SU M M E R + FA LL 2026
MAGA ZINE HARN MUSEUM OF ART
FREE ADMISSION
S U M M E R + FA L L 2 0 2 6
TA B L E O F C O N T E N T S
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| DIRECTOR'S MESSAGE
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| FEATURED EXHIBITIONS
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| MEMBERSHIP
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| NEWS
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| MORE FROM THE HARN
- Ghanaian Fashion - Beneath, Between & Beyond - One World - Florida in the Frame - Layered Lives
- New Harn Spaces - Becoming: Asian American Art Unbound - Champ d'avoine Travels to Giverny, France
ABOUT THE COVER Harold Newton’s Pine Island depicts the largest island on Florida’s Gulf Coast. Located in Lee County, Pine Island is known for its secluded atmosphere, natural beauty and outdoor activities like fishing, kayaking and canoeing. Newton was a founding member of the Florida Highwaymen, a group of African American artists who were known for their brightly colored landscape paintings of Florida's natural beauty. Denied access to art galleries during the era of racial segregation, the group began selling their paintings along the sides of roadways, such as Highway 1 on the East Coast. Harold Newton, Pine Island, undated, The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers
Director's
Message LEE ANNE CHESTERFIELD Director, Harn Museum of Art
If you have visited the Harn Museum of Art in recent months, you may have noticed some big changes! The Harn is currently undergoing a much-anticipated renovation project which is well underway. The renovation, which began in the fall of 2025, will add 3,600 square feet of new exhibition space to the museum,
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providing room to showcase more of the Harn’s world class art collection. This expansion aligns directly with the Harn’s mission to inspire, educate and enrich people’s lives through the arts by creating an additional gallery where the community can engage with art and each other. As a continuation of our mission, the Bishop Study Center
Harn Museum of Ar t | Summer + Fall 2026
will also be updated, giving students another place to work, learn and enhance their understanding of the arts. The new gallery space is anticipated to be completed by the end of this summer, and we are looking forward to opening the gallery to the public in the fall. The first of many exhibitions to be featured in this space will be Beyond the Brush: The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers. I would like to thank all of our wonderful donors for their contributions to this project and the many other community events, exhibitions and programs they
help support. To maintain and grow these meaningful connections we have made throughout the years, we have selected Lind Archipov to join the Harn Museum of Art as the new Director of Advancement. Lind is a UF graduate, and she brings 15 years of fundraising experience to her position on the Harn’s Development team. Her previous work at The Dali Museum provides a strong foundation in fundraising for the arts and will be of great value to the Harn and the communities we work to serve. We hope to see you in the galleries soon!
IMAGE: Interior of the new art gallery looking into the new Bishop Study Center. Gallery rendering by DLR Group.
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Featured Exhibitions
Ghanaian Fashion An Exhibition in Three Chapters
Kabas and Couture:
Then & Now
IMAGE: [detail] Juliana Kweifio-Okai, Chez Julie Green Adinkra Suit, 1986, Gift of Dr. Christopher Richards in honor of Edith FranÇois
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Harn Museum of Ar t | Summer + Fall 2026
CHRISTOPHER RICHARDS Exhibition Guest Curator Director of Women’s and Gender Studies, Associate Professor of Art History, Brooklyn College
The final chapter of Ghanaian Fashion returns to the exhibition’s roots: the museum’s inaugural exhibition on African fashion—Kabas and Couture: Contemporary Ghanaian Fashion (2015). In revisiting Kabas and Couture, the exhibition hopes to remind visitors of important components from this groundbreaking exhibition, while highlighting changes that have occurred in Ghanaian fashion over the past ten years. To achieve the simultaneous acts of “looking back” and acknowledging the present day, the exhibition is thematically organized around the dichotomy of THEN and NOW. THEN refers to the past, which is inclusive of historical textiles, early Ghanaian designers, the initial expressions of a designer’s aesthetic and the Harn’s original exhibition on Ghanaian fashion.
