Categories
Careers

Security Manager (Full-Time)

Job Summary:

The Security Manager oversees the safety and security of the building, artworks, staff, and visitors. Recruits, hires, trains and supervises part-time security officer force. Provides oversight and maintenance of all museum security systems, including contract guards, burglar and fire alarms, surveillance systems, access controls, and building maintenance as it relates to security. The position is responsible for emergency preparedness and disaster recovery procedures and will ensure that all security and life safety systems are up to the highest industry standards. The position will also supervise the maintenance and operation of the physical plant of the Museum and organize, direct, and coordinate the overall building maintenance programs for the Museum. Plan, direct, and administer the security operations of the museum.

Duties & Responsibilities:

  • Manage all security staff, including recruiting, hiring, mentoring, training, coaching, disciplining, and terminating staff, as necessary.
  • Develop and approve security staff schedules to ensure adequate coverage for the Museum’s general operations, programs, and events.
  • Conducts all aspects of personnel management: pre-employment screening, comprehensive preliminary and ongoing training and evaluation, development of training and administration/instruction of subject matter;, undertaking daily supervision and annual reviews, coordinating a security staffing schedule.
  • Establishes operating procedures and develops written policies for implementation.
  • Overall operations and objectives must be carried out with minimal supervision.
  • Supplements security officer positions as required to maintain an appropriate level of security for the facility and routinely tours the facility to identify safety and security risks.
  • Must be available during non-business hours and for emergency on-call purposes to meet department needs.
  • Supervise daily performance and conduct performance evaluations.
  • Provide coaching and development opportunities, as appropriate. Manage performance issues and handle terminations as necessary.
  • Coordinates museum operations with staff: Museum special events involving seasonal employees and outside vendors regarding orders, delivery, setup, and breakdown of special event items (food, furniture, etc.); provides access to special events throughout the academic year.
  • Coordinates and assists with training and schedules special event Security.
  • Manages recorded information in the form of an incident report writing system and detailed activity log entries.
  • Strict adherence to accuracy of written documentation, timely notification of information, and proper dissemination of materials.
  • Maintain all required documentation and complete all required reporting.
  • Ensures proper archiving and storage of all information, including highly confidential materials.

Required Skills & Abilities:

  • Experience working with security and access control systems and applications, alarm systems,
  • Security surveillance systems and life safety procedures.
  • Familiarity with security technologies (Card access, surveillance cameras, intrusion alarms, fire alarms & environmental monitoring).
  • Possess a high work ethic and a proven ability to collaborate with teams to implement a strategic vision.
  • Strong communication, problem-solving, time management and customer service skills.
  • Working knowledge of MS Office, Outlook, Google applications, Incident Documentation Software and database administration.
  • Ability to work independently and as a member of a team.

Education & Experience:

  • Associate’s degree (Criminal Justice, Administration, and/ or Emergency Management) (required)
  • Bachelor’s Degree (Criminal Justice, Administration, and/ or Emergency Management) (preferred).
  • 7 years of security-related experience, preferably in a museum environment
  • 5 years of experience in a supervisory capacity
  •  

Physical Requirements:

  • Prolonged periods sitting at a desk and working on a computer.
  • Must be able to lift up to 15 pounds at a time.

Benefits and Compensation:

  • Benefits include health, vision, dental, and life insurance, 401 (k) match, Paid Time Off, Flexible scheduling, disability coverage, parking stipend, and 13 paid holidays.

Categories
Past Exhibitions

THE BUCS AT FIFTY

The Bucs at Fifty a Photographic Retrospective - Tampa Museum of Art. Head Coach Jon Gruden passes the George S. Halas trophy around the team plane on the flight returning to Tampa from Philadelphia after the Buccaneers secured their spot in Super Bowl XXXVII. Photo by: Tom Wagner/Tampa Bay Buccaneers
Head Coach Jon Gruden passes the George S. Halas trophy around the team plane on the flight returning to Tampa from Philadelphia after the Buccaneers secured their spot in Super Bowl XXXVII. Photo by Tom Wagner/Tampa Bay Buccaneers

On View September 27 to October 26, 2025

The Tampa Bay Buccaneers mark their 50th season with The Bucs at Fifty: A Photographic Retrospective, presented with the Tampa Museum of Art. This exhibition highlights five decades of Buccaneers history.

It features perspectives of historic players and coaches, iconic moments from the field, and rarely seen behind-the-scenes photographs. Together, these images reflect the evolution of the Buccaneers and their lasting impact on Tampa Bay.

