Thank You To Our Donors

We thank the following donors and businesses who merit special appreciation for their support of this presentation and their commitment to this year’s exhibition schedule: Dennis Aylward, Dr. Bruce Bigman and Carolyn Bigman, Samuel and Donna Blatt, Thomas and Loretta Chudy, Earl and Patti Colvard, Betty Drees Johnson, Sal Cristofano and Laura Gosper, Manny De La Vega, Dr. Wayne Dickson and Jewel Dickson, Robert Dorian and Linda Colvard Dorian, Lee and Susan Downer, Tom and Becky Fleishel, Dr. Susan Griffis, John and Karen Horn, Ed Jackson and Pat Heller-Jackson, Ray and Betty Johnson, Ed and Pauline Lacey, Tim and Mary Jeanne Ludwig, Robin May, Greg and Beth Milliken, Linda Pinto, Dagny and Tommy Robertson, Stephen and Claudia Roth, Patricia Schwarze, Judith Thompson, Paul and Becky Vasquez, Dr. Ian Williams and Dr. Nancy Hutson, Dr. John Wilton and Nancy Wilton, Boulevard Tire Center, Dorothy M. Gillespie Foundation, DeLand Breakfast Rotary, DeLand Fall Festival of the Arts, DeLand Rotary Club, Inc., E. O. Painter Printing Company, Faith Hope & Charity, Krewe of Amalee, Krewe Nouveau, Lacey Family Charitable Trust, Lane Insurance, Inc., Lorna Jean Brooks Foundation, Inc., Mainstreet Community Bank, Massey Services, Inc., Museum Guild, Publix Supermarket Charities, Wells Fargo Foundation, West Volusia Beacon, W. W. Gay Mechanical Contractor, Inc., State of Florida Division of Cultural Affairs, the City of DeLand and the County of Volusia.



Dan Biferie: The Art of Learning

Through its tonal shapes, the photographs of Dan Biferie represent objects and qualities which are perceived and experienced. Beyond that, they are an expression of dynamic processes. More than a representation of things which can be directly sensed and known, they are symbols which have the power to evoke a sense of the invisible and unknowable, of the forces and causes of which the objects and qualities are a manifestation. Not all photographs operate on this level, but the best do. The more strongly the forces which underlie and affect life are felt and evoked, the deeper and more sensitive knowledge and understanding of new dimensions on reality become.

The capacity to create a feeling of the invisible through the visible lies entirely within the photographer. It is he who brings the photograph to life, who gives it meaning and value according to his experiences and beliefs. If he is aware of and relates to the forces which generate life, then he has the potential to create orders within his photographs which express those forces.

The possibility is there because photography, as is true for all art forms, is a means of “learning”. Give a receptive mind, photography can be a continual interaction between the development of the photographer and the things photographed. As he explores the world within and around himself, he creates pictures which reflect and communicate the process. As manifestations of his experience, the photographs are not only expressions of what is, but also of what can be. They are catalysts and tools for discovery as well as symbols of ideas and beliefs which already have been developed. Through his pictures, Biferie not only says this is what happened, this is real, this is what I feel and think; he also asks – what does this mean, why do I experience it this way, where do I go from here? In asking such questions, he is prompted to go out and test his ideas and beliefs, to open his mind to further experiences, to probe and search for that which is beyond what he knows and understands.

Dan Biferie attempts to convey through his photographs an awakening of our conscience by arousing, even disturbing, our aesthetic sensibilities. A photograph has value as a document if it tells us something of the place or person or event that is pictured. Its importance and significance are further enhanced if it reveals something about what is pictured, and something more about the photographer. At times it is not particularly popular to speak of the values, but the best photographs always have value we can admire from which we can learn something indescribable that may shape our lives. There is always something to be learned about care and compassion from Biferie’s photographs.

George Bolge
Museum of Art – DeLand


Patrick Boyd: Man with a Holo Camera

If you’re under thirty, you have probably not had many chances to see holography, a vibrant visual phenomenon that combines sciences, art, and technology, to create interactive, 3D images. If you’re over forty, you have most likely forgotten all about it.