NOW is represented by recent trends and innovations in Ghanaian dress and fashion, the latest designs of specific designers, emerging designers and new avenues for exploring topics related to Ghanaian fashion. Ultimately, this third and final chapter of Ghanaian Fashion is a celebration of Ghana’s vibrant and complex fashion culture, which continues to amaze, surprise and inspire Ghanaians and global citizens alike. Let this exhibition, and its previous chapters, serve as an important reminder: African fashion is not a monolith; it is in the wrinkles, creases and folds of African fashion where some of the most compelling and complex narratives emerge.
Ghanaian Fashion: An Exhibition in Three Chapters Kabas and Couture: Then & Now
ON VIEW May 18, 2026 – May 16, 2027
Visit harn.ufl.edu/kabasandcouture or scan the QR Code learn more. This exhibition is made possible by the Myra L. Engelhardt and Lawrence E. Malvern Endowment with additional support from the Harn Annual Fund.
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Featured Exhibitions
Beneath, Between
& Beyond Afterlives in East Asian Art TONGYUN YIN
Cofrin Curator of Asian Art
Across cultures and centuries, death has inspired some of humanity’s most imaginative artistic expressions. Featuring around 30 works of art from the Harn’s Asian art collection, this exhibition invites visitors to explore how China, Korea and Japan have envisioned the afterlife. Organized into three thematic sections, the exhibition traces a journey from the underground and protective to the earthly and commemorative, and to the eternal and transcendent. Beneath: The Art of Burial and the Afterworld Below presents funerary objects created to accompany the deceased, reflecting beliefs about mortality and protection. Death, in ancient East Asian tradition, was not an ending but a transition. The deceased passed into an unseen realm that mirrored the world of the living, one that reflected the same comfort, necessities and social standing they had known in life. Between: Rituals of Mourning and Connection showcases works used in ancestral offerings and devotional practices, revealing the lasting bonds between the living and the dead. In East Asian tradition,
IMAGE: Maki Haku 巻白, Haniwa 73-28, 1973, Gift of Jerry and Anne Godsey
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Harn Museum of Ar t | Summer + Fall 2026
death transforms rather than ends the relationship between the living and the dead. Once the deceased enter ancestorhood, the living assume responsibility for their continued care through regular ceremonial observance.
Through these works of art, visitors encounter the diverse ways East Asian societies imagined life after death and how art mediated memory, legacy and hope.
Beyond: Visions of Paradise and More explores religious visions across East Asian traditions, showing how art provides both comfort and moral guidance. What lies beyond death? Across East Asia, the question inspired some of the most magnificent and enduring works of religious art. These works, a promise, an invitation, or a warning, map an otherworld governed by moral order and spiritual aspiration.
IMAGE: Chinese Artist, Model of Watchtower 鉛綠釉陶明器建築模型 , Han Dynasty (206 BCE – 220 CE), Museum purchase, funds provided by the Robert H. and Kathleen M. Axline Acquisition Endowment
Beneath, Between & Beyond
Afterlives in East Asian Art
ON VIEW June 23, 2026 – Ongoing
Visit harn.ufl.edu/afterlives or scan the QR Code learn more. This exhibition is made possible by the Harn Exhibition Fund with additional support from the Harn Annual Fund.
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One World Photographs from a Shared Planet CAROL McCUSKER Curator of Photography
One World: Photographs from a Shared Planet consists of 43 photographs by 28 celebrated photographers from the Harn photography collection. Fifteen are newly acquired and are exhibited here for the first time. They are arranged in five broad yet related themes, Age & Innocence, Protecting/Renewing, Honor, Biomes and Body & Soul, that depict what we humans share and what makes us unique from one another. In
the hands of an artist, the camera can capture an external world—a face, place, time or land, as well as the internal— thoughts, dreams, emotions. Within the specificity of each expression and event, the photographers want you to notice and understand something important…not least, to feel when words are not enough. Our connection to images comes alive when we recognize something of ourselves in them.
