Inside Out invites you to discover works of art throughout our Museum Campus, in addition to those showcased through rotating exhibitions in our galleries. This dynamic program gives contemporary artists from around the world the opportunity to share thought-provoking work outside of the gallery setting, in order to spark new conversations about art and ideas amongst museumgoers of all ages and backgrounds. When you explore our Museum Campus, you will find sculpture and installations on Klein Plaza and the Great Lawn, as well as in unexpected spaces like Bistro, McGuire Hall, Schmidt Loggia, McCague Arcade and the Surkis/Elona Lobby. Come experience and interact with art in our iconic buildings and campus, inside and out.
Inside Out is made possible, in part, with generous support from:
Edward and Elizabeth Gardner Foundation Trust
Jane and Phillip Humann
Jose Alvarez (D.O.P.A)
Ink on vinyl
Thomas McGuire Hall
Jose Alvarez (D.O.P.A) (b. 1961) was born in Venezuela and currently resides and works in South Florida. Alvarez’s work spans various media, including performance, works on paper, and large-scale vinyl installations – all grounded in the exploration of common human experience.
Coming Together was created for Sarasota Art Museum in 2020 — all in the midst of an unprecedented global pandemic that produced feelings of isolation and disconnection for many.
In the act of creating this mural, I thought of the museum as a place of healing. A place that contains within it the possibility of transformation, a place that acts as a vessel of sorts to lift our spirits, celebrate our connections as humans and bring in the possibility of hope. That’s the reason that I named it Coming Together. Not just as an obvious response to our current world atmosphere but actually as a proposal to encourage us to lose ourselves in the objects and activities that we as humans create in order to give our lives meaning. I’ve tried to fill one’s direct and peripheral vision upon entering the space. Continuing my visual inquiry of both the fantastic and the philosophical, I’ve utilized a very bright and welcoming color palette. I try to invite the visitors to contemplate the dance played out in front of them. Ultimately, the painting creates a type of fantastic visual reverie destined to transport the viewer to a higher place. A place of “non judgement” and acceptance. A visual oasis in the midst of an urban setting. A visual testament of our collective story of survival and recovery.
Courtesy of the artist and Todd Merrill Studio
Molly Hatch’s signature plate paintings—large-scale installations of hand-glazed ceramic plates—reimagine historical decorative arts through a contemporary lens, while bridging the gap between decorative and fine art. The piece Staccato diffuses an 18th century Chinese export pattern from Owen Jones’ book The Grammar of Chinese Ornament over a gridded installation of 108 hand-painted earthenware plates. The glazed surfaces collectively become a fragmented canvas for a delicate, painterly re-rendering.
1 Michael Woodson, “Fine Art Meets Fine Dining | This Artist Creates One-Of-A-Kind Ceramic Art,” Artistsnetwork, Accessed October 26, 2022, https://www.artistsnetwork.com/magazine/molly-hatch-creates-ceramic-art/.
2 Molly Hatch, A Passion for China: A Little Book About the Objects We Eat From, Live With and Love (September Publishing, UK, 2017), 11.
On loan from the City of Sarasota
John Henry (1943 – 2022, Lexington, Kentucky) is acclaimed for his monumental sculptures composed of floating beams and primary colors.
Standing 70 feet tall, Complexus was completed in Henry’s signature style: a grand statement of mass and color constructed with refined, geometric forms. While the sculpture is composed of basic shapes, Henry orients them in a complicated puzzle of floating and leaning pieces, creating a visual paradox – the sculpture appears both grounded as a large steel structure, yet also airy, as pieces float amongst the background of the sky.
Steven and William Ladd
Cedar, zip ties, metal, and painted wood frame
Courtesy of the Artists
Acrylic on masonry
Courtesy of the artist
Marcy & Michael Klein Plaza
Olivier Mosset (b. 1944, Switzerland) 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, whose 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 the Vocational Shops 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.”
Odili Donald Odita
Latex paint on masonry
Courtesy of the artist and Jack Shainman Gallery
Odili Donald Odita (b. 1966, Nigeria) 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.
28 Colors (Sarasota, FL)
Latex and acrylic paint
Courtesy of the artist
Museum Lobby and stairwell
For Leah Rosenberg (b. 1979, Michigan), 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
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
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.
Hank Willis Thomas
Ernest and Ruth (Exuberant Pink)
Rolled steel and enamel paint
Courtesy of the artist and Jack Shainman Gallery, New York
Marcy & Michael Klein Plaza