Artist Jean Shin poses with her installation "Celadon Landscape"

Now

Janaina Tschäpe

Between the Sky and the Water

14 December 2020 – 2 May 2021

Janaina Tschäpe, Gush (2014), Photo: Teresa Lojacono
Janaina Tschäpe, Gush (2014)

Casein and watercolor pencil on canvas, 118 x 234 in.
Podesta Collection, Washington D.C.
Photo: Teresa Lojacono

Carl Abbott

Architecture for Nature

8 November 2020 – 25 April 2021
Caribbean Hilltop Residence photo: Steven Brooke Studios
Caribbean Hilltop Residence
Photo: Steven Brooke Studios

The Memory Project

Barbara Banks : Worker

Located in the south wing, Barbara Banks’ Worker celebrates the individuals who lent their talents to remake the building that is now Sarasota Art Museum.

Barbara Banks, Worker (2019)

Barbara Banks, Close up of Worker (2019)

In the Rudolph Building

Thonet

Sarasota Art Museum

Paul Rudolph Building

Bistro Thonet Exhibit
Thonet exhibition

On the Grounds

Zen Jail

JPW3

Marcy & Michael Klein Plaza

Zen Jail is an open-ended work in progress, adapting to its new home in Sarasota, after time in a park in Miami. The artist, JPW3, sourced a piece of wood from a tree that grew in Sarasota, and has turned it into a scope for the viewer/participant to meditate—or spy—on passers-by from the sunken bench seat. A tea plant is growing, that will be harvested and brewed in a series of interactive performative events that will riff on tea ceremonies around the world. Passion flower (passiflora) vines will eventually grow onto the framework of Zen Jail, providing a micro-ecosystem for butterflies (especially the endangered Monarch Danaus plexippus) and other pollinators to assist in habitat restoration. Zen Jail will evolve and grow as the site responds to the communities’ engagement. It may be a meditation site, a site for music and performance, a site for reflection, a playspace—how would you like to play with Zen Jail?

JPW3's Zen Jail is a site specific art installation at Sarasota Art Museum

JPW3, Zen Jail (2016/2019)

Los Trompos

Héctor Esrawe and Ignacio Cadena
Great Lawn

Los Trompos (“The Spinning Tops”), a large-scale, interactive installation designed by award-winning contemporary Mexican designers Héctor Esrawe and Ignacio Cadena. Inspired by the colorful design of a children’s toy top, the vibrant colors on each are made from fabric that is woven in a traditional style by Mexican artisans. Functioning as both artwork and rotating seating spaces, each sculpture acts as a gathering place for relaxation, social interaction and a meaningful art experience.

Los Trompos by Esrawe and Cadena are "Spinning tops" that are installed around the meander of Sarasota Art Museum

Esrawe + Cadena, Los Trompos (2015)

Untitled

Olivier Mosset

Acrylic on masonry

Courtesy of the artist

Michael and Marcy Klein Plaza

Olivier Mosset's Untitled (2019) site specific installation at Sarasota Art Museum
Olivier Mosset, Untitled (2019)
Acrylic on masonry
Courtesy of the artist
Olivier Mosset's Untitled (2019) site specific installation at Sarasota Art Museum
Olivier Mosset, Untitled (2019)
Acrylic on masonry
Courtesy of the artist

Olivier Mosset (Switzerland, b. 1944) is one of the most influential artists to emerge from the radical art revolutions of the 1960s and perhaps the most powerful in the ongoing discourse on “the death of painting”. Seeking to reject the mere commodification of art—objects transacting as base currency—and hoping to elevate the practice with greater spiritual, aesthetic, and intellectual meaning, Mosset and his cohorts playfully disrupted notions of authorship and ownership. Trained in the beaux-arts tradition, Mosset’s work disrupts illusionistic conventions in art, and returns to the foundation of painting with pure color and form.

Mosset represented Switzerland in the 1994 Venice Biennial and has influenced generations of artists, such as Odili Donald Odita, who’s work can be seen in the Loggia. Coming of artistic age in the 1960s, Mosset was steeped in avant-garde gestures designed to actively resist the commodification of art. As a member of BMPT,a mid-1960s, Paris-based art group composed of painters Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni, Mosset aimed to create artwork that referred to nothing but itself. Mosset continued to focus on pure color, shape, and authorship after BMPT disbanded, as seen with the prints featured here and the site responsive painting installation on the façade of this building designed by Paul Rudolph in 1959. Mosset has collaborated with architects such as Jean Nouvel, subtly enhancing architectonic features with his reductive monochromes. In this case, the metal casements of previous doors became the frame for a painting, playing on the notion that a painting is always a portal to another dimension or plane. A young boy, upon visiting Mosset’s collection of the minimal artists who have been influenced by him remarked “You know, where there is less to see, you look more carefully.”

Force Field

Odili Donald Odita
Jan Schmidt Loggia
Odili Donald Odita is well known for his site-specific kaleidoscopic patterns of hard-edge, colorful shapes. Force Field bathes the Museum’s loggia with colorful angular forms arranged in a rhythmic composition, with slivers of white acting as visual ellipses, much like phrasing in a jazz riff.
Odili Donald Odita's "Force Field" is a a site specific installation for Sarasota Art Museum

Odili Donald Odita, Force Field (2019-2020)

28 Colors (Sarasota, FL)

Leah Rosenberg

2019

Latex and acrylic paint

Courtesy of the artist

Museum lobby and stairwell

For Leah Rosenberg (b. 1979), color and process play a primary role in her body of work spanning painting, sculpture, printmaking, food and performance.

In 28 Colors (Sarasota, FL), Leah Rosenberg surveyed our hometown on foot and chose twenty-eight colors to represent specific aspects of Sarasota. On view you will see Purple Hyacinth of the Van Wezel, Sea Star of manatees at MOTE, Vermillion of circus stripes, Tangy Orange of the Sarasota High School team colors, and Oregano of palm tree leaves, among twenty-three other colorful interpretations. The shape of the installation responds to the architecture of the building, transforming from solid stripes in the lobby that then begin to sway and segment into playful confetti in the stairwell, and ultimately fall back into a structured pattern that mimics the original brick masonry.

Vita in Motu

Christian Sampson

2019

Solar Projection, Color Motion Picture, a durational site-specific installation with dichroic film, acrylic and glass

Courtesy of the artist

Museum Third Floor – Jonathan McCague Arcade

Christian Sampson (b. 1974) works with both tangible and intangible materials – Plexiglas, polymers, wood, dyes, light, reflection and shadow – to experiment with space and perception. His works are often site-specific, uniquely responding to architectural space. The ephemeral and ever-changing nature of these colored light projections aligns closely with early cinematic animation and filmmaking experiments.

The site-specific installation Vita in Motu conscripts the architecture of the building, and the solar system, as collaborators to create an ever-changing dazzling color and light show, reminding us of our place in the universe and that color is light, constantly in flux, and subject to one’s perspective.