International award-winning photographer, Patrick Boyd, falls into the latter age category but holography has never been far from his mind. During the late 1980s and early 1990s, when it was hailed as the “medium of the future”, he produced some of the most memorable, inspiring holograms of the time, winning coveted places in global exhibitions. A graduate of the Royal College of Art Holography Unit, Patrick’s innovative approach lead him to work with iconic designer Zandra Rhodes and won him a scholarship to take up residency at the New York Museum of Holography. Further residencies in Japan and Germany followed as his reputation grew.

When public interest in holography waned with the dawning of the digital age, Patrick moved on to new pastures, but in recent years the virus that lurks in all holographers became active once more, and he started making holograms again, in various facilities in the USA and how in his new home studio in Wales. Technology has moved on and today he can record video sequences on an iPhone which can be transferred into holographic stereograms (pictures a flick book in 3D or a 3D movie which you can play back and forth simply by moving your head.)

In this exhibition, he presents a series of holograms and holographic stereograms based around cinematography. These stereograms are small movies with no cast, set or script. Like adherents to the Russian kino-eye theory, Patrick thinks of the camera as an instrument, much like the human eye, that is best used to explore real life. The moments of time he snatches are then preserved like ghostly animated memories in 3D.

This exhibition of the British artist Patrick Boyd was organized by The Butler Institute of American Art. Boyd works at the intersection of photography, holography, art, and science. Combining all with the installation and a unique graphic language. His imagery is both compelling and emotive. His works of meticulously created installations and captured sequences blur the boundaries between two- and three-dimensions. His works present a colorful world where real life, narrative, light, and shadow connect and collide.

George Bolge
Museum of Art – DeLand


Permanent Collection: Photographs

The concept of this exhibition is to show something of the character and intent of the Museum’s Photography Collection and to suggest some of the ways in which the study of photography influences the broader issue of modern art and modern sensibility.

The first and distinguishing function of an art museum is that of collecting and preserving works that are, in its judgment, particularly fine, or particularly instructive in reference to the evolution of art. If preserved, these works can be exhibited, reproduced, studied, interpreted, re-evaluated, enjoyed, and – perhaps most importantly – borrowed from by younger artists.

Therefore, it is with the premise that photography is an art and that photographers are artists – celebrating the vision of the men and women behind the camera – that this exhibition has been organized.

Photography was invented by the 19th-century artists for their own purposes. These men were seeking a lasting, literal record of their visual surroundings, and they found it. The new combination of illumination, lens, shutter, and flat surface coated with chemicals sensitive to light produced, within a short interval of time, images more lasting, more convincing in their reality, and more richly detailed than painters could produce manually in weeks and months of effort. This alone was enough to engender consternation within the ranks of fellow artists; and, after their first reaction of pleasure in a new king of image, art critics rallied with the haughty charge that photography was not and could not be an art. The actual world in which we live had too strong a grip on photography, they said, and pictures so dependent upon mechanical means could not be called acts of man’s creative imagination.

Despite the critics, photographers knew that they had found a new art form, a new mode of expression. As artists, they had extraordinary visual sensitivity, and they thought and expressed themselves naturally through visual images. As artists, they used the new tools as other artists before and after them have used brush and pencil – to interpret the world, to present a vision of nature and its structure as well as the things and the people in it.

The most important use of photography was in communication. Here the value of photography was seen as its quality of immediacy, of literal description and convincing presentation of reality. This equality was retained to a large extent even after pictures had been translated into forms that made them available as printing plates for the illustration of books. Almost anything that could be photographed could be printed; and books on travel, medicine, science, and art were published with a wealth and authenticity of visual information never b3fore possible. By now, photography has become as important as the word – perhaps more important as all linguistic barriers fell before this “picture talk”.

We use photographs as memories, memories of ourselves when we were younger, of places where we have lived or visited, of friends and relatives who are no longer with us. With the advent of the roll-film Kodak, manageable even by a young child, photography became a folk art – the most democratic art in history. The millions practice it, as well as the few who make of it a medium of high art and a tool of science and industry.