The Bucs at Fifty invites guests to celebrate the milestones of the past while recognizing this is a team and a city that remains very much on the rise.

Tom Brady throws the Vince Lombardi Trophy to teammates on another boat as they celebrate their Super Bowl title in Tampa, Florida, on Wednesday, February 10, 2021. Photo by Kyle Zedaker/Tampa Bay Buccaneers
Tom Brady throws the Vince Lombardi Trophy to teammates on another boat as they celebrate their Super Bowl title in Tampa, Florida, on Wednesday, February 10, 2021. Photo by Kyle Zedaker/Tampa Bay Buccaneers
Tampa Bay Buccaneers player Jimmie Giles #88 celebrates on the field after a victory during the 1979 season. The 1979 season was a historic one for the Buccaneers, as they achieved their first-ever playoff berth and won the NFC Central Division title. Jimmie Giles, a tight end, was an integral part of this team, known for his receiving skills and contributions to the offense.
Tampa Bay Buccaneers player Jimmie Giles #88 celebrates on the field after a victory during the 1979 season. Photo by the St. Petersburg Times.

The exhibition is open to all museum guests with daily admission.

Exclusive Season Pass Krewe Member Benefit: Present your Krewe Card to receive complimentary museum admission for up to five guests from September 27 to October 26, 2025. Please note – the main account holder’s Krewe Card must be used for redemption.


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Categories
Centennial Campaign News

Tampa Museum of Art Names Education Lobby in Recognition of Tampa Electric’s Commitment to Arts Education

Newly named TECO Education Lobby to welcome thousands of students, families, and community visitors each year.

Tampa Electric representatives along with Tampa Museum of Art board members and staff point to the new sign marking the TECO Education Lobby during the dedication ceremony at the Tampa Museum of Art. Photography by Paige Boscia.
Tampa Electric representatives along with Tampa Museum of Art board members and staff point to the new sign marking the TECO Education Lobby during the dedication ceremony at the Tampa Museum of Art. Photography by Paige Boscia.

Tampa, FL (September 25, 2025)—The Tampa Museum of Art has named its lobby in the education center the TECO Education Lobby, honoring Tampa Electric’s continued investment in arts education and its support of the Museum’s Centennial Campaign for Renovation and Expansion.

This naming recognizes Tampa Electric’s long-standing commitment to advancing arts access for students and families across the region. Each year, more than 24,000 individuals—from school children on guided tours to families attending weekend programs—will begin their learning experience in the newly named lobby, which serves as the entrance to the Museum’s Vinik Family Education Center.

Michael Tomor gives remarks at the TECO Education Lobby Dedication at the Tampa Museum of Art. Photography by Paige Boscia.
Michael Tomor gives remarks at the TECO Education Lobby Dedication at the Tampa Museum of Art. Photography by Paige Boscia.

“Tampa Electric’s partnership helps us expand opportunities for the community to connect with art in ways that foster creativity, confidence, and emotional well-being,” said Michael Tomor, Ph.D., the Penny and Jeff Vinik Executive Director of the Tampa Museum of Art. “We are proud to recognize TECO’s  investment in education as we grow our facilities and programs to meet the needs of Tampa Bay’s next generation.”

The TECO Education Lobby is part of the Museum’s multi-year Centennial Campaign to grow its downtown campus and serve more visitors. Completed in 2022, the Vinik Family Education Center  encompasses over 8,000 square feet of classroom and program space, and offers a setting for year-round studio art courses, early childhood learning, guided school visits, and comprehensive programs for all ages and abilities.

Carlos Aldazabal gives remarks at the TECO Education Lobby Dedication at the Tampa Museum of Art. Photography by Paige Boscia.
Carlos Aldazabal gives remarks at the TECO Education Lobby Dedication at the Tampa Museum of Art. Photography by Paige Boscia.

“Tampa Electric takes great pride in our enduring commitment to education,” said Carlos Aldazabal, vice president of Energy Supply for Tampa Electric. “We’re thrilled to support the Tampa Museum of Art in its mission to enrich lives through the power of art. This partnership opens the door to inspiring experiences for children and families, while championing creativity as a vital force in our community.”

Tampa Electric’s support of the Centennial Campaign comes from shareholder funds and does not affect customer bills. It builds on a long history of meaningful community partnerships across the Tampa Bay region. At the Museum, this contribution ensures that children can explore art through hands-on projects, students can connect classroom learning with visual culture, and families can participate in programs that encourage discussion and self-expression.

The Museum hosted a private celebration to unveil the TECO Education Lobby on September 24th, allowing guests to see educational programming in action and experience firsthand the impact of this partnership.

