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Current Exhibitions

Skyway 2024: A Contemporary Collaboration

On view August 28, 2024, through January 5, 2025

graphic design of florida with illustrations of a woman on the beach, oranges, alligator, etc...
Corinne Zepeda (Seminole American, born 1997)
Greetings from Florida, 2024, Digital print, Dimensions variable,
Courtesy of the artist.

In the summer of 2021, we mounted the triennial exhibition Skyway: A Contemporary Collaboration across four venues, a full year later than its original June 2020 date. Skyway 20/21 offered a reprieve from the new normal of daily uncertainty and the effects of a global pandemic. During those paused months of the pandemic, it felt like life might not ever return to normal. If it did, what would life look like? Could we return to our old selves? What needed to change, and what did we need to do to thrive again, both as individuals and as a community?

In preparation for Skyway 2024, the six-person curatorial team met with artists over Zoom and in person. During my studio visits, we talked about emerging from the cocoon of artistic isolation and how this impacted their work. Artists shared how they made art during an unprecedented period of uncertainty. Our conversations revealed what making art means today and how COVID-19 forced an alteration of their process. Many artists used this time as a period of reevaluation of practice and self. Thinking about the future included a reflection of the past, with a common goal of pushing towards something new. Conceptually, the year 2020 reset the clock, allowing artists to experiment and explore materials, techniques, and ideas with abandon.

The eighteen artists selected for the Tampa Museum of Art’s Skyway 2024 exhibition are showing their work for the first time in our regional triennial. They represent a range of backgrounds-from MFA students and self-taught artists to creative makers with established careers. Notably, the art in this iteration of Skyway is deeply personal and introspective, with work referencing lived experiences and observations of the changed, chaotic, charged world around us. The works allude to heroes and heroines, friends and family, self and the body, and the fragile line between life and death. Viewed together, the art reveals a creative zeitgeist informed by our post-pandemic world.

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Current Exhibitions

Jennifer Steinkamp: Madame Curie

On view August 8, 2024, through August 10, 2025

Digital image of colorful flowers.
Jennifer Steinkamp (American, b. 1958), Madame Curie, 2011-2023. Eight-channel, synchronized projection. Dimensions variable. Courtesy the artist and Lehmann Maupin, New York, Seoul, and London.

I am among those who think that science has great beauty.

— Marie Curie

Beauty gives you a sense of what it is like to be alive.

— Jennifer Steinkamp

The Tampa Museum of Art’s inaugural multi-media exhibition in the Bronson Thayer Gallery celebrates two female trailblazers: scientist Marie Curie (Polish-French, 1876-1934) and artist Jennifer Steinkamp (American, b. 1958). Curie remains the only woman awarded two Nobel Prizes for her groundbreaking scientific discoveries and research. Born nearly a century later, Steinkamp is internationally recognized for her monumental installations that unite art with technology. Pioneers in their respective disciplines  – science and art  – the exhibition Jennifer Steinkamp: Madame Curie highlights the remarkable work of both women. This presentation also launches the Museum’s new media and immersive art initiative, a milestone in our institution’s programming history.

Like Marie Curie, Steinkamp has long been inspired by science and how science transforms humanity. For over 30 years, she has been making site-specific art exploring the relationship between nature, power, and gender. With advances in technology and her affinity for design and coding, Steinkamp viewed the computer as a tool to make art. Madame Curie, commissioned by the Museum of Contemporary Art San Diego in 2011, was informed by Steinkamp’s investigations into the San Onofre Nuclear Generation Station, a decommissioned power plant located halfway between Los Angeles and San Diego. Her research inevitably led her to Marie Curie’s trailblazing work in physics and chemistry, specifically Curie’s revolutionary research on radioactivity and the discovery of polonium and radium.

