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View frequently changing exhibitions drawn from the Harn’s collections of more than 13,000 works of art, and loans from private lenders, artists and other art museums. Works on display in eleven galleries include paintings, drawings, ceramics, sculpture, photography, video, beadwork, textiles and more. The Harn’s collection galleries focus on African, Asian, modern and contemporary art and photography.
Shadow to Substance creates a chronological arc from the past to the present into the future using historical photographs from the Harn and Smathers Library collections and through the lens of Black photographers working today.
A Florida Legacy: Gift of Samuel H. and Roberta T. Vickers is the inaugural exhibition celebrating the transformative gift to the Harn Museum of Art from Samuel and Roberta Vickers who formed one of the world’s most extensive collections of Florida-themed art. A Florida Legacy features nearly 170 paintings, watercolors and drawings representing 125 artists who drew inspiration from Florida’s history, landmarks and natural attractions.
Plants accompany every aspect of human life. We breathe in the oxygen they breathe out, we eat them (or we eat animals that eat them), we wear them, we make our dwellings and furnishings from them, we kill them when they are inconvenient to us. Eighty percent of the Earth’s biomass is composed of living plant material; living human bodies make up less than two-tenths of one percent. Ironically, the incomprehensible abundance of plants may explain our propensity to “plant blindness,” a term coined in 1998 by botanists James H. Wandersee and Elisabeth E. Schussler to describe modern humans’ casual inattention to plants’ foundational roles in the biosphere and their influences on human culture.
Each of the 12 works featured in Plant Life was chosen because something in it provokes critical reflection on the strange entanglements of humans and plants. In these works, plants are more than props: they are—openly or cryptically—also made present to us in their own way. They show that it is possible to see our photosynthetic kin as they really exist, in this exhibition, throughout the museum, and in the world outside: as vitally, expressively, insistently with us.
Curated by Terry Harpold, Associate Professor of English, University of Florida, and the graduate students enrolled in his Spring 2021 seminar Critical Plant Studies: Ryan Bedsaul, Anwesha Chattopadhyay, Anna Grzybowska, Jacob Hawk, Olivia Ivings, Kevin McKenna, Elizabeth Nichols, Erick Verran, Peter Vertacnik, and Janice Whang.
This exhibition is a celebration of global interconnectedness. The Harn’s curators worked together to find shared themes and create conversation from a variety of mediums and perspectives covering Asia, Africa, Europe, and North, Central, and South America. More than 50 artworks from around the world generate new interpretations and dialogues. Resonances across cultures, temporal and spatial boundaries and artistic genres illuminate these artists’ global commonalities and accomplishments.
This exhibition is a reflection on time and its many meanings. This broad concept has been applied to the Japanese art collections at the Harn Museum as an investigative tool to look at how time has been measured in the visual record, how art objects can portray several moments in time, and how artists experience time during the production of their work. The celebration of the natural world, through life cycles and the acknowledgment of mortality and the change of the seasons, is also a recurring theme in Japanese art and celebrated within this exhibition.
The exhibition Everyday to the Extraordinary: Highlights from the Korean Collection includes objects from everyday life alongside exemplars of artistic production. Ceramics in the exhibition span nearly 2,500 years of history, from the Three Kingdoms Period (57 BCE–668 CE) to the present, while paintings date from the Joseon Dynasty (1392–1910) and into the 20th century.
Contemporary Japanese ceramic artists make objects that challenge traditional definitions of clay, in both technique and aesthetic expression. The works on display demonstrate a wide variety of transformations, innovations and reinterpretations of traditional wares. While some artists defy notions of inside versus outside, others conceptualize new definitions of form through materials, processes, surface treatments and firing methods.
Masks from the mid-20th century to the early 21st century show the continuity of masking but also feature new directions in masquerades. Although much of the exhibition focuses on the spiritual and religious foundations of masking, it also explores masking aesthetics looking at dazzling costumes, music and dance.
The Cofrin Asian Art Wing contains four main galleries with more than 680 works showcasing the Harn's collections of Chinese, Indian, Japanese, Korean, and South and Southeast Asian Art.
This exhibition presents highlights from the museum’s holdings of American, European and Latin American art spanning the mid-19th century through the first half of the 20th century.