It can be said with certainty only that photography has remained for a century and a quarter one of the most radical, instructive, disruptive, influential, problematic, and astonishing phenomena of the modern epoch. The future of this beautiful, universally practiced, little-known art will be determined by young and unborn photographers who will decide how best to build on their rich and ambiguous tradition. A small part of that tradition is installed in this show.

George Bolge
CEO, Museum of Art – DeLand


Permanent Collection: Paintings, Drawings, Graphics, & Sculpture

An essential part of any museum’s mission is to expand its permanent collection with quality examples of local, national, and international art that enhances its chosen narrative. Gifts and bequests of artwork to the museum bring greater depth and significance to its collection which, in turn, provides the visual curricula for its educational programming. These gifts to the museum are “investments” in the community that benefit thousands of visitors for generations to come. Some of the more recent donations – paintings, prints, photographs, and sculpture – are displayed here and at the downtown gallery.

When all is said and done, this institution owes the private collectors in its community an enormous debt. Without them, many of the works of art you see here would have been lost or destroyed. Our Permanent Collection is, to a far larger extent than anyone realizes, private collections which have been accumulated and donated by civic-minded individuals. It is not town councils or chamber of commerce, or any other emanations of the popular will, which have sacred works of art for the general publics edification, but a number of exceptional collectors who have had one principle worth all the rest, the principle of delight. Each purchase is the record of a vivid experience, either a long pursuit or a struggle in which mounting desire has conquered prudence and economy. It has been brought home in triumph, unpacked with trembling hands, and placed, after many experiments, in the right company and the right light. It is true that after a few months have gone by the collector will forget all about it for days on end. But each time a sympathetic visitor looks at one of his precious “pets”, something of his first rapture returns; it becomes once more a friend, toy, fetish and familiar and there is re-established that complex human relationship which gives the private collection its life.

What you will see in this exhibition is the culmination and product of the response of a civilized and imaginative community of collectors to the impulse, the creativity, and, in some cases, the desperation of the artist to make the world, its beauty and meaning, come true. Above all else these generous patrons cared for quality and beauty, however, expressed. They believed that only “the book of art” (Ruskin’s phrase) tells the ultimate truth about place or an age. Consequently, in their judgment, all society’s “high falutin” declarations and aspirations will turn to dust, but its art will remain to declare, unarguably, where its heart lay. Their continuous search for significant art together with their largess toward this museum produced this collection and made it unique.

These pieces selected from this Permanent Collection provide vision and, as Edward L. Kamarch puts it, as “vision”, they have their greatest social utility. They speak eloquently for man by devoting his larger possibilities, extending the horizons of his consciousness and understanding, and challenging the system of doctrine and dogma which narrow and constrict human aspirations. As the Museum of Art – DeLand matures as an institution, it will nurture this community by expanding its education commitments, not beyond its capabilities, but to a point where the general public can make the most of its resources.

George Bolge
CEO, Museum of Art – DeLand


Theo Wujcik: Quiet Revolution

In this survey of the Art of Theo Wujcik, one can sense the artist’s shift in sensibility. The analytical and the formal are rejected and strange new kinds of historicism, primitivism, and expressionism are embraced. There is a demi-allegory here that seemingly has not made up its mind whether to persuade, as in an argument or to disassemble, like art; whether to consort with pain and despair or to yield to an irrepressible desire to affirm humane values in man’s all-too-brief existence on earth. With a seeming will of its own, the painting in this exhibit cheerfully subverts its illusion to come down on the artist’s side as an unexpected, purely creative affirmation, perhaps attaining, thereby, an even more persuasive impact than by restating the familiar miseries and visual clichés of man’s solitary fate.

In Theo Wujcik’s poetic creation, it is not a question of overcoming the material, as the futile aesthetics extolled by so many people would have it, but of freeing the material. Paint and other materials undergo a transformation as soon as they enter into the sphere of the of the work of art. They changer their nature; they embody something that transcends and governs them. Without losing their first values, they acquire, thanks to pictorial art, a great importance and, at the same time, constitute a sort of flash that opens access to another world to us.