IMAGE: Sebastião Salgado, First Communion in Juazeiro do Norte, Brazil, 1981, Gift of Maggie Taylor and Jerry Uelsmann
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Harn Museum of Ar t | Summer + Fall 2026
When did you last have uninterrupted time to look and think about your relationship to the world? One World might be the place. Slow looking is encouraged. Inspired photographs such as these help us see the resilience of people, communities and the environment and to recognize the needed work ahead. They can bring solace and solidarity, while bolstering inner resolve to see our future selves together, making way for “our better angels.”
IMAGE: Don Bartletti, Bound to El Norte, 2000, Museum purchase, funds provided by the Caroline Julier and James G.
FROM THE ARTIST
Richardson Acquisition Fund
Artist Don Bartletti discussing Bound to El Norte:
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I’d been on this train from Veracruz to Mexico City all night, through freezing mountain passes and tunnels thick with locomotive diesel smoke. At dawn, most of the riders were huddled down near the wheels in sheltered cavities out of the wind. Climbing a ladder up the side of a car, I emerged topside and was astonished to see the train disappearing into a thick fog bank. Several cars ahead, I spotted the tiny figure of a boy sitting alone. I jogged forward leaping
from car to car and made two horizontal and three vertical frames of the boy who never moved or noticed me. The camera clicks were lost in the buffeting winds. I was overwhelmed by his solitude and hesitated to speak to him. Asking his name seemed more a rude intrusion than a journalistic necessity. Then the fog enveloped us. The image and his anonymity are a metaphor: a one-point perspective on an unclear horizon for each migrant who won’t look back.
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One World
Photographs from a Shared Planet
ON VIEW April 25, 2026 – February 7, 2027
Visit harn.ufl.edu/oneworld or scan the QR Code learn more. This exhibition is made possible by the Harn Exhibition Fund with additional support from the Harn Annual Fund.
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Featured Exhibitions
Florida
In the Frame
A Century of Artists’ Reflections on the Sunshine State DULCE ROMÁN Chief Curator and Curator of Modern Art
The Harn Museum of Art is presenting Florida in the Frame: A Century of Artists’ Reflections on the Sunshine State as part of a year-long celebration of its 35th Anniversary in 2025 – 2026. The exhibition explores Florida as subject through more than 80 works drawn from The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers. The exhibition investigates how these diverse images evoke
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and respond to the state’s natural resources, its history and the popular culture of its recent past. Spanning c. 1850 to 1950, the objects on view include paintings, works on paper and a small group of sculptures and textiles representing more than 65 artists. Examples include prominent figures in American art such as Martin Johnson Heade, Winslow Homer, Thomas Moran, John Singer Sargent,
Harn Museum of Ar t | Summer + Fall 2026
LEFT IMAGE: Harold Newton, Beach Scene, undated, The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers
RIGHT IMAGE: Elvira Reilly, Seminoles, undated, The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers
Louis Comfort Tiffany, Ralston Crawford and N. C. Wyeth, as well as lesserknown artists such as Albert Backus, Stevan Dohanos, Jane Peterson, Laura Woodward and Florida Highwaymen painters Johnny Daniels and Harold Newton. Florida in the Frame is organized along three broad themes: Visualizing Florida, Expanding Cities and Florida Destinations. Visualizing Florida presents a wide range of perspectives and engagement with Florida as subject. Examples include portraits, scenes of agricultural life and views of coastlines, waterways and architectural landmarks.
Expanding Cities focuses on depictions of the built environment in cities such as St. Augustine, Jacksonville, Tampa and Miami and addresses the impact of these developments on the cultural landscape of Florida cities. Florida Destinations addresses the state’s transformation to a major vacation destination, from its remoteness in the 19th century to the tourism boom in the 20th century. In addition, a selection of books, postcards and brochures on loan from UF’s Smathers Libraries complement the themes addressed in the exhibition.
Florida in the Frame
A Century of Artists' Reflections on the Sunshine State
ON VIEW April 10 – July 26, 2026
Visit harn.ufl.edu/floridaintheframe or scan the QR Code learn more. This exhibition is made possible by Visit Gainesville, Alachua County with additional support from the Harn Annual Fund.