While reading Curie’s biography, authored by the scientist’s daughter Eve Curie, Steinkamp noticed flowers and gardening were mentioned throughout the book—a passion that coincided with her love of science. Steinkamp created animation renderings of over 40 flowers mentioned in Curie’s biography. In Steinkamp’s Madame Curie, billowing stems of apple blossoms, daisies, eucalyptus, passion flowers, periwinkle, and wisteria float, tumble, and cascade across the gallery’s walls. The layered blooms create the perception of infinite space and continuous time. For the Tampa Museum of Art’s exhibition of Madame Curie, Steinkamp created a version of the animation specific to the gallery’s architecture. In this immersive installation, Steinkamp emphasizes the beauty of nature and how it brought Curie a sense of wonderment and joy throughout her life.

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Current Exhibitions

Suchitra Mattai: Bodies and Souls

On view June 22, 2024, through March 16, 2025

Suchitra Mattai (Guyanese, b. 1973), "Womb", 2023. Vintage saris, fabric, 3-d printed celestial figure sculptures. 90 x 74 inches. Courtesy of the artist and Roberts Projects, Los Angeles. Photographer: Heather Rasmussen
Suchitra Mattai (Guyanese, b. 1973), Womb, 2023. Vintage saris, fabric, 3-d printed celestial figure sculptures. 90 x 74 inches. Courtesy of the artist and Roberts Projects, Los Angeles. Photographer: Heather Rasmussen

Suchitra Mattai: Bodies and Souls represents Suchitra Mattai’s (Guyanese, b. 1973) first solo Museum exhibition on the East Coast and in Florida. Compromised largely of new works, the show focuses on three themes central to Mattai’s practice: migration, motherland, and materiality. Within these themes, Mattai explores her own family’s history and identity, as well as the narratives of Guyana’s Indo-Caribbean community. Mattai’s work references historical moments, such as the migration of indentured laborers from India to the shores of Guyana, and also examines the physical and emotional relationship to home and motherland. Mattai creates artworks that flip traditional mythologies by placing South Asian women and Brown bodies as the central figures in her vibrant compositions. These unique histories – from surveying Guyana’s colonial past to shared Indian traditions against the lush backdrop of the Caribbean, and the familial bonds between matriarchs, mothers, and daughters – anchor Mattai’s art. She uses materials familiar to her – such as vintage saris, bindis and beading, and Hindu relics- to reclaim history and give prominence to voices silenced or ignored throughout time.

Born in Georgetown, Guyana, Mattai has lived across continents yet retains close ties to the South Asian communities in the Caribbean and the US. The artist earned her MFA in painting and drawing as well as an MA in South Asian art from the University of Pennsylvania in Philadelphia. Over the last five years, her work has shifted from painting to sculptural textile installations. In addition to Suchitra Mattai: Bodies and Souls at the Tampa Museum of Art, in 2024, Mattai’s art is the focus of solo exhibitions at the ICA San Francisco; Socrates Sculpture Park in Queens, New York; and the National Museum of Women in the Arts in Washington, DC. She has been featured in group shows at the MCA Chicago, Crystal Bridges Museum of Art, the MCA Denver, and the Art Gallery of Ontario. Mattai lives and works in Los Angeles, California.

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Current Exhibitions

Esterio Segura: Hybrid of a Chrysler

On view now

Esterio Segura highlights the complexity of everyday life in Cuba in artworks exploring the socio-political, cultural, and spiritual landscape of the island nation. Different manifestations of winged animals and machines, airplanes, and submarines appear in his art and represent themes of freedom, isolation, immigration, desire, and exile. Hybrid of a Chrysler, features Segura’s signature use of wings attached to the roof of a 1953 Chrysler Windsor. The car, like the classic autos used daily in Cuba, appears ready for flight. Hybrid of a Chrysler premiered at the Tampa Museum of Art in 2016 and has traveled across the globe to Venice, Italy and Washington DC, to Gainesville, Florida, and has now returned to Tampa
Esterio Segura (Cuban, b. 1970)
Hybrid of a Chrysler, 2016
Vintage automobile and mixed media installation
Collection of Susie and Mitchell Rice

Esterio Segura highlights the complexity of everyday life in Cuba in artworks exploring the socio-political, cultural, and spiritual landscape of the island nation. Different manifestations of winged animals and machines, airplanes, and submarines appear in his art and represent themes of freedom, isolation, immigration, desire, and exile. Hybrid of a Chrysler, features Segura’s signature use of wings attached to the roof of a 1953 Chrysler Windsor. The car, like the classic autos used daily in Cuba, appears ready for flight. Hybrid of a Chrysler premiered at the Tampa Museum of Art in 2016 and has traveled across the globe to Venice, Italy and Washington DC, to Gainesville, Florida, and has now returned to Tampa.