To learn more about the Tampa Museum of Art’s Centennial Campaign for Renovation and Expansion, visit Centennial.TampaMuseum.org.

Categories
Current Exhibitions

Charles Atlas: Kiss the Day Goodbye

On view

Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.
Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.

Filmed from the balcony of Atlas’s temporary apartment on Captiva Island, the artist captured the breathtaking sight of the Florida sunset and Gulf shores over several weeks. An abstract landscape, Atlas created a grid comprised of 36 sunsets that captured the brilliant orange sun dipping into, and ultimately beneath, the horizon. A pensive soundtrack accompanies the video installation, emphasizing the culmination of the day. The video features a sculptural component—an illuminated clock that counts down from 18 minutes to zero, a representation of the time it takes the sun to set. Kiss the Day Goodbye alludes to the passage of time and sentiments related to endings. When the countdown clock strikes zero, the video restarts and the sun begins its descent once more, a metaphor for the cycle of days and events that shape our lives.

The presentation of Kiss the Day Goodbye at the Tampa Museum of Art coincides with the 1-year anniversary of Hurricanes Helene and Milton, which arrived on the Gulf Coast as category 4 and category 3 hurricanes two weeks apart from each other in the fall of 2024. The catastrophic weather harmed the region’s coastlines and damaged swathes of neighborhoods in the Tampa Bay area. Atlas’s Kiss the Day Goodbye, created by the artist 10 years ago, reminds viewers of the timeless beauty of the Gulf’s shorelines, the enduring wonder of its ecosystem, and the fragility of our coastal environment. Hurricanes Helene and Milton upended life in Tampa Bay. Yet with each ending comes beginnings, a sentiment that has strengthened our sense of community. Each breathtaking sunset serves as a reminder of why we call Tampa Bay home.

Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.
Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.
Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.
Charles Atlas (American, b. 1949), Kiss the Day Goodbye, 2015. Two channel video installation with color and sound. Running time: 19 minutes, 15 seconds. Courtesy of the artist and Luhring Augustine, New York. Installation view at the Tampa Museum of Art. Photography by Paige Boscia.

About the Artist

Charles Atlas’s influential career spans over five decades. He moved to New York City in 1968 and was a regular at the movies, enjoying both mainstream and independent films. In the early 1970s, Atlas started working with the Merce Cunningham Dance Company as an assistant stage manager. While on tour, Atlas filmed a solo of one of the Company’s dancers with a Super 8 camera. This short film inspired his life’s work. Atlas, together with Cunningham, forged new creative directions with “media-dance,” a genre that focuses on choreography for film and video rather than documentation of a performance with a live audience. In this medium, Atlas utilizes framing to highlight movement, sequencing, and time to emphasize the emotion and narrative of his subjects.

Atlas worked with Cunningham for nearly 40 years and befriended artists Robert Rauschenberg and Jasper Johns who collaborated frequently with the choreographer. Atlas has also partnered with Michael Clark, a Scottish dancer celebrated for his fusion of ballet and punk, as well as Yvonne Rainer, Marina Abramovic, Leigh Bowery, and Lady Bunny. Atlas’s art has been presented across the globe in exhibitions at the Venice Biennale, Tate Modern, and others. His archive resides at the Getty Research Institute in Los Angeles.  In 2024, the Institute of Contemporary Art/Boston mounted Charles Atlas: About Time, a comprehensive retrospective of the artist’s oeuvre. Atlas continues to live and work in New York City.


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Categories
Get Inspired

In the Studio with Elizabeth Mason: A Conversation with a Class Instructor

Welcome to “Get Inspired”. A series of interviews with our Studio Class instructors.  

For this month, we’ll be talking to Elizabeth Mason, an accomplished Jewelry-making entrepreneur with a love for the coast!

If you’re looking to get inspiration from a local artist, read on!

Photo Elizabeth Mason

TMA: Hi Elizabeth, thanks for taking some time to chat with us today. Let’s start off the conversation talking about your profession. Jewelry design is certainly unique. How did you start that journey?

Elizabeth: I started making jewelry during the evening as stress-relief and a way to relax after work. I was working long hours at the office and then continuing to work once I came home. I knew I had to make a change to avoid burn-out, but I had no idea my relaxing little hobby would grow into a side business or that I’d ever be transitioning into making jewelry full-time.

I began by experimenting with making simple earrings and stringing necklaces, and people started asking about the pieces I was wearing and if they could buy them. So, I started selling at a couple of local fairs and my hairdresser was kind enough to give me some space at her salon free of charge to showcase and sell my jewelry.