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Featured Exhibitions
Layered Lives
Contemporary Cuban Art by Women SARA GARZÓN Associate Curator of Contemporary Art
The Harn will present more than 60 works by 10 Cuban women artists in the landmark exhibition Layered Lives. Originating the Discoveries in Art from Certilman Family Collection, the exhibition brings together three decades of photography, paintings, ceramics and prints illustrating the resilience, innovation and expansive creativity of Cuban women artists whose layered stories continue to shape our understanding of Cuba and its diaspora. Layered Lives features work by artists Belkis Ayón, Ariamna Contino, Aimée García, Alejandra Glez, Elsa Mora, Rocío García, Mabel Poblet, Sandra Ramos, Adislen Reyes and Linet Sánchez The works can be approached in diverse ways as they contain many interconnected stories and meanings. As viewers explore these layers, they gain a deeper sense of the complex
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experiences, identities, emotions and perspectives of Cuban women. The exhibition design draws inspiration from water and is organized in a fluid, circular installation offering multiple points of entry culminating in a central, site-specific work by Mabel Poblet. The work will feature thousands of miniature square photographs printed on mirror fragments resembling a cascading waterfall exploring the female body, their connection to water and memory.
Harn Museum of Ar t | Summer + Fall 2026
There has not been a sustained survey dedicated to examining the breadth of work produced by Cuban women artists of the post 1990s generation. Layered Lives seeks to address that absence, bringing together artists whose practices challenge conventions, expand artistic discourse and offer nuanced perspectives on the social, cultural and personal realities that shape contemporary life.
Layered Lives provides multiple ways for visitors to connect to the art and artists, both in the gallery space and through programming. Interpretive text is offered in both English and Spanish providing access for a larger audience. Audio commentary by each artist, also in English and Spanish, is accessible through visitors' mobile devices providing insights into their lives and work.
LEFT IMAGE: Mabel Poblet, Medusa II, 2017, Loan from the Discoveries in Art Certilman Family Collection TOP IMAGE: Alejandra Glez, Oshun 0, 2023, Loan from the Discoveries in Art Certilman Family Collection
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Featured Exhibitions
Special programming includes a lecture “After Utopia: Feminist Practice in Contemporary Cuban Art” by Dr. Jasmine Chohan, Assistant Curator of Contemporary British Art, Tate Britain, scheduled for Oct. 1, 2026
By tracing new genealogies, we invite audiences to encounter the innovation and expansive creativity of Cuban women artists whose layered practices are reshaping our understanding of contemporary art.
The exhibition underscores the richness of Cuban art while reaffirming the Harn Museum of Art’s commitment to amplifying artistic practices from across the Americas and the Caribbean.
IMAGE: Ariamna Contino, Daydream II, 2023, Loan from the Discoveries in Art Certilman Family Collection
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Harn Museum of Ar t | Summer + Fall 2026
About the Discoveries in Art Certilman Family Collection Over more than 25 years, Steven Certilman and Terri Frank have acquired a significant collection of important contemporary art created by artists living or born in Cuba. The collection is sourced primarily from the artists directly, mostly during their frequent travels to Cuba, and their substantial holdings track the creative journey of many artists throughout their careers. Through their organization, Discoveries in Art, they aim to promote Cuban art and artists with exhibitions and publications, fostering goodwill, appreciation for enormous talent of these artists and respect between the people of the United States and our neighbors to the south.
IMAGE: Aimée García, Repression 1, 2018, Loan from the Discoveries in Art Certilman Family Collection
Layered Lives
ON VIEW August 25, 2026 – January 3, 2027
Visit harn.ufl.edu/layeredlives or scan the QR Code learn more. The exhibition is curated by Arianne Kolb, art historian and independent curator, and Sara Garzón, Associate Curator of Contemporary Art at the Harn Museum of Art. Layered Lives is drawn from the Discoveries in Art Certilman Family Collection and organized by Landau Traveling Exhibitions, Los Angeles, CA. The presenting sponsors for this exhibition are James and Sara Toussaint with additional support provided by Laura L. Berns; Harrison Estate Law; Visit Gainesville, Alachua County; and other generous donors.