In a recent interview, Segura shared, “The subject of flight is an idea that I have taken from the image of an airplane, the image of wings, and the consciousness of what travel meant to me. I was 25 when I first traveled outside of Cuba [and in] 2001, I started thinking seriously about making a project on this subject…The awareness of others entered the work—those who emigrate, or yearn to, or experience nostalgia, or miss people who may return or not. Above all, everything is specifically related to flight or travel. Hybrid of a Chrysler emerged from this nexus.”

Born in Santiago, Cuba, Segura attended the prestigious Instituto Superior de Arte (ISA) in Havana. His art, ranging from painting, sculpture, and installation, has been exhibited around the world and his works reside in prominent public and private collections. The Tampa Museum of Art recently acquired Segura’s Good Bye My Love, currently on view in the Patel Family Lobby. Segura’s art will be featured in the upcoming 2025 exhibition Under the Spell of the Palm Tree: The Rice Collection of Cuban Art.

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Current Exhibitions

Joseph Veach Noble Through the Eye of a Collector 

On view April 18, 2024 through February 19, 2026

"Mycenaean Cup" on Stem This wine cup on a high stem from Athens dates to the Late Helladic period, when the Mycenaean civilization reached its height Ceramic vessel (kylix); Attica, Greece; Mycenaean period, ca. 1400-1375 bce. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.019
Mycenaean Cup on Stem
This wine cup on a high stem from Athens dates to the Late Helladic period, when the Mycenaean civilization reached its height

Ceramic vessel (kylix); Attica, Greece; Mycenaean period, ca. 1400-1375 BCE. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.019
"Neptune with Dolphin" The Roman lord of horses, and god of rivers, springs and seas, has a dolphin to his right leg. He may once have held a trident. Marble sculpture; Rome, Italy; Roman Imperial period, ca. 50-100 ce. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.135
Neptune with Dolphin
The Roman lord of horses, and god of rivers, springs and seas, has a dolphin to his right leg. He may once have held a trident.

Marble sculpture; Rome, Italy; Roman Imperial period, ca. 50-100 CE. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.135

Born in Philadelphia, Joseph Veach Noble was not only a museum administrator and director, but also an avid collector and connoisseur of Greek and Roman antiquities, with a particular interest in ancient Greek ceramic vases. While he began his career in cinema, Noble was appointed Operating Administrator at New York’s Metropolitan Museum of Art in 1956. He held that position until 1967, when he became The Met’s Vice-Director of Administration. In 1970, Noble founded the Museum of the City of New York where he served as Director until his retirement in 1985. At the age of 87, he died in West Orange, New Jersey.

At the time of the acquisition in 1986, the Noble Collection was thought to comprise the largest private collection of Athenian vases in North America. Focusing on Mr. Noble as a connoisseur, this exhibition explores what motivated Noble’s interests and fascinations with the different materials and mediums, styles and techniques of ancient art. Joseph Veach Noble: Through the Eye of a Collector is one of several new exhibitions dedicated to the Museum’s permanent collection that will be on view for long-term displays over the coming years.

"Venus Holding Apple" 

The Roman goddess of love and sexuality holds an apple in her left hand, a token which designated her the winner in the Judgment of Paris. 

 

Bronze figurine; Rome, Italy [?]; Republican-Imperial period, ca. 1st cent. bce-1st cent. ce. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, PURCHASED IN PART WITH FUNDS DONATED BY VINCENT BEKIEMPIS, 1986.139
Venus Holding Apple
The Roman goddess of love and sexuality holds an apple in her left hand, a token which designated her the winner in the Judgment of Paris.

