Émile Shuffenecker, Woman in Oriental Costume; undated, chalk and pencil on paper, 13” x 10”, from the Samuel Blatt Collection; Leon L’hermitte, Mother Nursing her Child; 1895, charcoal on paper, 14.25” x 11”, from the Samuel Blatt Collection; Man Ray, Untitled, c1940, ink on mylar, 20” x 15.5”, from the Samuel Blatt Collection; Chen Chi, Boys Playing Ball (detail) 1955, watercolor, on loan from the permanent collection of the Butler Institute of American Art; S.L. Jones, John Henry, carved wood and paint, 17”x 10”x 11” from the collection of Ramona & Millard Lampell. #MOARTDELAND

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ON EXHIBIT THROUGH DECEMBER 28, 2014

THE PAINTINGS of JOHN MELLENCAMP 8

“At the end of the day, (I ask) ‘Is the painting beautiful — even if it’s grotesquely beautiful?’ ” - John Mellencamp

Museum of Art - DeLand October 9, 2014

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A QUESTION of IDENTITY

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here is a tendency on the part of certain artists to sweep the darker side of life under the rug – and then decorate the rug with beautiful designs. Not so with John Mellencamp, whose subject matter is human existence painted as simply, starkly, and fully as he himself experienced it. Unlike Edvard Munch, who cried out to the heavens in dread over his deepening awareness of human frailty, Mellencamp calmly accepts his.

An excerpt from the Catalogue Addendum of New Works The Paintings of John Mellencamp

Munch asked, “Without God, can there be man?” Mellencamp asks, “Without God, who is man?” And asks it without anger, petulance or fear. Asks it simply as the primary question in his search for self.

Mellencamp is one of the very small handful of artists today whose art is predicated on the questions “Who am I, and where am I going?” He is the kind of artist that doesn’t sweep the dark side of life under the rug, but who also pulls the rug back to see what lies hidden underneath, and then tosses it aside to get to the business of cleaning up.

But these artists are hard to find. And for the simple reason that altogether too many artists, once they have peeked under the rug, spend the rest of their lives playing with what they find rather than confronting it and turning it into art. In many ways, this is understandable. Freudian theory and dogma made it very clear in the early decades of the previous century that what was under the rug should be brought out into the open. And Surrealism, coming on the scene about the same time, insisted that painting this material as it was exposed to the light was the new and primary mission of art.

It was a doctrine hard to resist, for it gave license to the idiosyncratic and gave birth to the notion that the artist who had direct symbolic access to his unconscious was in many ways semi-divine. Viewed in this light, the artist who attempted to impose rational values upon this raw material, or tried to shape it according to reasonable goals, was guilty of trying to subvert the truth of unconscious inspiration. Hadn’t human will, the argument went, already done enough to stifle genuine creativity? Small wonder, then, that so many artists were perfectly content to play with or at most rearrange attractively what they found under the rug. The assumed near-sanctity of the unconscious made any tampering with its symbols, forms or environments something very close to sacrilege. The trouble with this uncritical compliance with Surrealist theory was that it tended to create a formal universe hermetically sealed off from human reality. A universe within which everything was everlastingly still, arid and alien and where art tended more toward the visually exotic than to the emotionally and spiritually relevant.

No longer satisfied with the inventive and emotionally detached games played under the protective canopy of Surrealist dogma, Mellencamp turned to grappling with the nature and the act of seeing. This opened the whole question of the optical phenomenon of reality – the relationship between a figure and its enveloping space, the relationship of man to the void and of being to nothingness... Art is not merely something he uses to clarify his position or to give point to his vision of life... it’s the very substance of who he is and what he wants to say. #MOARTDELAND - G.S.B. Left, John Mellencamp, Working Man Blues, 2013, mixed media on canvas, 36” x 24”, photo by Kevin Montague, courtesy of ACA Galleries, New York; Above, The Paintings of John Mellencamp catalogue cover: Why Are U Angry? 2012, 48” x 48”, mixed media on canvas, photo by Kevin Montague (Catalogues available at Museum Store); Below, left to right, press conference with legendary singer-songwriter, humanitarian and painter John Mellencamp and Museum CEO George Bolge, photo by Paul Hennessy; John Mellencamp, Director of Development Pattie Pardee, Members Bill & Terri Booth; photo by Lisa Habermehl; John Mellencamp, Former Museum Board President Linda Dorian, Museum Board President Judy Thompson and CEO George Bolge, photo by Edson Pacheco. Additional images at Facebook.com/MoArtDeLand; Media coverage at MoArtDeLand.org and Twitter.com/MoArtDeLand.

I SUPPORT THE ARTS BECAUSE: “Art inspires creativity in everyone who views it, and creative citizens are what turn an average community into a great one.”

