Upcoming Exhibitions

Jean-Michel Basquiat: One Master Artist / One Masterpiece focuses on Basquiat’s Untitled (Word on Wood), 1985, one of the artist’s unique wood slat paintings. The exhibition will present a close look and formal analysis of this painting, as well as examine the artist’s distinct visual vocabulary. Related materials and films will further contextualize the work. Jean-Michel Basquiat: One Master Artist / One Masterpiece offers visitors the opportunity to view one of Basquiat’s significant artworks in an intimate setting. This presentation of Untitled (Word on Wood) highlights how Basquiat’s short yet influential career heralded new directions in abstract figuration and 20^th-century painting.

The exhibition Jean-Michel Basquiat: One Master Artist / One Masterpiece is part of the exhibition series Ordinary/Extraordinary: Assemblage in Three Acts. The series simultaneously presents three discrete shows focused on works by Jean-Michel Basquiat, Purvis Young, and a selection of 20th- and 21st-century Haitian Vodou flags. The use of found objects, such as discarded wood and textiles, formally links the exhibitions together. More importantly, historical and socio-economic narratives informed by the Afro-Caribbean Diaspora, the Black experience in America, as well as European artistic influences, unite the artists featured in the series. Although each is a stand-alone show, viewed together, the series explores provocative portrayals of race, identity, spirituality, survival, and hope in a range of assemblage objects and compositions.

The exhibition Purvis Young presents for the first time the depth of the Purvis Young (American, 1943-2010) collection in the Tampa Museum of Art’s holdings. In 2004, the Rubell Family Foundation gifted 91 works by Young to the Museum, one of the largest donations of the artist’s work in the Southeast. Young, a self-taught artist, created thousands of assemblages with imagery of protesters, pregnant women, and warriors on wood remnants, cabinets, and doors. This exhibition explores the artist’s distinct iconography and reflects on Young’s experiences living and working in Overtown, Miami.

Purvis Young is part of the exhibition series Ordinary/Extraordinary: Assemblage in Three Acts. The series simultaneously presents three discrete shows focused on works by Jean-Michel Basquiat, Purvis Young, and a selection of 20th- and 21st-century Haitian Vodou flags. The use of found objects, such as discarded wood and textiles, formally links the exhibitions together. More importantly, historical and socio-economic narratives informed by the Afro-Caribbean Diaspora, the Black experience in America, as well as European artistic influences, unite the artists featured in the series. Although each is a stand-alone show, viewed together, the series explores provocative portrayals of race, identity, spirituality, survival, and hope in a range of assemblage objects and compositions.

Sacred Diagrams: Haitian Vodou Flags from the Gessen Collection examines the tradition and artistry of Haitian Vodou flags. Often made of discarded burlap bags, repurposed fabric, beads, and sequins, Vodou flags represent Haiti’s spiritually rich yet often misunderstood Vodou religion. Guest curator and artist Edouard Duval-Carrié (Haitian, b. 1954) examines the role of Vodou flags and flagmakers within Haiti’s dynamic visual culture.  Sacred Diagrams highlights vintage ceremonial flags from the 1950s and 1960s, as well as explores recent interpretations of Vodou flags by artists Clotaire Bazile, Myrlande Constant, Mireille Delice Delisme, Silva Joseph, Dubreus Lherisson, Edgar Jean Louis, Antoine Oleyant, Yves Telemaque, and George Valris.

This exhibition is part the exhibition series Ordinary/Extraordinary: Assemblage in Three Acts. The series simultaneously presents three discrete shows focused on works by Jean-Michel Basquiat, Purvis Young, and a selection of 20th- and 21st-century Haitian Vodou flags. The use of found objects, such as discarded wood and textiles, formally links the exhibitions together. More importantly, historical and socio-economic narratives informed by the Afro-Caribbean Diaspora, the Black experience in America, as well as European artistic influences, unite the artists featured in the series. Although each is a stand-alone show, viewed together, the series explores provocative portrayals of race, identity, spirituality, survival, and hope in a range of assemblage objects and compositions.

On the eve of the Tampa Museum of Art’s 100^th anniversary in 2020, the exhibition Making of a Museum: 100 Years / 100 Works from the Permanent Collection, will feature works representative of the institution’s collecting history and mission. The collection is unique—with significant holdings of ancient Greek and Roman art, as well as increased acquisitions of modern and contemporary art. With eight main categories, the collection features a breadth of objects: Classical Antiquities, Prints and Photographs Related to Classical Antiquity, the C. Paul Jennewein Archive, Painting, Decorative Arts and Sculpture, Photography, Works on Paper, and New Media, Video, and Installation Art.

Making of a Museum: 100 Years / 100 Works will present unique insight into how the collection and identity of the Museum has evolved as it has grown from a small local arts organization to the City’s preeminent museum of art.

White Gold is an immersive installation by artist Thomas Sayre (American, b. 1950) and depicts a cotton-filled Southern landscape. The work intends to express the beauty, the complexity, and the tragedy of our embroiled agricultural traditions. Cotton is one of the nation’s most contentious and layered materials, and one with which almost every American has a personal relationship, either directly or indirectly. Inevitably, it is linked to the economic, racial, and social history of the region and its people. Sayre’s White Gold refers to cotton and a reverence for the land, the labor, and the people (forced or unforced) who made cotton their livelihood. The installation is a fierce expression of the Southern landscape: its magnificence and the haunting pain of history, memory, and ultimately, belonging.

White Gold: Thomas Sayre is organized by the Mississippi Museum of Art and the Contemporary Art Museum of Raleigh.

Since photography’s inception in the mid-nineteenth century, women have stood among its artistic and technological pioneers. Modern Women : Modern Vision features 100 works from the Bank of America Collection by leading artists of the twentieth and early twenty-first centuries. The exhibition is organized in six thematic sections: Modernist Innovators, Documentary Photography and the New Deal, Photo League, Modern Masters, Exploring the Environment, and The Global Contemporary Lens. Each section examines the photographers’ role in forging new directions and methods in photography, as well as how the medium has evolved with the advent of new digital and studio practices.  Artists featured in this exhibition include Berenice Abbott, Diane Arbus, Tina Barney, Bernd Becher and Hilla Becher, Margaret Bourke-White, Esther Bubley, Imogen Cunningham, Rineke Dijkstra, Candida Höfer, Barbara Kruger, Dorothea Lange, Nikki S. Lee, Helen Levitt, Sonia Handelman Meyer, DoDo Jin Ming, Ruth Orkin, Cindy Sherman, Carrie Mae Weems, and others.

Presented By

This Exhibition has been loaned through the
Bank of AmericaArt in our Communities program.