Bronze figurine; Rome, Italy [?]; Republican-Imperial period, ca. 1st cent. BCE-1st cent. CE. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, PURCHASED IN PART WITH FUNDS DONATED BY VINCENT BEKIEMPIS, 1986.139
"Pseudo-Panathenaic Amphora" This double-handled vase was Noble’s most prized possession. It depicts Athena Promachus, fully dressed as champion of battle, in Archaic black-figure style. Ceramic vessel (amphora); Attica, Greece; Archaic period, ca. 540 bce. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.024
Pseudo-Panathenaic Amphora
This double-handled vase was Noble’s most prized possession. It depicts Athena Promachus, fully dressed as champion of battle, in Archaic black-figure style.

Ceramic vessel (amphora); Attica, Greece; Archaic period, ca. 540 BCE. TAMPA MUSEUM OF ART, JOSEPH VEACH NOBLE COLLECTION, 1986.024

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Current Exhibitions

Vaughn Spann: Allegories

On view February 15, 2024

Vaughn Spann (American, b. 1992), "Within the Margins of Eternity", 2023. Polymer paint and mixed media on wood panel. 120 x 120 inches. Courtesy the artist & David Castillo, Miami
Vaughn Spann (American, b. 1992), Within the Margins of Eternity, 2023. Polymer paint and mixed media on wood panel. 120 x 120 inches. Courtesy the artist & David Castillo, Miami
Vaughn Spann (American, b. 1992), "Manifestations", 2023. Polymer paint and mixed media on wood panel. 120 x 120 inches. Courtesy the artist & David Castillo, Miami
Vaughn Spann (American, b. 1992), Manifestations, 2023. Polymer paint and mixed media on wood panel. 120 x 120 inches. Courtesy the artist & David Castillo, Miami

In a recent interview, artist Vaughn Spann (American, b. 1992) remarked, “Abstraction maps reality.” The four monumental paintings on view, all from the series Marked Men, represent the convergence of abstraction and figuration in Spann’s art. Rendered as a grid, each panel features a prominent ‘X’ at the center of the composition. Vibrant paint—from sapphire to sky blue, crimson red, fire orange, and marigold yellow, to blush pink and emerald green—emphasize Spann’s lattice of kaleidoscopic color. A combination of pigment and housepaint, the artist works the surface of the painting on the floor of his studio, building texture withing the picture plane, and then completes the work upright on the wall.

The X serves as a stand-in for the body and represents both personal and collective experiences. Created in a variety of hues and form, the X ranges from prominently visible to camouflaged or hidden. In Spann’s paintings, the X serves as a portrait of the everyman who has been targeted in racial profiling. It reflects self as well as the unknown or anonymous person. In discussing the inspiration for the Marked Men series, Spann shared: “I was stopped and frisked for the first time while I was an undergrad student…I was walking home from studying at a friend’s house. Cops pulled me over. Four other cop cars came by. They put me against a gate, and my hands are up, split. That same gesture echoes the X. And, for me, that’s such a symbolic form, and so powerful to this contemporary moment.”

Spann’s paintings illustrate a breadth of art historical and contemporary art influences, from the colorful abstract paintings by Stanley Whitney and Brice Marden’s lyrical yet minimal canvases, to Pop art icon Andy Warhol. Although each painter offers a uniquely different approach to art making, the grid and notion of repetition or seriality unites the artists. Both a formal and narrative choice, the containment of the grid heightens the image’s meaning or allegory. In discussing his grid paintings, Whitney once remarked, “There is freedom in setting limits for one self.” Spann, greatly inspired by Whitney, builds on this sentiment and adds, “…with freedom comes responsibility.” In this gallery, Spann’s Marked Men series signifies the artist’s dedication to social activism while paying homage to art history.