- Bill Booth, Museum Board Trustee, Founder of United Parachute Technologies

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Art is crucial to enriching our liv Studies

Arts on the Grow

John Mellencamp

Head Start Pre-K

School Field Jill Cannady

Jill Cannady

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ves & connecting generations Docent Program

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To learn about additional Museum programming, such as the StART Library Program, outreach, volunteering, lectures, workshops and more, visit MoArtDeLand.org/Learn.

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Stephen Althouse

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Words of Gratitude “It was a pleasure for George Bolge to allow me to guest curate the exhibition Sequined Sentinels at your museum in the summer of 2013. He is the consummate museum professional who hung my collection of gorgeously embellished sacred Vodou flags from Haiti and displayed the other objects with great care. George has nurtured a large, loyal following of fans in the community who are appreciative of his academic approach and true love of art.”

- Candice Russell Author and Haitian Art Collector

“From the beginning, I simply wanted people at the bottom of the mountain to appreciate the creativity and talent of the artists and people at the top of the mountain… I am very particular to whom I loan my collection. While visiting the Museum with a friend from Canada in 2012, and then later attending the opening reception for the Duane Hanson exhibition, I saw passion and enthusiasm for the arts by the Curator of Education (Pam Coffman), CEO and others. I discovered the Museum had an outreach program for children, for which I have so much respect. Exposing children to art at a young age molds them into adults who appreciate art.”

- Ramona Lampell, Artist and Appalachian Art Collector

“The Children’s Museum of Indianapolis has an interactive program (Playscape Art Studio) using my art, some of which are bunnies... I was thrilled to have a (bunny-only) exhibition at the museum in DeLand last Easter. It was a dream come true.”

- Hunt Slonem Bunnies by Hunt Slonem

“One of the happiest days of my life was three years ago when George Bolge agreed to join the Museum as its Chief Executive Officer. George’s knowledge, experience and his many and varied relationships with artists, collectors and museum executives all over the country and beyond have accrued to the benefit of our institution and to the communities of DeLand and Central Florida in ways I could never have dreamed. The exhibitions and educational programs are of national caliber, and the recognition we have received as a result is extremely gratifying. The museum staff is superb, each member committed to George’s vision of a small, but world-class Museum here in the heart of Volusia County. It is a great pleasure to be associated with George and the Museum staff in this extraordinarily worthwhile effort.”

- Judy Thompson, Museum of Art - DeLand Board President

“What a wonderful experience to have had such a beautiful show at this hidden jewel of a museum here in Florida. Working with David Fithian (Curator of Art & Exhibitions) and my dear friend George Bolge was an enjoyable experience from the first concept to the finished exhibition.”

- Wesla Hanson, Widow of Duane Hanson Duane Hanson: Sculptures & Photographs 1978 - 1995

Artist, author and Appalachian art collector Ramona Lampell surveys Duane Hanson’s Bodybuilder, 1989 - 1995, autobody filler polychromed in oil and mixed media.

Artist Jill Cannady admires Chen Chi’s Boys Playing Ball, 1955, watercolor on rice paper, with husband Robert Sindelir (to her right) and artist Tim Ludwig.

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“As Karl Zerbe’s daughter, I grew up surrounded by his paintings. I remember, as a small child, my parents painting a floorto-ceiling blackboard in my room so I could be creative. Before I knew it, there were life-sized chalk portraits of both of them looking out at me. The ever-evolving images that appeared on our walls always fascinated me and have given me a lot of enjoyment over the years... I was very happy to learn that my father’s paintings were going to be part of the summer art program at the Museum of Art. - DeLand. It’s always interesting to see what a curator will select for an exhibit, and how it will be presented to the public. The gallery chosen for the exhibition Karl Zerbe: Works on Paper was perfect.

The reception was wonderful, and I enjoyed ‘talking Zerbe’ with everyone. A heartfelt thank you to Marty Karlin and to George Bolge, David Fithian and the rest of the staff and volunteers at the Museum for helping me to share Father’s work and for a job well done!”

- Maria Zerbe Norton Karl Zerbe: Works on Paper

“I want to thank George and his staff for the great work they did on exhibiting my paintings. I have heard many good things about the show.”

“After privately expressing my feelings through art, finished pieces are stored away and become nothing more than a memory as I concentrate on a new art piece. So I enjoy reminiscing when I see bodies of my finished artwork in gallery and museum exhibitions. As I viewed my work in the three expansive adjoining galleries at the downtown Museum of Art - DeLand, I was hit with the sensations that I felt at the time of creating each piece. The placement and groupings of the artwork were so intelligently organized that the curators must have somehow gotten into my mind... More so than with any other exhibition of my work, the Museum has deftly curated a synergetic exhibition, which for me has created more power than the sum of the individual pieces.”

