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Installation view, Imagining Florida: History and Myth in the Sunshine State (photo by Jacek Gancarz)

BOCA RATON, Florida — As the saying goes, Florida’s biggest export is image — it once dealt in sun-soaked fantasy, a beach, a drink. Spanish moss. A tender cluster of mosquito bites. The ability to regulate your body temperature easily and at will (ocean soak, air conditioning, do it again). Sometimes, too, Florida is more the Florida Man meme than palliative getaway. But strangeness — and objective loveliness — can have an effect. The stories keep coming (that, and the state’s open government laws), and so do the visitors, even with eroding beaches. A bevy of reasons why Florida is obsessed with itself.

Everyone else was obsessed with us, too, for a long time. Most of the featured artists in Imagining Florida: History and Myth in the Sunshine State, a comprehensive exhibition of 200 plus pieces at the Boca Raton Museum of Art, when visiting Florida, were taken with its beauty or its communities. Curated by Jennifer Hardin and Gary Monroe, the show features paintings, photographs, and a section of objects. “There was no ‘school’ of art in Florida,” says Irvin Lippman, the Museum’s executive director, so the sense of Florida came, mostly, from elsewhere.

George de Forest Brush, “Indian Hunting Cranes in Florida” (1887), oil on canvas, 21 x 26 inches (courtesy Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Oregon, gift of Mr. and Mrs. Harold F. Wendel)

Among the works in the show — which span from the 1750s and end with Garry Winogrand’s 1969 photograph, “Apollo 11 Moon Launch, Cape Kennedy, Florida” — are depictions of Florida primarily by its visitors, invited or sent on assignment, some of whom never left. Martin Johnson Heade, who painted the florid “Florida Sunset with Waterfowl” in 1883-1894 and rendered the swampy crepuscule aflame, came to Florida for his health. A transplant from Pennsylvania, Hugh F. McKean paints “The Minister (Henry Ellis, Orlando)” (c. 1935) depicting the black Minister Ellis against a backdrop of heaven, hell, and a pointed steeple, like a Renaissance portrait. Later, he and his wife, Jeannette Genius McKean, built the collection at the Charles Hosmer Morse Museum of American Art.

There are Floridian myths, like Stevan Dohanos’s 1940 “Barefoot Mailman (Mural Studies, West Palm Beach, Florida, Post Office),”  a sunny portrait of the man who worked the “Barefoot Route” from Palm beach to Miami and supposedly died by alligator attack. There are Floridian — Southern — American realities: George Snow Hill’s mural study, Building the Tamiami Trial (1938), which depicts a black chain gang amidst the palm trees, their faces hidden. This was Hill’s submission to the Miami Post Office and Courthouse, subsequently rejected by a government committee who, says the image’s attendant plaque, “found the subject of a chain gang inappropriate for celebrating Florida and its history.”

Lewis Hine, “Young Cigarmakers” (1909), gelatin silver print, 11 x 14 inches (collection of Trenam Law, Tampa, Florida)

There are also the realities that became inaccurately mythologized, like George de Forest Brush’s “Indian Hunting Cranes, Florida” (1887), in which the “Indian” in question is solitary and undisturbed — more landscape than portrait. The painting’s description states that Brush specialized in “idealized depictions … Yet, he lived with the Arapaho, Crow, and Shoshone in Wyoming and Montana, and had an understanding of their life ways and forced migrations.” Brush had traveled to St. Augustine, too, and seen the country’s indigenous populations, among them the Apache who were held prisoner at Fort Marion. His paintings, though, speak little of these truths, if at all.

James Wells Champney, “Returning from Harvesting” (1874), oil on board, 17 x 13 inches (collection of Mr. and Mrs. Sam Vickers)

There is a John Singer Sargent — “Basin with Sailor, Villa Vizcaya, Miami, Florida” (1917). There are works by the Highwaymen, the black painters who sold their landscapes on the road in the 1950s, at the height of segregation; Harold Newton’s “Pink Cloud, Sunset” (no date) glows so bright it seems to move. There are Bruce Mozert’s underwater photographs at Silver Springs, in which women cook and trim the grass beneath the waves. Speaking of women, you won’t find many of them. But they’re here. There’s Doris Lee, and Sally Michel, and — wonderfully — Bunny Yeager, the pin-up model and photographer who shot Bettie Page the way only Bunny could (with good-humored sensuality). There are photographs by Gordon Parks, who, in 1943, was sent to Daytona Beach by the Office of War of Information; there, he documented the Bethune-Cookman College, an HBCU founded by Mary McLeod Bethune, and Midway, one of the city’s earliest black neighborhoods.