Born in Orlando, Florida, Vaughn Spann received his BFA in studio art from Rutgers State University and earned his MFA in painting and printmaking from Yale University’s School of Art. His art has been exhibited across the globe, with exhibitions mounted at the Indianapolis Museum of Art, Kemper Museum of Contemporary Art, and the Rubell Museum. Spann’s work resides in the collections of the North Carolina Museum of Art, Brooklyn Museum of Art, Hirshhorn Museum and Sculpture Garden, Los Angeles County Museum of Art, Buffalo AKG Art Museum, and others.

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Current Exhibitions

C. Paul Jennewein

On view April 16, 2023 through 2025

C. Paul Jennewein (German-American, 1890-1978), Greek Dance, 1984 (Cast from the 1926 original). Bronze with gold patina; H. 18 1/8 in. Tampa Museum of Art, Gift of Brookgreen Gardens in honor of C. Paul Jennewein, 1989.002.

The art of German-born, American sculptor C. Paul Jennewein (1890-1978) reveals the inspiration of the ancient world while also engaging with the new sculptural styles of his time, merging Art Deco with the Neo-Classical tradition. In 1978, the Tampa Bay Art Center, predecessor of the Tampa Museum of Art, received a bequest of nearly 2,600 objects including statues and paintings, as well as preparatory drawings, plaster models, and related ephemera of Jennewein’s work. The Jennewein bequest forms the largest collection of a single artist’s work in Museum’s holdings, and provides a bridge between the antiquities and modern art in the permanent collection.

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Current Exhibitions

Laura with Bun by Jaume Plensa

On view now

Jaume Plensa (Spanish, b. 1955) Laura with Bun, 2014.. Cast iron.
© Jaume Plensa. Courtesy Galerie Lelong, New York
Photo: Courtesy Skip O’Rourke/Tampa Bay Times

Jaume Plensa is an internationally acclaimed artist who has exhibited his sculptures in museums all over the world. In locations as diverse as Seoul, Paris, Chicago, Bordeaux and London, Plensa’s monumental sculptures have reaffirmed the power of art to transform a public space into a community. This is aptly demonstrated in his first major commission in the United States, The Crown Fountain in Chicago’s Millennium Park (2004). Two 11-story LED towers face each other across a thin pool of water, with images of a changing and diverse city reflected in the water, a continuously cycling metaphor for the life of a city.

The Crown Fountain was the beginning of Plensa’s investigation of the portrait via photography and form. This led to works like Laura with Bun. At more than 23 feet tall, this artwork expresses both individual and universal traits at great scale, inviting viewers to consider multiple aspects of beauty and human nature. Like all of his large-scale female portrait heads, Laura has her eyes closed, as if looking within. In speaking about these works, Plensa has said, “Look into yourself. My piece is a mirror to reflect your image, so you can think about your own interior—how much beauty we have inside of ourselves.”

Laura with Bun initially came to Tampa as part of the 2016 exhibition Jaume Plensa: Human Landscape. Thanks to the generosity of an anonymous gift and the overwhelming popular support of nearly 100 donors, the Museum has committed to purchase the sculpture for our permanent collection. For their support of this purchase, we are most grateful to:

Anonymous

Celia & Jim Ferman

The Williams Family

Penny & Jeff Vinik

Mark Anderson & Keith Bucklew

Maureen & Douglas Cohn

Stephen & Marsha Dickey

Sara Golding Scher & David Scher

Allison, Robby, Dallas, & Adelaide Adams

Carlton Fields

Blake & Tate Casper

PNC Bank

Susie & Mitchell Rice in honor of Michael Tomor

Jeff Tucker & Len Kizner

FRIENDS of the Museum

And all the Friends of Laura:

