Offering of the Angels:  Old Master Paintings and Tapestries from the Uffizi Gallery

Featuring tapestries and paintings by some of the greatest artists of the Renaissance and Baroque periods, this highly-acclaimed exhibition makes its American premiere at the Museum of Art I Fort Lauderdale, Nova Southeastern University.

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Demons, gods and beasts are the subjects of this mid-career retrospective of the work of Panama-based artist Isabel De Obaldía, who places herself in the long line of modern ‘primitive’ artists – from Paul Gauguin to Diego Rivera – who explore the art of ancient cultures.

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This lively and thought-provoking installation juxtaposes paintings, sculpture and works on paper by artists of the CoBrA movement with masks, totems, and carvings created on the South Pacific island of New Guinea and on the continent of Africa. After living through and being surrounded by the devastation caused during the Second World War in Europe, the CoBrA artists attempted a conscious regression to the images of fantasy hidden under layers of the human subconscious. Their appreciation for and investigation of primitive imagery was inspired by the powerful expression of the irrational shapes and colors they found in the arts of Africa and Oceania, as had happened in the early years of the twentieth century with the French Fauvists and Cubists as well as the German Expressionists. African and New Guinean artisans created art at its most primal – a confluence of strength, emotion and design that celebrated all of life's significant passages: from birth through marriage and adulthood, and finally, to death. That same strength is visible in the work of the CoBrA artists who hoped to preserve some of the beauty they found in Primitive art in their own experiments with paint, wood, clay, stone, words and sounds. Through these associations and inspiration, the artists of the CoBrA movement shared a common desire to build a better world.

The Museum of Art is the repository of the estate of American painter William Glackens, a member of The Eight and a transformative artist at the turn of the twentieth century. What is less known about Glackens is that he was part of an extended artistic family. He married painter Edith Dimock and their daughter Lenna was a talented young artist. In addition, William's older brother Louis was a well-known illustrator and cartoonist. Installed in the Museum’s Glackens Galleries, this exhibition includes works by each of the artists in the Glackens family, with a large concentration of the art of William Glackens, the family's most celebrated painter.

Names for this body of work have changed over the decades. Charles Biederman (1960-2004), one of the best-know artists represented here, used the term Constructionism to describe his work, something related to and yet distinct from the Russian avant-garde art movement of the 1910s and 1920s known as Constructivism. Later, the term Structurism was used. By the late 1970s, however, Biederman settled on the simpler term: New Art.

This installation from the heart and hands of Edouard Duval-Carrié, with the assistance of students from the Dillard Center for the Arts, bespeaks the artist's ineradicable connection to the island of his birth. Knowledgeable about Vodou since childhood, Duval-Carrié incorporates the religion's theatrical sacred personages as players in his visual dramas of upheaval and transcendence. Migration out of Haiti, with consequences for the country left behind, is a persistent theme.