Jules André Smith, “Untitled (Street Scene Eatonville” (1940), oil on masonite, 29 1⁄4 x 35 3⁄4 inches (courtesy Maitland Art Center)

The show’s small but dense material culture section brought me great delight — maybe because I’m a Floridian; maybe for me, a Silver Springs TV tray, plastic flamingoes, canes with alligator handles, poppy advertisements for the Belle of Crescent City (the belle is an orange), and a bulb-less alligator lamp from 1910 signal comfort, not kitsch. One of my favorite painters, Purvis Young, is here, too — perhaps because he painted not on canvas but on wood? Maybe because in a show that stops at 1969, his work — first showcased in the early 1970s — came too late? I would have liked to see him where he belonged, but I will take Young where I can find him. The section is small and, whether intended or not, he becomes its crux. Its center.

The black artist was from Miami’s Overtown neighborhood, a place he depicted continuously and that provided him with the materials to do it. He painted a codified language, in which horses were reverent and angels were divinely human, where Overtown was both a trap and a religious reprieve. In Young’s paintings, divine intervention and the goodness of community, of one’s people, contend with systematic oppression and societal ills, forced poverty, widespread racism. He once said, “I’d just like to see peace. Then maybe I’d take my brush and throw it away.” His Florida is the true Florida: full of both decay and radiance and that, perhaps, nobody wanted to imagine. It’s a Florida that everyone needed — needs — to see.

Imagining Florida: History and Myth in the Sunshine State, curated by Jennifer Hardin and Gary Monroe, is on view at the Boca Raton Museum of Art (501 Plaza Real, Boca Raton) through March 24, 2019.


Monica Uszerowicz is a writer and photographer in Miami, FL. She has contributed work to BOMB, Los Angeles Review of Books' Avidly channel, Hazlitt, VICE, and The Miami Rail. More by Monica Uszerowicz

Sours: https://hyperallergic.com/473974/history-and-myth-emanate-in-the-art-made-in-the-sunshine-state/

Welcome to Mr Route SunStates, Inc

Mr Route SunStates is always available to answer your questions. Always feel free to contact us about buying or selling a route business.

Mr Route Inc. began as a family owned and operated route broker over 30 years ago.  Mr Route and its licensed affiliates are the most experienced route brokers in the industry. We set the standard for professionalism, courtesy and knowledge. Having sold thousands of routes since our founding, we have the experience you need to buy or sell your route. Whether you're looking to buy or sell a route, call any time to see for yourself why we're the best choice for you.

 

Mr Route SunStates is a Florida-licensed real estate and business opportunity firm. Contact any of our sales associates or our broker, Barry Prather, either at the phone number, email, or address listed below. We have expanded over 10 years to serve route buyers and sellers throughout the Southeast, including AL, FL, GA, MS, and parts of TN.

Mr Route SunStates sells route distribution businesses throughout the southeastern United States. They sell routes in Florida, Georgia, Alabama, Mississippi and Tennessee. We sell bread routes. Snack routes for sale. Pastry routes are also for sale. Also selling FedEx routes.

Consider logistics routes. We have For sale tortilla routes. Vending routes for sale. We sell all kinds of independent routes. Food trucks are also up for sale. We also have sold cleaning supply routes. Janitorial supply route have also been sold by us. Novelty routes for sale. Cookie routes for sale. Also selling lawn maintenance routes. Trucking companies can be bought. Arnold bimbo Bread Routes. Sold Arnold Bread Routes.

Martin’s Bread routes for sale. They offer Snyder’s snack routes. Sold Snyder’s Lance snack routes. Also for sale, Pepperidge Farm cookie routes. Pepperidge Farm bread routes. St Armands routes. We sell Bon Appetit routes.Trucking routes for sale. Mission Foods routes are for sale. Herr’s snack routes are sold by us. Selling Herr’s chip routes. We offer Flowers Food routes.

Bimbo bread routes are also offered for sale. Landscaping businesses for sale. Sold landscaping routes. Selling routes in Florida is our only business. Georgia routes for sale. Alabama routes for sale. Tennessee routes for sale. All routes for sale. Snyder’s Snack Routes for sale. Snyder’s / Lance Snack Route for sale. Bread Routes for sale. Mississippi routes for sale. Routes are being sold in Chattanooga. Selling delivery businesses.

Freight businesses for sale. We list all sorts of independent, owner operated businesses. To learn more about the route business, give us a call. Call us if you are considering selling your route. Selling your bread route, call us. Thinking about selling your snack route, call us. We will help you get the best price for your route business. Let us help you sell your route. Mr Route SunStates is licensed in the state of Florida.

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