Burton N. Mulford & R. Dean Hamric

Mary Alice McClendon

Sara & Mort Richter

Tampa Downtown Partnership

Thomas Hochhausler & Sung Lee

Julianne McKeel

Sharmila & Vivek Seth

Ellen & Don Stichter

Mrs. John Brabson in honor of her family

Reba Cardillo

Margo & Hilliard Eure

Drs. Daniel & Jamie Fernandez

Holmes Hepner & Associates Architects

Rob Iles & Mike Paonessa

Sue & Bob Isbell

Judi Kelly

Arnold & Gail Levine

Keith & Judith Maurer

Ingeborg Michaels

Dr. Richard E. & Mrs Mary B. Perry

Robin C. Sharp & Annemarie Christino

Barbara & Fell Stubbs

Laura & Ed Waller

Linda Rice

William M. Blanchard

Donna & Tom Brumfield

Suzanne Camp Crosby

John Hunter

Sandy & Floyd Juster

Art Keeble

Bob & Kathy Lewis

Leslie & Hampton Stephens

Your Neighbors at TAPS Restaurant Bar & Lounge

Pam Wysocki

Sharon & Lew Sibert

Anonymous

Hillary Carlson Cone in memory of Douglas P. Cone

Todd Edwards

Candy Olson in honor of

Charles, Henry, Edward & Margaret Jaskowiak

and Lynnea & Robbie Cobey-Broad

Keen O’Sullivan

Ellen & Bruce Houghton

Susan Landa in memory of Peter Landa

Grant Wilson & Diana Stevens

in memory of Laura Lundgren

Jim & Susan Casebeer

Chris & Stephanie Arnold

Dolores Coe

Ana Cruz

HJ Freeman

William Hein

Nancy, Ryan, & Briana Kipnis

Bill & Pam Michul

Bill Rogers

Julie Graham Sargent

Bob & Cathy Smith

Lincoln J. Tamayo

Alison Watkins

Marilyn & Robert Farber

David & Diane Drapcho

Colin DeVito

Harrison DeVito

John & Patricia Gorzka

in honor of Julia Gorzka Freeman

Bill & Judy Graham

Gail R. Hirsch

Jennifer Holmberg

Beth Iandoli

Marcia Israeloff & Paul Jacobsen

Kathy, Natalie, & Kaitlin Lowy

Amy, Michael, & Myla Martz

Joe & Laraine O’Neill

Mindy & Carl Snyder

Dana & Paul Whiting Jr.

Anonymous

Marilyn Zoidis

Alice Prida

Martha Coulter

Miriam B. Zack

Julia, Brett, & Jack Freeman

Mr. & Dr. Sarro

Anonymous

Abby Jetmundsen

Leo Pevnick

Categories
Current Exhibitions

Identity in the Ancient World

On view March 24, 2023 through March 2025

"Altar for Diadymenos" Grave monument set up for a freedman by his former master, portraying a Greek in Roman garment and hairstyle. Marble sculpture; Ostia, Itlay; Roman Imperial period, ca. 160-170 CE. Museum purchase, 1991.001
Altar for Diadymenos
Grave monument set up for a freedman by his former master, portraying a Greek in Roman garment and hairstyle.

Marble sculpture; Ostia, Itlay; Roman Imperial period, ca. 160-170 CE. Museum purchase, 1991.001
"Venus, Goddess of Love" Sensuously sculpted torso with a pleated tunic, deeply girded at the hips, leaving one breast exposed. Marble sculpture; Rome, Italy; early Roman Imperial period, ca. 1st century CE. Joseph Veach Noble Collection, Museum Purchase in part with funds donated by W.R.B. Enterprise, Inc., Judy & Bob Blanchard, and Jeanne & Jack Winter, 1986.134
Venus, Goddess of Love
Sensuously sculpted torso with a pleated tunic, deeply girded at the hips, leaving one breast exposed.

Marble sculpture; Rome, Italy; early Roman Imperial period, ca. 1st century CE. Joseph Veach Noble Collection, Museum Purchase in part with funds donated by W.R.B. Enterprise, Inc., Judy & Bob Blanchard, and Jeanne & Jack Winter, 1986.134

Today, we recognize various expressions of identity, such as personal, social and national identity. Certain frames of identity are well-defined or fixed, others are based on personal choice or may change over time. Think of economic class and social status, education and profession, culture and nationality. Also, language, lifestyle, musical preference, personal companionship, political allegiance or religion. These frames of identity may invoke a sense of belonging or form exclusive alliances. They may also provoke feelings of marginalization, even policies of segregation. Or, they may create demands for acceptance and equal treatment. This exhibition engages the public to reflect upon the differences and similarities between the ancient world and our contemporary society. Some themes the visitor may encounter include masculinity and femininity, intimacy and ethnicity.