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EXHIBITIONS ON VIEW 2026
JUNE 23 - ONGOING
Beneath, Between & Beyond Afterlives in East Asian Art
2026
MAY 18 - MAY 16
2027
Ghanaian Fashion: An Exhibition in Three Chapters Then and Now: Kabas & Couture
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APRIL 25 - FEB. 7
2027
One World Photographs from a Shared Planet
2025
SEPT. 27 - SEPT. 26
2027
Japanese Abstraction Highlights from the Jerry and Anne Godsey Collection
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OCT. 31 - MARCH 7
2027
Metamorphosis Reshaping Contemporary Art
ONGOING
Highlights from the Asian Collection
ONGOING
Highlights from the Modern Collection
TRAVELING EXHIBITION 2025
SEPT. 1 - SEPT. 6
2027
Wild Waters Rivers, Lakes, Wetlands, Coast and the Florida Wildlife Corridor At the Governor’s House Cultural Center and Museum, St. Augustine, FL
SPECIAL EXHIBITIONS 2026
APRIL 10 - JULY 26
2026
2026
AUG. 25 - JAN. 3
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2027
Florida in the Frame A Century of Artists' Reflections on the Sunshine State
Layered Lives
BECOME A HARN
MEMBER Are you traveling this Summer? Take your Harn membership with you! Members enjoy free access to select museums nationwide through the College and University Art Museums Reciprocal Program (CUAM). UF students receive access to the North American Reciprocal Museums (NARM) Association, and all others can unlock NARM benefits by giving $150 or more to the Harn's Annual Campaign at UFgive.to/HarnAnnualFund
membership is free for everyone.
Visit harn.ufl.edu/join or scan the QR Code learn more. 17
News
New
Harn Spaces
to Explore in 2026
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Harn Museum of Ar t | Summer + Fall 2026
LEE ANNE CHESTERFIELD Director
New Gallery In the fall of 2026, visitors will immediately be greeted by works of art upon their arrival at the Harn. Renovations of the museum have been underway since October of 2025. The Harn’s main entryway and administrative area, a part of the
original building when the museum opened in 1990, will be a new gallery (3,600 square feet) displaying rotating exhibitions with the first exhibition titled Beyond the Brush: The Florida Art Collection, Gift of Samuel H. and Roberta T. Vickers.
LEFT IMAGE: Harn Museum front entrance. Sculpture: Paul Fullerton, Buddha's Ladder, 1990, Gift from Paul Fullerton and Museum Purchase, funds provided by the Caroline Julier and James G. Richardson Acquisition Fund TOP IMAGE: Entryway to the new art gallery. Gallery rendering by DLR Group.
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Upgraded Study Center
Thank You Donors
The Bishop Study Center is a part of the renovation providing a more welcoming and enhanced space with new technology for UF faculty to hold classes and analyze art up close. This multi-purpose area will also be used by UF students for special programming, studying and relaxing.
The renovation would not have been possible without the support of the 1923 Fund, Rebecca and Paul Nagy, Beth and James McCague, Roy Hunt, Russ and Deirdre Fogler, and other generous donors to the Harn’s Expansion Fund.
IMAGE: Interior of the art gallery looking into the new Bishop Study Center. Gallery rendering by DLR Group.
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The Construction Team The renovation is a partnership with UF’s Planning, Design and Construction team; an integrated design firm, DLR Group; and the general contractor, Scorpio Construction. Coordination with these entities would not have been possible without the assistance of staff members from all departments at the Harn.
IMAGE: Interior of the art gallery. Gallery rendering by DLR Group.
New Outdoor Space Directly off the promenade in the Mary Ann Harn Cofrin Pavilion, and opposite the Bob and Nancy Magoon Garden, will be a new covered outdoor patio with tables and benches for visitors to enjoy a coffee or snack from the Harn Museum Store. This provides additional areas for visitors to relax while enjoying our Florida weather.