- Stephen Althouse

“George Bolge is a man with a great deal of experience building museums, and even more important to me as an artist, he has a true sensitivity to art. With the challenge of 40 years of work to present, I was nervous at how my exhibition would be executed, but George and all the museum staff were reassuring, and when the show opened, I could not have been more pleased. The museum also produced a beautiful catalogue, which I am proud to have represent my work. Thank you, George Bolge, and thank you to everyone at the museum.”

- Jill Cannady Jill Cannady: Idea & Medium

Stephen Althouse: Personal Symbols, Private Symbols

“This is the first time ever my collection has been exhibited in its entirety (Collector’s Choice: Samuel Blatt Collection.) I’m proud to share my mid-19th-to-20th century art with museum members and members of your community. I thank George for the opportunity to share this art.”

- Sandy Blatt Collector’s Choice: Samuel Blatt Collection

- John Mellencamp

The Paintings of John Mellencamp

Inspired by Karl Zerbe’s Memento from Belem, 1965, stencil and collage, a Camp Create student envisions his next masterpiece with art teacher Tiffany Blushiy.

Museum CEO George Bolge (left) with art collector Sandy Blatt and his wife, Donna, in front of Lucie Cousturier’s Still Life With Chrysanthemums, c1900, from the Samuel Blatt Collection What 2014 Museum of Art - DeLand exhibition, educational program or special event impacted you most?

Tell us at Facebook.com/MoArtDeLand, at Twitter.com/MoArtDeLand (#MoArtDeLand) or email Contact@MoArtDeLand.com

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EXHIBITIONS PREVIEW:

Jan. 16 - April 5 Richard Haas: Works on Paper Known for his architectural subjects and their surroundings, Richard Haas’ works on paper chronicle his realistic and quite fantastic observations of the urban landscape in a wide variety of mediums.

Empire State Building, 1997, Gauche and pencil, 34” x 18”

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Jan. 16 - April 5 William Crutchfield: Satirical Commentary Richard Crutchfield has a distinctive and whimsical approach to his commentary on humanity. Although he is also a sculptor, painter and printmaker, these drawings that will be on view are the fundamental core of all of his creative endeavors.

Flight Training, 1971, pencil and watercolor, 5 3/4 ‘ x 8”

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WINTER 2015

Jan. 16 - April 5 Richard Frank Watercolors: Homage

Jan 23 - April 12 Richard Anuszkiewicz: Art of Light, Perception & Movement

Richard Frank’s unusual watercolors embody meticulous technique, attention to detail and a surrealistic point of view. The paintings are a blend of photorealistic landscapes juxtaposed with seemingly unrelated details of similar observations.

The paintings of Richard Anuszkiewicz are composed of simple geometric forms, usually divided into small areas. Exploiting the contrast between hues produces paintings that shimmer and vibrate in a manner suggesting the brilliance of flickering neon light.

Stork, 2003, watercolor on paper, 15” x 11”

Four On Four, 2013, acrylic on canvas, 60” x 60” Courtesy of The Loretta Howard Gallery, New York, NY

Visit MoArtDeLand.org for details on exhibition opening night receptions and related programming.

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FOUR HOLIDAY GIFT IDEAS Give a unique gift (starting at $5) from one of two Museum Stores* (100 N. & 600 N. Woodland Blvd.)

Give a Museum Store Gift Card of any denomination Give an Individual ($35) or Household ($60) Gift of Membership Give an exhibition catalogue with distinctive photographs of original works of art, such as: The Paintings of John Mellencamp; Jill Cannady: Idea & Medium; Paris: 1860 - 1930 Birthplace of European Modernism; O, Appalachia: Artists of the Southern Mountains; Picasso: Passion & Creation - The Last 30 Years; Stephen Althouse, Purvis Young and others. * Museum Members receive a minimum of 10% off of all Museum Store purchases

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Benefits of Museum Membership • free admission to all museum exhibitions • discounts on Museum Store purchases • free admission to all exhibition opening receptions • free admission to hundreds of other U.S. museums • free admission to gallery talks and lectures • pride in strengthening cultural arts in your community • discounts to museum workshops and art camps • inspiration to create something new in your life Student $20 I Individual $35 I Household $60 I Sustaining $150 I Patron $500 I Leadership Circle $1,000+ Guild $20 additional + 3 volunteer hrs /month I Associate Guild $40 additional

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Benefits of Membership: Left, Museum Guild members at the Guild’s 25th Anniversary Celebration Brunch; center, Museum Board Trustee/Legacy Member Larry Griffin meets legendary singer-songwriter and painter John Mellencamp at a private VIP opening reception; right, David Fithian, Curator of Art & Exhibitions ‘restocks’ for a Museum Store reception that gave members 30% off of all store merchandise.