In the ancient world such expressions of identity could not always be articulated explicitly because the terminology for voicing thoughts about personal, cultural and national frames of identity often did not exist. That is not to say that Egyptians or Persians, Greeks or Romans did not experience a sense of belonging to a certain group sharing a cultural, linguistic and historical heritage. They recognized biological differences between men and women, and they believed that certain social roles belonged to the different genders. Ancient societies were unambiguously patriarchal and hierarchical, with certain political rights held as privileges of well-defined classes. Others were excluded – such as enslaved persons, peasants, women and/or resident aliens (even when living in the same country for generations), who had little or no rights.

"Portrait of a Young Man" Funerary portrait panel of a deceased young man with busts of Isis and Sarapis. Encaustic painting on wood; Egypt; Roman Imperial period, ca. 200-250 CE. On loan from the Menil Collection, Houston, 1984-45 DJ
Portrait of a Young Man
Funerary portrait panel of a deceased young man with busts of Isis and Sarapis.

Encaustic painting on wood; Egypt; Roman Imperial period, ca. 200-250 CE. The Menil Collection, Houston, 1984-45 DJ
"Standing Hermaphroditus" The child of Hermes and Aphrodite standing in voluptuous contrapposto, holding a draped mantle behind the lower body. Marble sculpture; Egypt[?]; Roman Imperial period, ca. 1st century CE. On loan from the Walters Art Museum, Baltimore, 23.167
Standing Hermaphroditus
The child of Hermes and Aphrodite standing in voluptuous contrapposto, holding a draped mantle behind the lower body.

Marble sculpture; Egypt[?]; Roman Imperial period, ca. 1st century CE. The Walters Art Museum, Baltimore, 23.167
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Current Exhibitions

Esterio Segura: Goodbye My Love

On view now

Esterio Segura (Cuban, b. 1970), "Goodbye My Love", 2013. Set of three original works. Fiberglass and automobile paint, approximately 165 x 47 x 23 1/2 inches each with slight variation. Tampa Museum of Art, Gift of Daniel Pappalardo and Susan Bellin, 2022.132-134. Photography by Paige Boscia
Esterio Segura (Cuban, b. 1970), Goodbye My Love, 2013. Set of three original works. Fiberglass and automobile paint, approximately 165 x 47 x 23 1/2 inches each with slight variation. Tampa Museum of Art, Gift of Daniel Pappalardo and Susan Bellin, 2022.132-134. Photography by Paige Boscia

A new acquisition to the Museum’s permanent collection, Goodbye My Love represents Esterio Segura’s (Cuban, b. 1970) ongoing exploration of the meaning of airplanes and flight. Produced in multiple editions at different scales, this version is nearly the largest. In describing the series, Segura explained,  “In this work, the reference to the airplane hybridizes with a reference to another well-known universal symbol: a simplified image of the heart. This is fused with an easily understood title with several meanings, from the most corny and sentimental to the most controversial, from a political and social standpoint. With this work, I reference the experience of uprooting, nostalgia, memory, loss—how we experience the breakdown of everything we love.”

Born in Santiago de Cuba, Esterio Segura is a graduate of the renowned art school Instituto Superior de Arte in Havana. He works in a range of media—from painting and printmaking to sculpture and drawing—and explores themes related to Cuba’s complex socio-political history such as isolation, immigration, desire, and freedom.

Good-Bye My Love is presented as part of the exhibition Prelude: An Introduction to the Permanent Collection on view in the Jean Bacon Divers Gallery.

YouTube player
Watch the timelapse as the TMA Curatorial team installs “Goodbye My Love”