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Featured Exhibitions
Becoming Asian American Art Unbound TONGYUN YIN Cofrin Curator of Asian Art
Over the past 35 years, the Harn Museum of Art has built a cross-departmental collection that encompasses a wide array of Asian American artistic practice across its Asian, modern, photography and contemporary holdings. The collection spans a transnational and intergenerational constellation of IMAGE: Yasuo Kuniyoshi, Untitled, 1934, Gift of Eloise Ricks Chandler
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artists, from pivotal early 20th-century Japanese American painters Yosuo Kuniyoshi (1889-1953) and Bumpei Usui (1898-1994), to the field-shaping Korean American artist Nam June Paik (1932-2006), the innovative Chinese American painter Tseng Yuho (1924-2017) and the Iranian American multimedia
Harn Museum of Ar t | Summer + Fall 2026
artist Aphrodite Désirée Navab (b. 1971). Together, these works form the conceptual and institutional foundation for the upcoming Harn-organized exhibition Becoming: Asian American Art Unbound, scheduled to open in fall of 2027. Florida, one of the top ten states with the largest Asian immigrant population, offers a particularly resonate stage for this exhibition to advance the Harn’s commitment to using art in exploring cultures, fostering dialogue and connecting communities. Expanding upon this foundation, this exhibition brings together an even broader spectrum of Asian American creativity
through key loans from six partner museums nationwide, as well as works from artists and private collections. Spanning the mid-1930s to the present, Becoming presents trailblazing figures, historically overlooked artists and emerging voices, highlighting the dynamic trajectories of Asian American art across time, place and medium. The exhibition is organized around three interconnected themes. Crossing explores migration not as a single moment of departure or arrival, but as an ongoing negotiation of place, presence and memory. Across generations, artists reimagine movement as a multidimensional process, be it
IMAGE: Nikki Lee Nikki Lee 이승희 (니키 리), The Hispanic Project (2), 1998, Museum purchase, funds provided by the Caroline Julier and James G. Richardson Acquisition Fund
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geographic, cultural, linguistic, emotional and psychological, through which Asian Americans’ relationship to place and history are continually reshaped. While Crossing foregrounds place, IMU UR2 centers on people. Coined by Chinese American artist Martin Wong (1946-1999), this phrase captures Asian American identity as layered, fluid and continually formed through personal, familial and collective experiences. Artists in this section assert agency by reworking representation, exploring fragmented, relational and at times contradictory dimensions of subjectivity that resist fixed or essentialized labels. Contact Zone positions Asian American art as a dynamic site of encounter, where different temporalities, geographies and cultural forces converge. Rather than serving as passive reflections of evolving
social and cultural contexts, the works in this section act as active interventions that synthesize and reimage themes of displacement, spirituality, conflict and globalization. Becoming invites visitors to engage with a broad range of topics that resonate across communities, including migration and identity, memory and history, belonging and connection. Through works of art that address universal questions of place, selfhood and transformation, this exhibition fosters reflection, dialogue and empathy. A scholarly catalogue will be published to further contextualize the exhibition’s themes and contribute to ongoing conversation.
IMAGE: Isamu Nogochi, Human Face Form Plaque, 1952, Museum purchase, funds provided by The David A. Cofrin Fund for Asian Art
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Champ d'avoine traveled to Giverny, France
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Cham amp pd d''avoine traveled to Giverny, France DULCE ROMÁN Chief Curator and Curator of Modern Art
Claude Monet’s landscape Champ d’avoine (Oat Field), 1890, traveled to Giverny as part of the exhibition Monet in Giverny: Before the Water Lilies, 1883-1890, on view at the Musée des Impressionnismes Giverny, from March 27 to July 5, 2026. Marking the centenary of Claude Monet’s passing on December 5, 1926, the exhibition was devoted to his time in the village of Giverny in Normandy, France, from his arrival in 1883 to the end of 1890. During these formative years, Monet explored his surroundings including the
meadows, poppies, poplars and views of the Epte and Seine rivers shaped by sunlight, mist and shifting skies. Before the Water Lilies presented around 26 works and offered a unique journey throughout Monet’s early years in Giverny. Many of the paintings in the exhibition were on loan from museums across Europe, Asia and the United States. Bringing Monet’s paintings to Giverny, to the very place where they were painted, was of major interest for the study of Impressionism.
