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DTSTART;VALUE=DATE:20220411
DTEND;VALUE=DATE:20261207
DTSTAMP:20250122T145235Z
CREATED:20240227T130838Z
LAST-MODIFIED:20250122T145235Z
UID:10000185-1649635200-1796601599@www.cummermuseum.org
SUMMARY:Jacksonville's Norman Studios: Movie Posters from the Permanent Collection
DESCRIPTION:This exhibition was organized by the Cummer Museum of Art & Gardens. \nBefore Hollywood dominated the film industry\, Florida was the hot spot for movie executives. With our warm weather\, sunny skies\, convenient location\, cheap labor\, and diverse scenery\, Florida quickly became a frontrunner in the early film business in the first part of the 20th century. Jacksonville in particular seemed a logical choice as a capital. The city was the principal financial\, manufacturing\, distribution\, and transportation gateway in the Southeast. It was\, in fact\, the largest metropolis in the state. Its proximity to the St. Johns River\, Atlantic Ocean\, and Eastern railroad allowed easy access for crews and materials. At the same time\, numerous environments including beaches\, swamps\, river views\, downtown districts\, and historic St. Augustine were also convenient. \nHowever\, the heyday was short-lived. By 1920\, Hollywood had already gained preeminence as the nation’s film capital. This shift westward allowed First Coast native and silent filmmaker\, Richard Norman\, the opportunity to purchase the bankrupt Eagle Studios complex in Arlington in 1920. Norman produced at least 8 feature films in 8 years and gained national attention by producing films with Black casts for Black audiences. \nIn the earliest years of filmmaking\, Black actors and actresses played extras or bit parts in films aimed toward white markets. Heroic or positive roles were unheard of until white filmmakers realized that there was a market for race-based pictures. After his purchase of the former Eagle Studios complex\, Richard Norman\, a white man\, had the finest studio complex of any African American-based film producer. \nNorman succeeded at producing low budget yet polished and entertaining black cast films. His productions featured black actors as cowboys\, pilots\, and businessmen in romance\, mystery\, and action films. He recruited some of the most prominent stage actors to make the switch to the screen. Although his films were popular with audiences across the country\, especially the emerging black middle class\, he was forced to close his business at the onset of the Great Depression. \nAll five buildings of the Eagle/Norman property are still standing today on Arlington Road near Cesery Boulevard and a local nonprofit\, the Norman Studios Silent Film Museum\, Inc.\, was formed in 2007 to celebrate the role of filmmaker Richard Norman in the early days of the movie industry. The site is listed in the National Register of Historic Places. \n*Unless otherwise noted\, these posters were purchased in 2002 with funds provided by the Morton R. Hirschberg Memorial Fund\, Mr. Moselle C. Bruton\, Ms. Janet R. Johnson\, Mr. Michael Lewis\, Dr. Emma Moran\, Dr. and Mrs. Joseph Anello\, Ms. Thelma Geiger and Mrs. Gloriden J. Norris. \nImage:\nView of Jacksonville’s Norman Studios in the Harold Barkley Wahl Family and Jay Stein Gallery.
URL:https://www.cummermuseum.org/event/jacksonvilles-norman-studios-2/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2024/02/Norman-Studios-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251125T080000
DTEND;TZID=America/New_York:20261220T170000
DTSTAMP:20251125T214847Z
CREATED:20251004T052346Z
LAST-MODIFIED:20251125T214847Z
UID:10002378-1764057600-1797786000@www.cummermuseum.org
SUMMARY:Revisiting Christian Iconography
DESCRIPTION:Revisiting Christian Iconography asks the viewer to consider how traditional Christian artwork and iconography has changed across time. Scenes depicting the life of Jesus Christ\, the Virgin Mary\, or other New Testament references have been used for centuries in Western European art to inspire devotion. However\, as artistic self-expression became more prevalent in the late 19th and early 20th centuries\, artists such as Abraham Rattner and Marc Chagall used Biblical references to expand on universal themes. While rooted in tradition\, these modern works challenge the imagination\, encouraging reverence for the sacred and contemplation of the transcendent. \nPresented by The Edge Family \nImage Credit:\nAbraham Rattner (American\, 1895 – 1978)\, Crucifixion in Yellow\, 1953\, Oil on Masonite\, Gift of Genny\, Clifford\, and Robert Ayers in memory of Genevieve Schultz Ayers\, AG.1987.7.1
URL:https://www.cummermuseum.org/event/revisiting-sacred-imagery/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2025/10/ag_1987_7_1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260123T100000
DTEND;TZID=America/New_York:20261129T160000
DTSTAMP:20260924T021533Z
CREATED:20251009T040222Z
LAST-MODIFIED:20260924T021533Z
UID:10002405-1769162400-1795968000@www.cummermuseum.org
SUMMARY:Touring the Landscape: Art\, Travel and the Shaping of American Identity