Photo by Elizabeth Mason

Elizabeth: Things grew from there to include multiple stores, two online shops and teaching classes.  In 2016 I took early retirement from my day job, opened a studio at the Institute for Creative Arts in Dunedin, to focus on my new career in jewelry making.

TMA: Turning your hobby into your profession certainly is the dream for a lot of artists! On your socials you’ve described your Jewelry as mostly “costal inspired”. How did that love for the coast start, and how do you incorporate it into your artwork?

Elizabeth: I grew up in London and rarely saw the sea. My attraction to the ocean and all things coastal began in my 30s when my husband and I relocated to Bermuda for several years. Living on a small island was certainly a big change – our apartment looked out over the ocean, and we were a short walk to the beach!

It was in Bermuda that I discovered seaglass – basically remnants of old glass that have been washed into or dumped at sea and over the years have been tumbled by the waves which gives them smooth edges and a frosted appearance – and I began to collect seaglass and sea pottery. I became fascinated by these little “pieces of history” and started to learn about the likely origins of my finds. Many pieces I found there were centuries old. I was hooked, and when I began to expand my jewelry making skills, I began to incorporate my beach finds.

Elizabeth: Since my move to Florida, where seaglass is a rarity, I’ve begun to work much more with local shells, and have begun designing ornaments using starfish, larger shells and other beach-found treasures. I also enjoy taking photographs and have launched a collection of jewelry that features photos taken of local beach and sunset scenes. I love walking along the beach and watching the amazing sunsets we get to see on the Gulf.

TMA: And now you’ve turned that love for the coast and jewelry into a thriving business: EJM designs. Do you have any advice for any inspiring entrepreneurs?

Elizabeth: To start any small business, you have to take a leap of faith. I started very slowly while I still had a full-time career, and I had limited time.  I’ve had many lucky breaks and come across many people who’ve supported my journey and encouraged me along the way. Creating can be lonely, and marketing yourself isn’t something I enjoy, even though I worked in marketing and PR professionally and knew exactly what I needed to do.

I also learned to be adaptable. For example, my classes were canceled during the pandemic, so I launched monthly gift box subscriptions on Etsy, and created jewelry for several other online subscription box services. Then, once people started street shopping again, I built more relationships with retailers, developed new designs and expanded my product range by designing things their store customers were requesting.

My classes returned gradually and have since expanded. My online business is less of a focus these days. My business has gone through many shifts and I think the best pieces of advice I could give anyone thinking of starting a business are to be comfortable with change, pay attention to trends and be aware that challenges can present major opportunities too.

TMA: That’s certainly advice we can all benefit from! You’ve already mentioned how to navigate some roadblocks when building a business. But what would you say is the most difficult part of jewelry-making?

Elizabeth: I would say the most challenging thing for me is coming up with new designs. I have dry spells when I don’t feel inspired, and I use this time to create restock items or plan new workshops. You never know when inspiration will strike, and it’s not something that can be forced.  But it can be frustrating if it doesn’t come for a while. Conversely, you can also be overwhelmed by ideas and have periods of intense activity! 

TMA: What’s the biggest reward?

Elizabeth: Not surprisingly, the biggest reward is someone coming up to you to tell you how much they love the jewelry they bought from you. I have many repeat customers, which is very uplifting, and I have many students who come to class after class too. This is such a validation and really boosts my self-confidence! Teaching was an unexpected part of my jewelry making journey and began as a way for me to cover the cost of my studio rent. I found I really enjoyed it and that it was also a great way to meet like-minded people and to raise awareness of my jewelry. It is amazing to witness the creativity of my students and to see them make pieces that are unique to them. They arrive telling me “I’m not creative…” and they leave with jewelry they love and are truly proud of. I love helping students explore ideas, lose their anxiety and learn the steps to make something beautiful. This is so fulfilling.

Photo by Elizabeth Mason

TMA: It certainly sounds rewarding, and we appreciate you sharing your classes with our TMA students. Speaking of which, for any prospective students out there who want to start their jewelry-making journey, what beginner’s advice would you give them?

Elizabeth: I always encourage people who have an interest, to explore it – you never know until you try if this is going to be something that you just want to pursue for a short-time or if it’s going to develop into a life-long passion. I’ve had numerous students who’ve launched small jewelry making businesses using skills they’ve learned at one of my workshops, and I love to see this. Everyone’s jewelry style is different, so there’s a market for everyone’s work. I advise people to start slowly and find what sells and what doesn’t, so they don’t invest too much in one set of stock. I also recommend creating good marketing materials, such as a logo, business cards, and signage, and an online presence – things you can do without spending too much money.