When an artist invents a manner or a style, he ceases to be a creative artist and turns into a designer fabricating products of applied art. Style is an external decorative element. Sometimes the artist is governed or defeated by a style that does not belong uniquely to him but belongs to the period. In a sense, Theo Wujcik has no style; he is the servant of his material and transcends it with absolute freedom.

Wujcik’s last work is a provocation thoroughly in the modern tradition. As Marshall Berman observed, “to appropriate the modernities of yesterday can be at once a critique of the modernities of today and ran act of faith in the modernities . . . of tomorrow.” (Marshall Berman, All That is Solid Melts Into Air: The Experience of Modernity, New York: Simon & Schuster, 1982, p. 36.) The themes pursued in this artist’s work, however, are not as simple as that. Wujcik seems to be paraphrasing the statement that the Conceptualist, Douglas Huebler, made about a work of art in 1969: “The world is full of objects, more or less interesting. I do not wish to add any more. I prefer simply to state the existence of things . . .” This artist appears to be expressing a similar feeling – not toward objects, but toward images.

In the late stage of a culture which is cast adrift in contradiction, haunted by myths of history and style and by omens of vulnerability, Theo Wujcik is uneasily grabbing hold of traditions, however spurious they may be, and elevating them to stave off disbelief. He draws upon the elementary symbolism that has accompanied human history. For him, the work of art is not so much an ideal product as an activity through which the individual asserts his sense of life.His art can be compared to a process, a living tracing of the ceaseless activity of the imagination. We can think about his art in its various manifestations in terms of a new Zeitgeist, a sudden break with the past, an unexpected reversal of taste, or we can call it a last waltz with modernism.

George Bolge
Museum of Art – DeLand


Utility Box Art Project: Art in Public Spaces

The Museum of Art – DeLand is proud to announce the completion of the Utility Box Art program with the City of DeLand as part of the Downtown Community Redevelopment Area plan.  After many months, even years of planning, the Museum and its Public Art Committee issued the call to artists, arranged for a jury selection of artwork to be displayed, handled the logistics of the vinyl reproduction of the art, and the wrap installation onto the utility boxes.  Artists chosen for the project include Bobbi Baugh, Regina Dunn, Ray Johnson, Harry Messersmith and John Wilton.

This latest public art collaboration with the City of DeLand is in addition to the DeLand Sculpture Walk, a collaborative effort offering established and emerging artists the opportunity to display their work throughout downtown DeLand.  The sculptures change annually, contributing to the quality of life for DeLand residents as well as to educational and cultural tourism.  This year’s Sculpture Walk includes internationally renowned artist Jorge Jimenez Deredia.  Two pieces shipped from Italy arrived in January having most recently been exhibited in the Giardino di Boboli, Florence Italy, City of Arts and Sciences in Valencia Spain and many more locations throughout the world.

The Museum of Art – DeLand also partners with the County of Volusia in displaying the Legendary Florida Collection of paintings by Jackson Walker which hang in the rotunda of the Historic Volusia County Courthouse.  The narrative paintings from the Museum’s permanent collection depict significant events and personalities from more than 400 years of Florida history.


Rent the Museum of Art – DeLand for your holiday party!

Whether in the heart of historic downtown DeLand or further down the lush tree-lined boulevard, DeLand’s premier cultural destination has the perfect space for an elegant event, meeting or wedding. Make your celebration a true masterpiece by hosting it at the Museum of Art – DeLand or the Museum’s downtown gallery.

Whether you choose to hold a small gathering or host a distinguished celebration for up to 120 guests, the Museum of Art – DeLand has a space to provide the perfect canvas for your event.

All of the Museum’s spaces are sure to ignite creativity and provide a memorable experience for you and your guests in a truly unique and every changing setting.

Corporate events | Private Parties | Seminars & Workshops | Showers & Weddings | Graduation | Birthday | Retirement | Holiday events

For more information about hosting events at the Museum, or to schedule a tour, contact Suzi Tanner, Manager of Guest Services, Membership & Special Events by calling 386.734.4371 or email


Walter May Art Speaks Lecture Series

Please join us for another exciting year for the Walter May Art Speaks Lecture Series.  This preeminent series highlights the art on exhibition at the Museum of Art – DeLand, as well as our Downtown Gallery by the artist and scholars closely involved with the artists’ work.  Art Speaks includes five lectures with reception. If purchased as the complete series, the price for Museum Members is $80 or $20 per lecture.  For non-members, the series runs $90 or $25 per lecture.  For more information: or call 386.734.4371.