Art & Business For information on the benefits of Corporate Membership & Event Sponsorship, contact Pardee@MoArtDeLand.org MoArtDeLand.org Museum of Art - DeLand

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Photo by Paul Hennessy

E X H I B IT I O N S

E D U C A T I O N

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Museum of Art - DeLand Established in 1951, the Museum of Art - DeLand, Florida, is a vital and interactive nonprofit community visual arts museum dedicated to the collecting, preservation, study, display and educational use of the fine arts. The Museum of Art - DeLand, Florida, is a 501(c)(3) organization incorporated in the State of Florida and is a member of the American Alliance of Museums and the Florida Association of Museums.

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Museum of Art - DeLand Board of Trustees

George S. Bolge, Chief Executive Officer Pam Coffman, Curator of Education Dorothy Dansberger, Director of Finance & Operations David Fithian, Curator of Art and Exhibitions Lisa Habermehl, Director of Marketing Pattie Pardee, Director of Development Teri Peaden, Manager of Downtown Museum Suzi Tanner, Manager of Guest Services, Membership & Special Events Letters to the Editor email Marketing@MoArtDeLand.org

Judy Thompson, President John Wilton, Vice President Linda Colvard Dorian, Past President Mary Jeanne Ludwig, Treasurer Lee Downer, Secretary Grady Ballenger, Bill Booth, Manny De La Vega Jewel Dickson, Desiree Freeland, Larry Griffin Ray Johnson, Frances Massey, Robin May Deb McShane, Lisa Peterson, Katrina Pfister Dagny Robertson, Marty Suarez, Ian Williams

Legacy Circle & Endowment Fund James O. & Mary Clements, Channing & Jennifer Coolidge, Betty Drees Johnson, Fred & Pat Eshleman, The Freund Trust, Larry G. Griffin, Richard & Lilis George, Leslie & Arlene Gibbs, Ann West Hall, Chris Harris, Dorothy Johnson, Christopher & Maureen Kemp, Lacey Charitable Trust, The Ruth Meinecke Trust, Carol Ott Scholarship Fund, Joe & Linda Pinto, Robert & Clara Rosevear, Parke & Lynn Teal, Judith Thompson and Libby West The Museum of Art - DeLand expresses its appreciation to all those who supported its programs and operations this year.

We gratefully acknowledge the following Sponsors, Community Partners, Foundations, Corporate & Patron Members Dennis Aylward, Dr. Grady Ballenger and Dr. Karen Cole, Dr. Bruce and Mrs. Carolyn Bigman, Bill and Terri Booth, Sal Cristofano and Laura Gosper, Harold and Dorothy Dansberger, Manny De La Vega, Dr. Wayne Dickson and Jewel Dickson, Robert Dorian and Linda Colvard Dorian, Lee and Susan Downer, Betty Drees-Johnson, Larry G. Griffin, Christie G. Harris, William and Kathlene Hohns, John and Karen Horn, Gary Israel, Ed Jackson and Pat Heller-Jackson, Dr. Raj and Tharmka Kandavanam, Barney and Linda Lane, Doni Lennon, Daisy Lucci, Tim and Mary Jeanne Ludwig, Van and Frances Massey, Walter and Robin May, Jo McCranie, Beth & Greg Milliken, Joe and Linda Pinto, Stephen and Claudia Roth, Martin Stein, Mark Shuttleworth and Anna Tomczak, Jack Starling, Judith Thompson, Dr. Ian Williams and Nancy Hutson, Dr. John Wilton and Nancy Wilton, The Dorothy M. Gillespie Foundation Inc., Hohns Family Term Fund, Jaffe Foundation, Lacey Family Charitable Trust, PNC Foundation, CollaborativeWEALTH, E.O. Painter Printing Company, Fleishel Financial Associates, Lane-Lennon Commercial Insurance, Lane Insurance Inc., Mainstreet Community Bank, Starling Chevrolet Cadillac, United Parachute Technologies, DeLand Breakfast Rotary, DeLand Fall Festival of the Arts, DeLand Rotary Club Inc., The Faith Hope & Charity Society, Krewe of Amalee, Krewe Nouveau, Museum Guild, State of Florida Division of Cultural Affairs, Stetson University, Florida Humanities Council, the National Endowment for the Humanities, and the County of Volusia.

Museum of Art - DeLand 600 N. Woodland Blvd. DeLand, FL 32720 386.734.4371 Museum of Art - DeLand Downtown 100 N. Woodland Blvd. DeLand, FL 32720 386.279.7534 MoArtDeLand.org Museum of Art - DeLand Review I Preview Fall 2014 Copyright 2014 Museum of Art - DeLand, Florida. All rights reserved.

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture.

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