Because of the many roles it plays in the university and the community, the Florida State University Museum of Fine Arts offers superb changing exhibitions: in seasons past, lush paintings by James Rosenquist, hyper-realistic sculptures by Duane Hanson, legendary Western vistas by Ansel Adams, and social statements by feminist Judy Chicago—the works of superstar artists—have been balanced in the Museum’s calendar with thematic exhibitions representing the research of faculty and guest curators of the University, a Carnegie I Research Institution. Original curatorial research culminates in vivid exhibitions, such as: the powerful works by untrained artists in Professor Jim Roche’s Unsigned, Unsung...Whereabouts Unknown; explosive visual and societal commentary in Professor George Blakely’s Bang! The Gun as Image; historic and contemporary dialogue among the nations of North America in Professor Jehanne Teilhet-Fisk’s Dimensions of Native America: the Contact Zone, co-curated by Robin Franklin Nigh; the poetic mystery or searing clarity of works by Latina and Black women artists in Dr. Monifa Love’s “...my magic pours secret libations”; and the audacious or, alternatively, meditative points-of-view in Professor Roald Nasgaard’s Concealing / Revealing: Voices from the Canadian Foothills. The season schedule is complemented by a competitive survey of emerging artists, an open media competition entitled Combined Talents, and then re-named The Tallahassee International that is juried by faculty of the University. In 2003, the Museum received initial accreditation by the America Association of Museums (currently called the American Alliance of Museums); in part this recognition was based on the excellence of the Museum’s published research that includes not only curatorial research, but also the publication of the ATHANOR journal of art and humanities.
Dimensions of Native America: The Contact Zone, Tallahassee: Florida State University Museum of Fine Arts, 1998. Curators: Jehanne Teilhet-Fisk and Robin Franklin Nigh. Preface by J. Anthony Paredes. Essays by: Blue Sau-Pa Pahdocony, Elizabeth Osceola and Ida Frances Osceola, Hilary L. Scothorn, Diana Roman, Noah Young, Diane Clark, Teri Robin Yoo, Heather Waldroup, Caroline Klarr, Jehanne Teilhet-Fisk, Ashley E. Remer and Nessa Page-Leiberman, Rebecca McNeil, Faye Elizabeth Hunt, Shari Addonizio, Marie Watkins, Jennifer Sheffield Currie, Susan Kloman, and Robin Franklin Nigh.
The Abridged Walmsley: Selections from the Career of William Aubrey Walmsley. Tallahassee: Florida State University Museum of Fine Arts, 1999. Curator: Allys Palladino-Craig. Essays: Sommers, John, “Reflections on the Work of Willian Walmsley,” 1981; Murphy, James J., “Ding Dong Daddy at Twenty-Five,” 1986; Collins, Bradford R., “Ding Dong Daddy and the Mainstream: The Lithographs of William Walmsley,” 1999; Palladino-Craig, Allys, “Everything is Art Unless Proven Otherwise.”
Trevor Bell: A British Painter in America. Tallahassee: Florida State University Museum of Fine Arts, 2003. Curator: Allys Palladino-Craig. Essays: Ahlander, Leslie Judd, “Trevor Bell;” Bucher, François, “Trevor Bell;” Elderfield, John, “Trevor Bell;” Green, Lynn, “Trevor Bell: irresistible force;” Heron, Patrick, “Two Cultures;” Kidson, Alex, “Trevor Bell;” Meyer, Jon, “The Paintings of Trevor Bell;” Nasgaard, Roald, “An Englishman Always at Home Abroad;” Slade, Roy. “Trevor Bell;” Stephens, Chris, “A Sense of Something Beyond Ourselves: Re-introducing Trevor Bell;” Tooby, Michael, “Invisible/visible—questions about Trevor Bell, 1972 to 1992.”
Terrestrial Forces. Tallahassee: Florida State University Museum of Fine Arts, 2004. Curators: Paula Gerson, Preston McLane, Allys Palladino-Craig. Essays: McLane, Preston, “‘Taking Villages for Breakfast’—Painting the Power of Volcanoes;” Palladino-Craig, Allys. “Terrestrial Forces: Paradigm Shift.”