Whether you are starting out to make jewelry as a hobby or with a business in mind, I recommend buying a really good set of jewelry making tools and trying to focus on developing your individual style so your pieces can be viewed as a cohesive collection that’s recognizably yours. That’s not to say that you can’t have many collections, but it will help you develop your unique style. As your hobby develops, you’ll have to balance trying to appeal to different audiences and trying to identify and market to your target customer. This can involve a good deal of trial and error, and you must have patience and faith in the process. Be true to yourself and your vision, and above all, enjoy the creative process!

Photo by Elizabeth Mason

TMA: Elizabeth, thank you so much for this interview and sharing your advice and story with us. For anyone who is intrigued by jewelry or just want to see what all the excitement is about, check out Elizabeth’s jewelry-making classes! Her next class with the Tampa Museum of Art is the Studio 55 Beaded Jewelry course, which starts on Sunday, August 17. Reserve your spot now!

Categories
Current Exhibitions

In a New Light: American Impressionism 1870–1940 Works from the Bank of America Collection

On view August 7 – November 30, 2025

Childe Hassam (American, 1859–1935), Old House, East Hampton, 1917. Oil on linen. Framed: 28 3/8 x 38 ¼ inches. Bank of America Collection.
Childe Hassam (American, 1859–1935), Old House, East Hampton, 1917. Oil on linen. Framed: 28 3/8 x 38 ¼ inches. Bank of America Collection.

Discover the rich story of how American artists adapted and transformed Impressionism in In a New Light: American Impressionism 1870–1940. This major exhibition traces the movement’s journey from its French origins to its dynamic reinterpretation across the United States, revealing how artists blended European influences with American landscapes, cities, and everyday life.

Featuring more than 100 paintings and works on paper from the Bank of America Collection, In a New Light offers a vibrant look at the evolution of American art during a time of national reflection and renewal. Many artists featured in the exhibition studied abroad—particularly in France—where they embraced plein air painting and the bold color and light of Impressionism. Upon returning home, they helped shape a new artistic language rooted in American identity and place.

Organized geographically, the exhibition highlights artists working in key American art colonies, from the coasts of California and New England to the deserts of New Mexico and the streets of Chicago. Visitors will encounter panoramic landscapes by Hudson River School artists, tonal works influenced by the Barbizon School, and expressive paintings by renowned Impressionists like Childe Hassam, Daniel Garber, and Guy Carleton Wiggins.

The gallery installation follows a salon-style presentation, immersing guests in the diversity and energy of the era. Alongside iconic Impressionist scenes are works by American Realists and Tonalists, offering insight into the wide range of artistic voices that helped define the American experience at the turn of the 20th century.

This exhibition has been loaned through the Bank of America Art in our Communities® program.
Bank of America

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Categories
Centennial Campaign News

Tampa Museum of Art Kicks Off Expansion Project

View from the Hillsborough River looking toward the dog park site and Tampa’s cultural core. The reimagined greenspace enhances public use and complements the Museum’s expansion footprint.
View from the Hillsborough River looking toward the dog park site and Tampa’s cultural core. The reimagined greenspace enhances public use and complements the Museum’s expansion footprint.
Aerial rendering of the Tampa Museum of Art’s future campus. The new museum expansion and dual dog parks are designed to coexist as active and accessible public spaces.
Aerial rendering of the Tampa Museum of Art’s future campus. The new museum expansion and dual dog parks are designed to coexist as active and accessible public spaces.

TAMPA, Fla. – The Tampa Museum of Art takes the first visible steps toward its Centennial Expansion project, initiating site changes to prepare for the expanded TMA campus. This August, crews will begin relocating the Tampa Dog Run at Curtis Hixon Waterfront Park to make room for the museum’s new footprint, with full construction on the museum’s expansion to start in the fall. A formal ground-breaking celebration is planned for early 2026.

“This marks an important milestone in our Centennial Expansion,” said Michael Tomor, the Penny and Jeff Vinik Executive Director at the Tampa Museum of Art. “It opens the way for the physical groundwork to begin for inviting spaces that reflect our city’s interest in the arts and support meaningful cultural experiences.”

Rendering of the large dog park, featuring ample open space, shade elements, and playful structures designed for energetic pups and their companions.
Rendering of the large dog park, featuring ample open space, shade elements, and playful structures designed for energetic pups and their companions.
Designed with comfort and safety in mind, the small dog park offers a welcoming and shaded area tailored to Tampa’s littlest four-legged residents.
Designed with comfort and safety in mind, the small dog park offers a welcoming and shaded area tailored to Tampa’s littlest four-legged residents.