DESCRIPTION:Touring the Landscape explores how American artists of the late 19th and early 20th centuries shaped national identity through landscape paintings of iconic tourist destinations. As a burgeoning tourist industry grew\, artists traveled widely\, shaping a corpus of iconic views that helped define what it meant to be American. \nFrom the marshes of Florida to the pastoral hills of New England\, from the dramatic peaks of the American West to the scenic landscapes of Italy\, the paintings in this exhibition reflect an evolving relationship between people and place. In a time of expansion\, conflict\, and industrialization\, they reveal how a shared visual experience of landscape became central to the American imagination and the broader project of nationhood. \nThis exhibition\, assembled from the Cummer Museum’s permanent collection\, is guest curated by University of North Florida students in Dr. Meg McCrummen Fowler’s class\, “Public Narratives: Museum Curation and Interpretation.” \n \nThe Cummer Museum of Art & Gardens is pleased to announce they are a recipient of the 2026 Southeastern Museums Conference Bronze Award in the Under $10\,000 budget category for the exhibition Touring the Landscape: Art\, Travel\, and the Shaping of American Identity. The SEMC Exhibition Competition showcases the best in our profession and provides benchmarks for regional exhibition efforts in southeastern museums. Learn more here. \nImage Credit: \nAlbert Bierstadt (American 1830 – 1902)\, Estes Park\, Colorado\, c. 1876 – 1877\, oil on paper mounted on canvas\, 13 7/8 x 18 7/8 in.\, Acquired in memory of Thomas H. Jacobsen through generous contributions from family\, friends and museum patrons\, AP.2006.3.1 \nEdmund William Greacen (American\, 1877 – 1949)\, Brooklyn Bridge\, East River\, 1916\, oil on canvas\, 37 x 37 ½ in.\, Gift of Mr. and Mrs. René Faure\, daughter of Edmond Greacen\, AG.1972.2.1
URL:https://www.cummermuseum.org/event/touring-eden-landscapes-and-the-shaping-of-american-identity/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2025/10/Bierstadt_AP.2006.3.1_noframe.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260213T090000
DTEND;TZID=America/New_York:20260913T170000
DTSTAMP:20260207T024715Z
CREATED:20251004T051933Z
LAST-MODIFIED:20260207T024715Z
UID:10002377-1770973200-1789318800@www.cummermuseum.org
SUMMARY:Art in Bloom
DESCRIPTION:Art in Bloom brings together nature-inspired works of art\, enhancing the Cummer Museum’s dynamic dialogue between interior galleries and our historic gardens. \nCoinciding with the height of our spring season\, Art in Bloom celebrates how today’s artists are expanding the boundaries of floral art far beyond historic still-life paintings. Works from the Cummer’s permanent collection and exciting loans from contemporary artists create a dynamic exploration of this well-known style. \nArtists include Kim Cridler\, Jane Hammond\, Martin Johnson Heade\, Jill Hotchkiss\, Debora Moore\, Severin Roesen\, Daniel “Attaboy” Seifert\, Sarah Ann Weber\, Peter De Wiint\, Ann Wood\, and more. \nImage Credit: \nJane Hammond (American\, b. 1950)\, Korean Vase with Voodoo Lily\, Tongue Orchid\, and Regent Honeyeater\, 2025\, unique botanical collage with relief printing\, digital printing\, colored pencil\, Sumi ink\, watercolor\, gouache\, metal leaf and sequins hand cut and assembled on Japanese papers over cotton rag\, 58 x 38 in.\, Image courtesy the artist and Lyndsey Ingram \nKim Cridler (American\, b. 1968)\, Darken\, 2025\, steel\, bronze\, copper\, mica\, 25 x 8 in.\, Courtesy the artist and Lisa Sette Gallery \nAnn Wood (American\, b.1961)\, Botanical Wall\, 2016 – 2020\, paper\, 7 x 7 ft.\, Courtesy of Ann Wood / Woodlucker
URL:https://www.cummermuseum.org/event/art-in-bloom/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2025/10/Ann-Wood_Botanical-Wall_001_cropped-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260407T080000
DTEND;TZID=America/New_York:20261108T170000
DTSTAMP:20260805T125437Z
CREATED:20260316T202139Z
LAST-MODIFIED:20260805T125437Z
UID:10002941-1775548800-1794157200@www.cummermuseum.org
SUMMARY:Ashley Woodson Bailey: What Remains
DESCRIPTION:The Cummer Museum’s Bank of America Concourse Gallery welcomes Jacksonville-based photographer and artist Ashley Woodson Bailey with What Remains. This body of work explores the relationship between photography\, time\, and preservation through the botanical subject. \n“Flowers have long functioned as a visual language in art\, symbolizing beauty\, mortality\, and transformation\,” Bailey shares. “I am drawn to the tension between fragility and permanence—how something inherently fleeting can be held\, altered\, and re-seen.” \nIn What Remains\, floral photographs are presented alongside translucent grasscloth panels\, shifting wallpaper from decorative surface into something closer to a preserved specimen. The photographs function as both record and memory\, while the textile panels emphasize physical presence\, moving the work between image and object. \nIn dialogue with Moment in Time\, A Legacy of Photographs and Art in Bloom\, What Remains reflects on how artists attempt to hold onto beauty and how every act of preservation inevitably transforms what it seeks to save. \n\n  \n\nImage credits:\nAshley Woodson Bailey (American\, b. 1973)\, Dark Iris\, 2024\, photographic print.\nAshley Woodson Bailey (American\, b. 1973)\, Petunia\, 2025\, photographic print.\nAshley Woodson Bailey (American\, b. 1973)\, Prairie\, 2024\, photographic print.