PREVIOUS PAGE IMAGE: Claude Monet, Champ d'avoine, 1890, Gift of Michael A. Singer, being installed at the Musée des Impressionnismes Giverny. IMAGE: Harn staff removing Champ d'avoine from its original frame to be placed in a new frame built for traveling.
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Harn Museum of Ar t | Summer + Fall 2026
The exhibition aimed to bring back to their very sites of creation many works inspired by the Seine Valley, offering visitors the magical experience of seeing the landscapes of Giverny through his eyes.
vibrant landscape reveals Monet’s characteristic refined color harmonies and spontaneous brushwork as well as his keen interest in the effects of changing light on one’s perception of color and form.
The quintessential Impressionist painter, Monet consistently expressed the immediacy of experience by underscoring the fleeting nature of visual phenomena. The Harn’s Champ d’avoine (Oat Field) depicts a landscape in the vicinity of Giverny in late summer when the fields of oats and poppies were at their peak of maturity. This
The Harn joined many leading institutions as lenders to the exhibition, providing a unique opportunity to bring international attention to the Museum and its collections. Lenders included the Museum Barberini in Potsdam, Germany; Musée d'art et d'histoire in Geneva, Switzerland; The National Museum of Western Art in Tokyo,
IMAGES: Staff at the Musée des Impressionnismes Giverny unpack and inspect Champ d'avoine before installing it in the galleries.
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Japan; Virginia Museum of Fine Arts in Richmond, Virginia; and High Museum of Art in Atlanta, Georgia, among other museums.
Delbarre, Research Assistant at the Musée des Impressionnismes Giverny and accompanied by an illustrated catalogue.
The exhibition was curated by Cyrille Sciama, General Director of the Musée des Impressionnismes Giverny and Chief Heritage Curator, and Marie
Champ d’avoine is now back on view!
IMAGE: Exhibition gallery view of Champ d'avoine (second from left) installed beside other works by Claude Monet. Photograph by Octave Bénard.
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MORE FROM THE HARN
ART AFTER DARK Take advantage of our evening hours every Thursday. We’re open until 9 pm providing quiet time for browsing our exhibitions on some evenings. Activities, entertainment and complimentary light bites and wine are offered on other evenings. Art After Dark | Museum Nights takes place on the second Thursday of every month, and Art After Dark | Wine Down takes place on the last Thursday of every month. Visit harn.ufl.edu/artafterdark for specific offerings by date. Generous support provided by Art Bridges Foundation’s Access for All program, and a private grant.
MUSEUM STORE Visit the Harn Museum Store for handmade jewelry and pottery by local artists, art-making kits, stationery and more inspired by art from the Harn’s collections. Browse our selection of items featuring Florida art providing a keepsake of your visit to the Harn.
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NONPROFIT ORG U.S. POSTAGE PAID GAINESVILLE, FL PERMIT NO 94
University of Florida, Harn Museum of Art PO Box 112700 Gainesville, Florida 32611-2700
ADMISSION IS
FREE! STAY IN TOUCH Sign up for our newsletter!
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MUSEUM HOURS Tuesday – Saturday 10 am – 5 pm Art After Dark on Thursday Evenings 5 – 9 pm Sunday 1 – 5 PM CLOSED ON MONDAYS
Funded in part by Visit Gainesville, Alachua County.
Learn more at harn.ufl.edu Questions? info@harn.ufl.edu
Spend your Thursday evenings at the Harn! Join us for Art After Dark | Museum Nights, held the second Thursday of every month from 6 to 9 pm.