Construction of the new dog parks will take approximately four to five months and is expected to conclude in late 2025. The new parks will feature separate spaces for small dogs and large dogs, and no closure of the existing dog park is anticipated until the new, dual dog parks between Curtis Hixon Park and Kiley Gardens open. The new location and larger square footage will make the dog parks a more accessible amenity to the growing number of downtown residents. The New York-based design team of WEISS/MANFREDI Architecture/Landscape/Urbanism, which is designing the Museum’s expansion, was also responsible for the design of another urban dog park, Hunter’s Point South Waterfront Park in New York City.

Tampa Museum of Art expansion rendering night time view from the Hillsborough River.
Tampa Museum of Art expansion rendering night time view from the Hillsborough River.

The Tampa Museum of Art’s expansion was announced in November 2021 and is managed by The Beck Group. The Museum is funding the ambitious 77,904-square-foot expansion project through its ongoing Centennial Campaign, a comprehensive construction and endowment effort anchored by a $28 million lead gift from Dick Corbett, a Tampa real estate developer and philanthropist who has been a Museum patron for decades. His lead gift is the single largest private donation ever made to a public art museum in Florida.

To date, more than $100 million in generous support has been provided by individuals, families and corporations, as well as the City of Tampa, Hillsborough County, and the State of Florida. The campaign’s fundraising efforts will continue during construction, including naming opportunities for the relocated dog park.

“I have been involved for many years with the Tampa Museum of Art, and it is amazingly rewarding to take this step toward breaking ground on the expansion,” said Cornelia Corbett, Campaign Chairwoman. “Our Centennial Campaign has focused solely on the future of the Museum in service to the Tampa Bay community.  The construction of the dog park is the first step to bringing the dream of a world-class Museum to Tampa.”

The expansion will transform the Museum into a vibrant hub of art and culture. Designed as a crystalline pier extending the museum to the edge of the river, the new expansion will create a series of interconnected multifunctional spaces. The new addition will include a 150-seat auditorium, an art lounge, food services and dining space, a large event space, and a proposed rooftop space, all of which will provide flexible settings for a wide range of art and cultural programming. The expansion will also feature new outdoor sculpture areas, bringing art to the redeveloped public spaces along Curtis Hixon Park and the Tampa Riverwalk.

The new Dog Park construction will not affect access to the Riverwalk or the City of Tampa Parks office, and public restrooms will remain available.

Architectural rendering from above Ashley Drive reveals the layout and landscape features of the future dog parks, thoughtfully integrated into the city’s River Arts District.
Architectural rendering from above Ashley Drive reveals the layout and landscape features of the future dog parks, thoughtfully integrated into the city’s River Arts District.
Future dog park site as viewed from Ashley Drive. This new location will offer easier access for pedestrians and visitors from downtown.
Future dog park site as viewed from Ashley Drive. This new location will offer easier access for pedestrians and visitors from downtown.
Aerial view showing the future site of the dual dog parks at Curtis Hixon Waterfront Park. The new design improves access and offers more space for downtown Tampa’s growing pet-friendly community.
Aerial view showing the future site of the dual dog parks at Curtis Hixon Waterfront Park. The new design improves access and offers more space for downtown Tampa’s growing pet-friendly community.

About WEISS/MANFREDI Architecture/Landscape/Urbanism

WEISS/MANFREDI Architecture/Landscape/Urbanism is a multidisciplinary design practice based in New York City. Founded by Marion Weiss and Michael Manfredi, the firm is known for the dynamic integration of architecture, art, infrastructure, and landscape design. The firm is well known for the Seattle Art Museum’s celebrated Olympic Sculpture Park, the Women’s Memorial at Arlington National Cemetery, the Brooklyn Botanic Garden Visitor Center and Overlook, and Hunter’s Point South Waterfront Park. Current projects include the United States Embassy in New Delhi, India, the La Brea Tar Pits and museum in Los Angeles, and Lincoln Center’s new outdoor theater in New York City. Most recently, the firm won the international competition for the addition and renovation to the Nelson-Atkins Museum of Art in Kansas City, Missouri, which attracted submissions from over 180 firms from thirty countries on six continents.

