Located in Mizner Park, the Boca Museum of Art is open to the public free of charge on the first Sunday of every month. Also, as a Blue Star Museum, each summer the museum offers free admission to the nation’s active-duty military personnel and their families, including National Guard and Reserve, from Memorial Day through Labor Day.

Museum hours are from 10am to 5PM on Tuesdays, Wednesdays and Friday, 10am to 8pm on Thursday and Noon to 5PM Saturdays and Sundays.

CHARLES MCGILL: FRONT LINE, BACK NINE

THRU JULY 3

Quilt made of golf bags by Charles McGill
Broken Quilt, 2016 – 70x48x6″

The first major museum exhibition of artist Charles McGill explores his fascination with the subject and objects of golf and provides a thought provoking means for us to examine race and social differences in our community. Included are golf bags adorned with collages of imagery of black history and popular culture from the artist’s Baggage series; golf bags dissected and manipulated into soft sculpture constructions in his Skinned series, in which rain hoods designed to keep clubs dry recall KKK hoods and zippers and straps summon up ideas of bondage and servitude; as well as works created for McGill’s performance projects including his golf pro “alter ego” Arthur Negro, ironic line of sporting equipment Club Negro, and pop-up Former Black Militant Golf and Country Club. The Boca Raton Museum of Art is surrounded by no less than 76 golf courses within a 10-mile radius, most of which form the centerpieces of gated, mostly white and upper-income communities. Meanwhile, in walking distance to the Museum, is Boca Raton’s first community—the historically African American neighborhood of Pearl City. Through artist residency activities, McGill (an experienced educator and exceptional speaker) will bring together Boca Raton’s black and white residents for artist-at-work demonstrations, collaborative community art-making workshops, and performances inspired by a game that is central to the community’s identity.


JANE BENSON: TWO VIDEOS

THRU JULY 3

Jane Benson’s poignant two-channel video Finding Baghdad is about geo-cultural displacement, a topic particularly relevant today in the wake of the largest mass migration since World War II.

The video features two Iraqi brothers who escaped from Baghdad in the early 2000s; one to Cologne, Germany and the other to Sanad, Bahrain. The video begins with images of two traditional Iraqi instruments, an oud and a djoze, as they are split into two parts. The brothers play a duet, originally streamed over Skype, on their halves of the instruments that is shown on two separate screens. The distance between the brothers is poetically bridged if only for a moment.


EVA HESSE, NR, 108 MIN.

JULY 28 (1PM & 6PM)

Eva Hesse (1936-1970) was one of America’s foremost postwar artists. Her pioneering sculptures, using latex, fiberglass, and plastics, helped establish the post-minimalist movement. Due to her untimely death at the age of 34, she had a mere decade-long career that was densely filled with complex, intriguing works that defied easy categorization. Art critic Arthur Danto stated that her work was: “…full of life, of eros, even of comedy. Each piece vibrates with originality and mischief.”

This documentary captures her essence and her struggles as one of the few women in the 1960s NY art scene to attain serious recognition in a field dominated by male pop artists and minimalists.


Drawing of KROME detainee by Jose Alvarez

JOSÉ ALVAREZ (D.O.P.A.), KROME

SEPT. 22 – JAN. 1, 2017

Jose Alvarez (D.O.P.A) was born in Venezuela in 1961 and currently lives and works in South Florida. He began his career by making a name for himself through charismatic performances where he “channeled” the 2,000-year-old spirit of a shaman named Carlos in front of live audiences and through media broadcasts that have been viewed by millions of people around the world. These performances were the subject of a video work presented in the 2004 Whitney Biennial, and at a solo exhibition at The Kitchen in New York. Alvarez was detained in Krome Detention Center in Miami for identity theft for two months in 2012. During this time he created a series of portraits of his fellow detainees using ballpoint pens and whatever paper he could find. The portraits not only capture the physical being of his sitters, but also their powerful stories.


UNTITLED STILL LIFE (PARIS)

ANDRE KERTÉSZ — 1927

Still life photograph by Andre Kertész
Andre Kertész (American, born Hungary, 1894-1985), Untitled Still Life (Paris), 1927, gelatin silver print, 3 7/8 x 3 1/4 in.

Often creating unexpected compositions from everyday subjects, Kertész’s established himself as a photographer when he moved to Paris in his early 30s and his signature style evolved. He had an aptitude of capturing the poetic instances of traditional Parisian life and culture–its cafés, fairs, parks, streets, vagabonds, the Seine and the essential aura of the French capital. Being in Paris surrounded by all forms of avant-garde art during the 1920s, Kertész was acutely conscious of the visual arts beyond photography. He became engaged with still life compositions, a subject favored by contemporary painters and one he would explore throughout his career. In Untitled Still Life (Paris), he focused on creating and capturing the careful arrangement of a Hungarian newspaper atop a stack of books, a bowl of overripe bananas, a wine glass and a half-full bottle of water.

Born Kertész Andor in Hungary, Kertész bought his first camera and made his first photograph while working as a clerk at the Budapest Stock Exchange in 1912. He served in the Austro-Hungarian army in World War I and had a camera with him, shooting photographs not of the battles or destruction of the war, but of soldiers during their rare moments of leisure. Moving to Paris in 1925, as a freelance photographer he captured intimate images of life in the streets, and inspired other photographers including Brassaï and Henri Cartier-Bresson. Forced to leave Europe by the political unrest, he was in New York by the mid-1930s and employed by House and Garden, Harper’s Bazar and other magazines to photograph architecture and interiors. He also took photographs for himself that express his fascination with the spectacle of New York City, and his growing sense of isolation and loneliness caused by his longing for his native country. He would become known and recognized as one of the great photographers of the 20th century for these works, especially his extended study of Washington Square Park and his distorted nudes.

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