This year’s series includes:

October 14, 2017:  A Survey of the Art of Theo Wujcik by Valerie Ann Leeds, Guest Curator.

February 23, 2018:  The Man Behind the Mirror – M. C. Escher by Pam Coffman, Museum of Art – DeLand Curator of Education.

April 20, 2018:  Masters of the Post War Realism from Pearlstein to Welliver by Dr. Louis Zona, Executive Director of The Bulter Institute of American Art.

July 13, 2018:  Robert Huff:  Retrospective by Beth Dunlop, editor of Modern Magazine and longtime architecture critic for the Miami Herald.

September 14, 2018:  Artist Janet Rogers Gallery Talk and Tour discussing her Eyescapes exhibition.

About Walter May:

As a successful bank officer and a respected philanthropist to many worthy non-profit organizations in New York, Walter May’s reputation as a supporter of the arts and as a passionate art collector preceded his retirement move to South Florida and precipitated his nomination to the Boca Raton Museum of Art Board of Trustees.  Because Walter and his family have spent a lifetime sharing their common love for the arts, he was instrumental in convincing his wife, Robin, to join and to contribute her expertise to the Museum of Art – DeLand’s Board.

The privilege of naming this Art Lecture Series – Art Speaks in memoriam for Walter May has given the art communities who have benefited from his lifetime largess an opportunity to pay tribute to this renaissance man who believed in everyone’s  responsibility to contribute actively to his community’s cultural life thereby ensuring the advancement of knowledge and education for future generations.





Roberto Edwards

Cuerpos Pintados is a unique project that marries the concerns of painting, performance art, documentation, and photography. In the last 25 years, more than 100 painters and countless models have participated in a rich interactive dialog exploring the potential of the body as both landscape and a three-dimensional canvas. The first 45 painters were from Chile, as the studio is located in Santiago: however, soon painters from all over South America, Europe and the United States wanted an opportunity to work collaboratively at Taller Cuerpos Pintados.

Roberto Edwards, born in 1937, is a Chilean photographer and entrepreneur. After partial studies of architecture, economics, and film, he began in the publishing business, producing numerous books and magazines. During the 1980’s he established Cuerpos Pintados and in 1991 the project was presented for the first time, with Edward’s photographs of nude bodies painted by 45 Chilean artists. The resulting exhibition traveled to 32 museums in Latin America and Europe. In 2003, he presented a new version of Cuerpos Pintados. This time, more than 100 visual artists, mainly from Latin America, participated in the project, as well as musicians who composed their scores with body sounds and photographers who documented the body in a wide variety of traditional cultures.

The photographs of Roberto Edwards have been exhibited in over 40 museums throughout the world and have intrigued, fascinated, and amazed viewers. They represent accurate records of an organic project that has endless variations and morphs into an amazingly productive exploration of the expressive power of the body. Watching Edwards photograph is like watching a drama unfold, but one that has no linear narrative. Initially, he directs actions, but invariably the models start to move and to strike a myriad of poses on their own which derive from an almost dance-like ritual. During the process he never corrects or changes the original concept, but uses tools like cropping, changing focus and compressing space through depth of field and f-stop selection. The photographer also has the cinematic equivalents of long shot, medium shot and close up at his disposal. Sometimes he builds images through multiple exposures and montaging.

The Museum of Art – DeLand would like to recognize the talent and achievements of Roberto Edwards and all the gifted artists who participated and collaborated in the Experimental Workshop of Cuerpos Pintados. This exhibition was organized and curated by Holden Luntz, Director of the Holden Luntz Gallery. His close association with Roberto Edwards and his work has ensured the success of this endeavor.

George S. Bolge
CEO, Museum of Art – DeLand, Florida


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