Marion Weiss and Michael Manfredi are recipients of the 2024 Louis I. Kahn Award in Architecture, the 2020 Thomas Jefferson Foundation Medal in Architecture, the Cooper Hewitt National Design Award for Architecture, the American Academy of Arts and Letters Award in Architecture, and the Architectural League of New York’s “Emerging Voices” award. The firm has also been honored with the New York AIA Gold Medal and the Tau Sigma Delta Gold Medal, awarded to one individual or firm in the world each year. The firm’s projects have been featured in exhibitions at the Venice Architectural Biennale, the Museum of Modern Art (MoMA), the São Paulo Biennale of International Architecture and Design, the Shanghai Biennale, the Cooper Hewitt Smithsonian Museum, the National Building Museum, Harvard University, the Landscape Architecture Biennale in Barcelona, the Design Centre in Essen, Germany, and the Guggenheim Museum. Weiss and Manfredi’s work is in the permanent collection of MoMA, the Seattle Art Museum, the Library of Congress, and the Cooper Hewitt, Smithsonian Museum. Princeton Architectural Press has published three monographs on their work including their most recent book, PUBLIC NATURES. Park Books published their fifth monograph DRIFTING SYMMETRIES in winter 2025.

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Categories
Current Exhibitions

Myrlande Constant: Early Works

Sequin Arts: The Flagmakers of Haiti

On view now

Ague Taroyo, 2007
Beads and sequins on cloth
Collection of Ed and Ann Gessen
Myrlande Constant (Haitian, b. 1968), Ague Taroyo, 2007. Beads and sequins on cloth. Collection of Ed and Ann Gessen.

The Tampa Museum of Art acquired its first drapo Vodou, or Vodou flag, over twenty-five years ago. Myrlande Constant’s flag Papa Zaka/St. Isidore was gifted to the collection by notable Haitian art collectors Kay and Roderick Heller. An early work by Constant, the flag reflects the customary size and imagery associated with this most beloved tradition of Haiti’s sacred arts. At the center of the composition is a depiction of a lwa, or deity, from the Vodou pantheon and a geometric border frames the image. Over time, Constant’s flags have increased in scale and visual complexity. Constant’s work represents a different approach to flagmaking—notably she is one the few women working in a medium traditionally associated with Vodou priests and male artisans. For the past 30 years, she has pushed the boundaries of the medium with her approach to color, light, and pattern. Today, Constant is celebrated as one of Haiti’s most accomplished contemporary artists and her art is exhibited across the world.

Born in Port-au-Prince, Constant was raised by her mother Jane Constant, a seamstress. In her teens, she worked with her mother in one of Haiti’s textile factories that made wedding dresses for brides in the US and Europe. Poor conditions and minimal wages caused her to quit, and she pursued the craft of flagmaking. Although she is versed in Vodou practices, Constant views her art in relation to textiles and painting, rather than as ritual flags. Distinct from her male contemporaries, Constant’s flags incorporate the tambour stitch, a technique she learned at the textile factory that allows her to create different textures and depth with sequins and beads. She also works in reverse—after drawing the image on cloth attached to supports, Constant and her assistants sew each bead from the underside and out of their view. The final picture is revealed once the cloth is turned over for inspection.

Exhibition sponsored in part by:
Santander

Muriel Braithwaite


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Categories
Current Exhibitions

Focal Point: The David Hall Photography Collection

June 12, 2025 – April 19, 2026

Judy Dater (American, b. 1941)
Self-Portrait at Salt Flats, 1981 
Gelatin silver print  
David Hall Collection
Judy Dater (American, b. 1941), Self-Portrait at Salt Flats, 1981. Gelatin silver print. David Hall Collection.

Focal Point: The David Hall Photography Collection presents 40 works from the holdings of Tampa-based collector and photographer David Hall. With over 400 works in the collection, the pictures on view present a sample of the photographers and images David admired as a lifelong photo enthusiast. The collection shares the story of photography in the 20th century as the medium evolved from historical documentation to an admired form of visual art. David was interested in the history of photography and held a special passion for photographs made between World War One and World War Two, a transformative period in art.

This intimate exhibition is loosely organized by the themes prevalent in the David Hall Collection. Many of the images on view represent iconic works from the photographers’ oeuvre, such as Ruth Orkin’s American Girl in Italy, Young Farmers by August Sander, and Ansel Adams’ Half Dome in Yosemite National Park. Print publications, such as LIFE magazine, Harper’s Bazaar, and Vogue, employed and championed trailblazing photographers such as Richard Avedon, Alfred Eisenstaedt, and Philippe Halsman, who shot memorable moments of the 20th century.