URL:https://www.cummermuseum.org/event/ashley-woodson-bailey-what-remains/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2026/03/Prairie.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T080000
DTEND;TZID=America/New_York:20260906T170000
DTSTAMP:20260409T125502Z
CREATED:20260114T012252Z
LAST-MODIFIED:20260409T125502Z
UID:10002540-1775721600-1788714000@www.cummermuseum.org
SUMMARY:Moment in Time: A Legacy of Photographs | Works from the Bank of America Collection
DESCRIPTION:Moment in Time: A Legacy of Photographs features 115 works by important international photographers dating from the invention of the medium in the 1830s through the mid-20th century\, including William Henry Fox Talbot\, Julia Margaret Cameron\, Timothy O’Sullivan\, Paul Strand\, Henri Cartier-Bresson\, Ansel Adams\, Helen Levitt\, and Walker Evans. \nThe history and evolution of this photography exhibition is notable. The original collection was created in the late 1960s\, when the first corporate collections of fine art photography in the United States emerged. At this time\, the corporate environment was changing from formal settings to workspaces allowing freedom of movement and interaction with customers\, and the art world was redefining itself and its relationship to photography as a fine art. At this historic juncture for the photographic arts and business worlds\, a pivotal collection in the history of photography was born. \nBeaumont and Nancy Newhall were a husband and wife team of pioneering collectors and historians who became the first curators of the photography department at The Museum of Modern Art\, New York\, in the 1940s. In 1967\, they were commissioned by the president of the National Exchange Bank of Chicago\, a legacy bank of Bank of America\, to establish a corporate art collection focused solely on photography. Nancy Newhall was the primary curator for the Exchange Bank collection and continued through 1972. She was a trailblazer in the field of photography curation and the exhibition introduces her achievements to a new audience. This selection of photographs reflects her unique vision. \nIn the years that followed\, the Exchange Bank – and its groundbreaking collection\, which continued to expand – were acquired several times\, finally becoming part of Bank of America in 2008. The legacy of the original Newhall collection\, marking a historic partnership between the art and business worlds and a landmark in photography\, resonates to this day. \nThis exhibition has been loaned through the Bank of America Art in our Communities® program. \n \n  \nImage credits: Moment in Time \n  \nLead image: Alfred Steiglitz (American\, 1864 – 1946)\, The Steerage\, 1907\, photogravure\, Bank of America Collection\, 69.39.1. \nJulia Margaret Cameron (British\, 1815 – 1879)\, Untitled (May Prinsep)\, October 1870\, albumen silver print\, Bank of America Collection\, 68.8.3. \nLewis Wickes Hine (American\, 1874 – 1940)\, An Albanian Woman from Italy at Ellis Island 1905 negative\, posthumous print 1970\, gelatin silver print\, Bank of America Collection\, 68.19.17. \nWalker Evans (American\, 1903 – 1975)\, Barber Shop\, Vicksburg\, Mississippi\, 1936\, gelatin silver print\, Bank of America Collection\, 68.16.12.
URL:https://www.cummermuseum.org/event/moment-in-time-a-legacy-of-photographs-works-from-the-bank-of-america-collection/
ATTACH;FMTTYPE=image/jpeg:https://www.cummermuseum.org/wp-content/uploads/2026/01/Stieglitz_The-Steerage-69.39.1-scaled.jpg
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