Florida State University, Museum of Fine Arts – förlag

Jim Roche was born to run. His motorcycle exploits have been interwoven throughout his career. Sometimes riding is a dangerous course and he sustained serious injury in 1993 but hasn't abaondoned the source of his glory-road imagery. Known also for his enthusiasm for outsider art, Roche celebrates native heritage. Despite the fact that the internet has created a global visual-arts village, Roche observes a more specific sense of place. His "background piece" at the Whitney Museum of Art in the 1970s catapulted him into the New York Art world, and yet, not long afterward, sent him back out of the city to return to his roots and his inspiration in what was, in that decade, the very deep South.Not to be confined to one medium, Roche has been a ceramist, an assemblage sculptor, a videographer, a curator of Haitian and "outsider" art, and he paints and draws in a lively Florida vernacular.

Modern Cuban art emerged in Havana in 1927 and matured during the next two decades. Its inception is mainly defined by a rupture with academic art, the appropriation of European avant-garde formal inventions, and the subjective symbolization of national ethos. In the 1940s a new generation of artists expanded their artistic sources to include popular art and explored new symbols of collective identity. By the 1950s a third generation of modernist artists abandoned figuration, the representation of Cuban themes, and turned to abstraction and introspection.Cuban Art in the Twentieth Century is an historical progression of works by important artists from a complex modern movement described by several discrete periods: Colonial, Early Republic, First Generation, Second Generation, Third Generation, Late Modern, and Contemporary Periods. The Cuban modern art movement consists of a loose group of artists, divided into generations, who counted on the moral support of an intellectual elite and who had minimal economic help from the private and public sectors. In spite of a fragile infrastructure, this art movement, along with similar movements in literature and music, played a major role in defining Cuban culture in the twentieth century.

Aubrey Beardsley was one of the most prolific artists of the 1890s London avant-garde. While his career only lasted six years before he succumbed to tuberculosis, Beardsley produced over 1,100 works as a draftsman. Because his technique utilized the photomechanical reproduction process of line block, his work was able to be seen by the general public rather than only the elite few. Beardsley's images were controversial in the face of Victorian-era sensibilities, regularly critiquing the repressive views of sexuality, gender roles, and consumerism seen in society. During his short but impressive career, he created illustrations for Oscar Wilde, Alexander Pope, Aristophanes, and others.This catalog documents the printed work of Beardsley, containing images of his work from the Rowe Collection, a condensed biography on Aubrey Beardsley by Sara Smith, and an essay by Christina Glover describing the line block technique. Accompanying the catalog illustrations are commentaries by Patrick M. Rowe.

Curator Jeff Beekman states that Land Art, one of the seminal movements beginning in the late-1960s was largely born out of a frustration with the growing commercialization of the art world and the limitations of the traditional “white cube” gallery. At its core this movement sought to tie together artwork and the landscape into which the works were inextricably merged. The most well-known early examples took the form of dramatic interventions into the landscapes of primarily the American Southwest. What has emerged since the formative years has become a sophisticated and varied extension of the discussions of the early practitioners. This movement has grown to encompass issues of ecology and sustainability, an exploration of how human and natural forces have shaped one another in historical and contemporary landscapes, and an exploration of past approaches to the mythologies we have about land, particularly as it relates to the concept of manifest destiny and borders.