The David Hall Collection also includes important works by Group f/64, the California collective of photographers who forged a new aesthetic in opposition to the dominant photographic trends in New York. Pictures by Adams, Ruth Bernhard, and Edward Weston represent the “pure photography” style of Group f/64. A small group of works by David’s San Francisco-based photographer friends—such as Judy Dater, Richard Hartman, Polly Gaillard, and Lisa Law—allude to his own time spent in California.

Women, either as the photographer or subject, represent a significant number of works in the collection. As highlighted by the works on view in Focal Point, women photographers created groundbreaking bodies of work. Berenice Abbott, Diane Arbus, and Lillian Bassman were at the forefront of artistic innovation at a time when women did not receive the same recognition or support as their male counterparts. Portraits of women—ranging from the muse, the nude, the artist, or the sister—reveal the sitters’ sense of confidence, resilience, joy, and grace, as well as their ease in the
company of the photographer.

About David Hall

David Hall (1944 – 2024) was an arts advocate, philanthropist, music enthusiast, photographer, and collector. A Tampa native, David graduated from Plant High School and the University of South Florida. The San Francisco Bay Area was a second home to David, who spent numerous years living between California and Florida with his partner Judy Tampa. David loved cameras from an early age and studied photography at UC Berkeley with Judy Dater. He simultaneously took pictures and collected photography, but focused on the latter more intently when he returned to Tampa permanently. David was one of the co-founders of the Florida Museum of Photographic Arts (FMoPA) and a supporter of arts organizations, including the Tampa Museum of Art. Focal Point: The David Hall Photography Collection pays tribute to David, his legacy, and contributions to Tampa’s arts community.

Exhibition Sponsored in part by:

The Frank E. Duckwall Fund at the Community Foundation of Tampa Bay

Supporting Sponsor:

Anderson Bucklew Charitable Foundation


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Get Inspired

In the Studio with Rolando Rodriguez: A Conversation with Class Instructor

Welcome to “Get Inspired”. A series of interviews with our Studio Class instructors.  

For this month, we’ll be talking to Rolando Rodriguez. He’s our resident Drawing and Painting teacher here at the Tampa Museum of art—If you need any help with 2D mediums, he’s your guy!

So, if you’re looking to get inspiration from a local artist, read on!

Photo Rolando Rodriguez

TMA: Hi Rolando! Thanks for taking some time to chat with us today. For starters, how about you tell us what sparked your interest in art?

Rolando: Growing up, I didn’t have parents that visited art galleries or museums. I knew nothing about the mindboggling achievements of the greatest artists. It was all the more shocking to see, on a huge screen, the works of genius artists at the age of 18 in my first art history class.

Eventually as I delved deeper into art, it became clear that I needed to change my major from pre-law to Art History. I thought about becoming a fine arts major, but at the time, modern, or abstract art had overwhelming dominance. It was what everyone was studying and teaching. I was interested in figurative art. The kind that had a magical, gracefulness, and a concern with beauty. I studied in depth the ancient Greeks, the Italian High Renaissance, the Dutch school, and the French academic school. I was trying to learn as directly as possible from the old masters.

TMA: That’s great! And with all of that studying, how did you find the Tampa Museum of Art?

Rolando: Actually, I didn’t find the Tampa Museum, the Tampa Museum found me. There were a group of teenaged students that requested a classically trained artist, I received a call to teach them. I taught two classes, then the third was interrupted by the covid epidemic.  

TMA: Can you tell us a little more about what other projects you’re working on?

Rolando: I’m currently working on a large oil painting depicting figures in a festive setting. I’m striving for a harmonious and pleasing arrangement of figures in movement. There is a philosophical aspect to this painting as well, since it will eventually feature a puppet cutting its own puppet strings.

TMA: With all of your projects and classes all focusing on difference aspects of 2D medium, what do you think is the difference between drawing and painting? But also, how are they similar?

Rolando: The differences between drawing and painting goes beyond color. Drawing has to be regarded as a different medium, but as respected as painting. Masterpieces can be created with both. Drawing is usually the first foundation to painting or sculpting.

TMA: That’s a great way to look at it! Do you have any other tips for people looking for inspiration or instruction in drawing and painting?

Rolando: My suggestions to those considering Art as a creative endeavor is to follow your passions. Whether it be portraiture, flowers, landscapes, etc.  do what you want to do. After you’ve discovered your focus, so that you can avoid stagnation, don’t forget to occasionally experiment.    

Be patient with yourself, it takes a little time to make that connection where beautiful and wonderful art are within reach.  

TMA: Thank you so much for talking with us today, Rolando! For the readers out there, if you’re thinking about diving into the world of drawing and painting, or want to continue learning, consider taking a wonderful class with our wonderful teacher Rolando Rodriguez!