Category: Exhibitions

When it comes to art, the Rice Family’s first visit to Cuba in 2013 was as memorable as it was pivotal to their vocation as collectors. Cuban art became a gateway to embrace the heart and mind of a fascinating culture and its people. Collecting was no longer a hobby, but a passion, and over time the Rices would fall completely “under the spell” of Cuban art. For a decade, Susie and Mitchell’s Cuban Art Collection has been growing consistently in scope and quality, now treasuring the works of more than seventy artists from different generations and aesthetics.

The exhibition deviates from a traditional historical narrative and is presented as a compass rather than a timeline―a map for a journey through the varying themes, genres, and styles that align with the sensibilities of two generations of collectors in the Rice family. This first of six sections, The Language of Forms and the Forms of Language includes early works that demonstrate an affinity for abstraction among some Cuban pioneers of modernism in the late 1940s. The works in The Prophet’s Dream delineate both political and social awareness and the critical communal identity present in Cuban art through generations subsequent to the Cuban Revolution of 1959.

Cuba is described as an island-nation, a term that refers not only to its physical and geographic properties―the cluster of islands, islets and keys that form the biggest archipelago in the Antilles―but also the people who inhabit it. The works in The Great Journey: Archives express the trauma of national exile and the artists’ relationship to Cuba. The section Sensory Landscapes of Memory and Desire delineates the more hedonistic and whimsical imagery that percolates through Cuban contemporary art. These works exude eroticism, playfulness, intimate longings, and explorations into the depths of memory.

The Musings of Narcissus: Through the Looking Glass and What the Artist Found There, the fifth thematic section, examines a range of self-referential works of art and offers a glimpse into the process and philosophy of Cuban artists exploring self-representation and the body. Lastly, The Spirit of the Real, the Reality of the Spirit presents work born of the artists’ spiritual experiences. In most of the works in this section, mythological and symbolic elements from African-Cuban religions underlie or are at the foreground of both the narrative and the visual structure of the artworks.

Under the Spell of the Palm Tree: The Rice Collection of Cuban Art features the work of:

Abel Barroso
Adrián Fernandez
Alberto Lago
Alex Hernández
Alexi Torres
Alfredo Sosabravo
Ángel Ramírez & Jacqueline Maggi
Antonio Vidal
Belkis Ayón
Carlos Enríquez
Carlos Garaicoa
Cundo Bermúdez
Duo Ponjuán (René Francisco & Eduardo Ponjuán)

Emilio Sánchez
Enrique Riverón
Ernesto Javier Fernández
Ernesto Leal
Esterio Segura
Frank Mujica
Glenda León
Inti Hernández
Iván Capote
Jesús Hernández-Güero
Jorge Lavoy
José Alberto Figueroa
José Ángel Toirac
José Ángel Vincench

José Bedia
José Rosabal
Juan Roberto Diago Querol
Kádir López
Lázaro Saavedra
Liset Castillo
Mabel Poblet
Manuel Mendive
Marco Castillo
Mario Carreño
Pedro de Oraá
Pedro Pablo Oliva
Rafael Soriano

René Francisco Rodríguez
Rene Portocarrero
Reynier Leyva Novo (Chino Novo)
Ricardo Miguel Hernández
Roberto Diago
Roberto Fabelo
Salvador Corratgé
Sandra Ramos
Tania Bruguera
Tomás Sánchez
Waldo Díaz-Balart
Wifredo Lam

The U.S. democratic constitution was in large part inspired by the popular government of Classical Athens, as well as the Roman Republic and the French Enlightenment. During the 2024 Presidential Elections, the Tampa Museum of Art will highlight the ancient Greek city-state Athens, as the birthplace of democracy. There, between the 6th and 4th centuries bce, male citizens gained power in a form of government based on the rule of law.

The exhibition is based on the Museum’s extensive collection of 19th century photography, paired with a dozen antiquities from the permanent collection as well as some significant loans. Ancient Athens: Birthplace of Democracy illustrates archaeological site such as the Acropolis, the arts and culture of Classical Athens such as sculpture and ceramic vases, theater and athletics, as well as the gods and goddesses worshipped in the city. The exhibition allows visitors to contemplate the ideals of the society that gave birth to democracy.

From the sixth through the fifth century bce, political reforms broke the power of the nobility (aristokratia) and eventually gave way to popular government (dēmokratia) in ancient Athens. Organized into an independent city-state (polis) that included the countryside of Attica, Athens became the bastion of freedom and democracy, and the beacon of Classical civilization at the height of Greek art and culture. Only one of the hundreds of city-states across the Greek world that witnessed the rise of popular government, Athens may rightfully be considered the birthplace of democracy not only because it is the most famous and best-documented case but also because it was the state with the largest population at the time in which democracy reached its most radical form.

During the Presidential Election in the United States in 2024, the birth of democracy in ancient Athens gains additional historical relevance. The legacy of Classical Athens goes back two and a half thousand years. Its art continues to inspire contemporary artists. Greek myths and legends, tragedies and comedies inspire modern literature, cinema and theater. This exhibition aims to examine what the original ideals of democracy, liberty and justice for all, equality before the law and the pursuit of happiness still mean today.

Ancient Athens: Birthplace of Democracy is sponsored in part by:

the Florida Division of Cultural Affairs Cultural Endowment Fund, the Frank E. Duckwall Foundation, the Tampa Museum of Art Foundation’s Richard E. Perry Cultural Endowment Fund, the Gus Lemonopoulos Fund of the Tampa Bay Community Foundation, and William Knight Zewadski.

Skyway 2024: A Contemporary Collaboration is a celebration of artistic practices in the Tampa Bay region, as it is a collaboration between five institutions: the Museum of Fine Arts, St. Petersburg; The John and Mable Ringling Museum of Art, Sarasota; the Sarasota Art Museum of Ringling College of Art and Design; the Tampa Museum of Art; and the University of South Florida Contemporary Art Museum, Tampa. Working together, curators from each institution offer context for the diversity of art being made in Hillsborough, Manatee, Pasco, Pinellas, and Sarasota counties.

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.

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.

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.