Thread of Life. Tallahassee: Florida State University Museum of Fine Arts, 2012. Curators: Viki D. Thompson Wylder; Teri A. Abstein, Linda Harkey, Molly Barron. Essays: Harkey, Linda, “The Contemporary Quilt: Reflections on a Relationship with Tradition;” Wylder, Viki D. Thompson, “The Life of Thread: An Art Historical Narrative;” Abstein, Teri R., “Beyond the Museum: Bombing that Builds Community.”
Gabrielle Wu Lee: The Art of Dynamic Expressionism. Tallahassee: Florida State University Museum of Fine Arts, 2013. Curator Allys Palladino-Craig. Essays: Bell, Trevor, “An Irresistible Application;” Dilger, Sandra C., Anne Draper, Jessie Lovano-Kerr, Sandy Kerr, Ken Rollins, and Lois Sojat, “Introductions and Recollections;” Draper, Jerry L., “The Seasoning of an Artist;” Hartman, Sharon, “Biography: Art, Science, Destiny and Choice;” Lee, Paul Z., “Notes on Early Works: Shanghai” and “Painting Series ‘Speed and Rhythm—The Art of Gabrielle Wu Lee’s Dynamic Expression;” Murphy, James. “For Gabrielle, with Sonatas and Spring Rolls;” Spike, John T., “Gabrielle Wu Lee: Ad Astra Levavit.”
Florida State University Institute on World War II: The Human Experience. Tallahassee: Florida State University Museum of Fine Arts, 2015. Essays: Culver, Annika, “The Oliver L. Austin, Jr., Slide Collection: An American Ornithologist’s View of Postwar US-Occupied Japan, 1946-1950;” Glover, Christina. “The Design of War: World War II Propaganda Posters and Flags;” Jones, Christopher A. “Witness to War;” Marsh, Anne, Sharyn Heiland Shields, and Luke Cochran. “Artifact Identifications from the Institute;” Matthews, Catherine Kendall. “Sgt. Bill Mauldin: Artist of the Greatest Generation;” Piehler, Kurt G. and Richard Siegler, “The Collections of the Institute on World War II and the Human Experience: Memory, Remembrance, History;” Rowe, Patrick M., “Notes from the Design of War Collection.”
The opening of “Head, Shoulders, Genes & Toes” in 2013 coincided with MoFA’s second decade of accreditation by the American Association [Alliance] of Museums. The accrediting Commissioners expressly cited “the museum’s experimentation, commitment to social-issue projects and investigation of themes in highly original exhibitions and projects” as grounds for accreditation. Among the exhibitions and publications the Commission reviewed were those by a distinguished roster of guest curators from the College. The Museum has traditionally worked with faculty from across campus, and since the turn of the millennium, Museum staff working with colleagues generated notable projects: Robert Fichter’s “Florida Photogenesis” (2000); Roald Nasgaard’s “Pleasures of Sight and States of Being” (2001); Gail Rubini and Keith Roberson’s “Design X” (2002); George Blakely’s “Heartfelt” (2005); Terri Lindbloom’s “Running Around the Pool” (2007); Tatiana Flores’ “More Is More—Maximalist Tendencies in Recent American Painting” (2007); Holly Hanessian’s “Full & Spare: Ceramics in the 21st Century” (2008); Tom Anderson’s “Kids’ Guernica” (2009); Dave Gussak’s
“Holocaust Institute for Educators” (2009); Joe Sanders’ “Matrix: Contemporary Printmaking” (2009); Lynn Hogan’s “Jim Roche: Glory Roads” (2011); Carrie Ann Baade’s “Cute & Creepy” (2011); Judy Rushin’s “Head, Shoulders, Genes & Toes” (2013; Carolyn Henne’s “Making Now—Open for Exchange” (2014); Kurt Piehler’s “The Human Experience of WWII” (2015). Each collaboration has been an opportunity for original publication and MoFA continues to welcome faculty research.
Florida State University
MUSEUM OF FINE ARTS