The Ringling Magazine | October – December, 2025

5401 Bay Shore Road

Sarasota, FL 34243

941.359.5700 ringling.org

Accredited by the American Alliance of Museums

FLORIDA STATE UNIVERSITY

Richard D. McCullough

President

James J. Clark

Provost

EXECUTIVE DIRECTOR

Steven High

RINGLING MUSEUM OF ART FOUNDATION BOARD OF DIRECTORS

Margaret D. Hausberg, Chair

H. Michael Bush, Vice Chair

David W. Benfer, Treasurer

Mayra N. Schmidt, Secretary

Jasleen “Ritu” Anand

Adele Fleet Bacow

Semmes Brightman

Rebecca Donelson

Andrew M. Economos

Frances D. Fergusson

Michael A. Fornaro

Elma Glisson

Allison Gregory

Ronald A. Johnson

E. Marie McKee

Janice Tibbals Mobley

Xochitl Napoles

Howard D. Noble, Jr.

Gregory Parris

Frederic D. Pfening, III

Kelly A. Romanoff

Ellen Sandor

Judith F. Shank

Mercedes Soler-Martínez

James B. Stewart

Keebler J. Straz

Kirk Ke Wang

EX OFFICIO BOARD MEMBERS

James J. Clark

Marla Vickers ISSN 2165-4085

Welcome to The Ringling Magazine’s fall Issue.

The Bayfront Gardens are beautiful, and fall is a perfect time to visit. Our ability to swiftly rebound from last year’s hurricanes demonstrates the extraordinary power of our 25-year partnership with Florida State University. Though our trees and shrubs were damaged by the storms, they are recovering well with the beautiful banyans’ “canopy of green” leading the way. Mable Ringling’s Rose Garden received extensive renovation during the summer with the replacement of new soil in all the beds and a potable water system for the roses. We’ve planted 150 roses with Indian Hawthorne and Coral Creeper shrubs surrounding the roses on the outer rows. A special acknowledgement goes to the Straz Family Foundation for their generous support of returning the garden to its former glory.

It has been a busy summer with the exhibitions Yoshida Hiroshi: Journeys through Light and Robert Rauschenberg: A Centennial Celebration, in addition to the opening of the exhibition Ancestral Edge with exciting recent work by Native American women artists. Two great exhibitions will open in the Searing Wing this fall. Nuestro Vaivén (Our Sway), featuring Latin contemporary artists from across southern Florida—and celebrating Latin community and culture—opens October 4 with a free admission day. As Earth is to Sky, the second installment of the ongoing celebration of the generous gift by Murray Bring and Kathleen (Kay) Delaney Bring, opens November 15.

A recent discovery in the former architectural office of Dwight James Baum in the Bronx was his Ca’ d’Zan records, which include correspondence exchanged with Mable. The Ringling was able to acquire these records recently, and they provide a trove of information about the construction of the house and Mable’s active involvement in its design.

Thank you for supporting The Ringling through your membership. Your support is critical to our future.

Steven High Executive Director

A SPECIAL THANK YOU TO OUR PARTNERS

ART OF PERFORMANCE

The Art of Performance program is supported in part by the Art of Performance Endowment, Arthur F. and Ulla R. Searing Endowment, Dorothy Jenkins Ringling Museum Endowment, Ed and Elaine Keating Endowment, Ellin Family Art of Our Time Endowment, Leon and Margaret Ellin Fund, Mandell and Madeleine Berman Foundation Endowment, Selby Foundation Endowment, Stanley and Gloria Goldman Endowment, Michael and Kathy Bush, Warren R. and Marie E. Colbert, William C. and Joyce K. Fletcher, Richard and Ellen Sandor, and Judith and Stephen Shank.

ABOVE, LEFT

Photographer unknown, Sail Loft, Ringling Bros. and Barnum & Bailey ® Circus, Winter Quarters, Sarasota, Florida, ca. 1930. The John and Mable Ringling Museum of Art Archives, Papers of William Hobson.

Production taking place in the Sail Loft. Wardrobe mezzanine storage above. William Hobson standing at the far right.

ABOVE, RIGHT

William Hobson, The Big Top, Plan 8 section ends (detail), ca. 1930. Photo by Chris Snipes.

Graphite hand-drawn rendering of the Big Top, Plan 8 section ends for the Ringling Bros. and Barnum & Bailey ® Circus

COVER

Yuriko Yamaguchi (American, born in Japan, 1948), Gravity, 1988. Wood, 70 × 71 in. Gift of Murray Bring and Kathleen Delaney Bring. 2020.12.21

NUESTRO VAIVÉN (OUR SWAY)

By Amy Rosenblum-Martín, Exhibition Curator with Javi Suárez, Community Curator

Nuestro Vaivén (Our Sway) is one of The Ringling's largest exhibitions of contemporary Latin art. The 22 participating Florida-based artists represent 11 Latin American countries and 11 counties from Osceola south, including Sarasota, spanning both the Atlantic and Gulf coasts. Their art exemplifies the splendor and complexity of Latin art and life in Central and South Florida today.

At its core, Nuestro Vaivén features collaborations between eight artists and a group of Sarasotabased Latin community leaders—a radio host, a doctor, a salon owner, and a grassroots organizer of immigrant entrepreneurs. Community Curator Javi Suárez facilitated Amy Rosenblum-Martín’s introduction to the local community and these leaders, all of whom are new to the art world. Through conversations about their communities’ experiences, values, and ideas, these individuals helped shape the work of their eight artist partners. Each leader also designed a private celebration to take place inside the exhibition, making Latin life itself part of the art. An exhibition-withinthe-exhibition includes an additional group of 14 artists, representing a wide range of contemporary practices. Participatory and community-rooted, Nuestro Vaivén expands how artists and museums can listen to, honor, engage, and serve the public.

The Spanish word vaivén evokes everyday comings and goings, the ebb and flow of life. In that spirit, this exhibition invites you to experience Latin culture not as a singular, fixed story, but as a journey through many stories. Just as every community is distinct and composed of individuals, so this exhibition encourages viewers to see Latin art and life through a lens of specificity instead of generalization.

Latin America includes 33 countries across South, Central, and North America, and the Caribbean. This vast region encompasses countless landscapes, Indigenous languages, centuries of global migration, and exchange. Latin is a term used to describe people of Latin American descent living in the US. But Latin is not a race. Latin people comprise every ancestry—Indigenous, African, Asian, and European—and innumerable traditions. Latin culture is not marginal; it is foundational. Nuestro Vaivén welcomes everyone to enjoy and learn from its past, present, and future.

Nuestro Vaivén (Our Sway) opens October 4 in the Ulla R. and Arthur F. Searing Wing.

A CLOSER LOOK

The Bodhisattva Quán Th ế Âm

By Rhiannon Paget, PhD Curator of Asian Art

WHO MADE THIS?

The sculpture was made in a workshop during Vietnam’s M ạc dynasty (1527–1677), probably in the north of the country, a traditional center for lacquer production. The creators’ names were either never recorded or have since been lost.

WHO IS THIS?

This sculpture represents the bodhisattva of compassion, Quán Th ế Âm (or Quán Âm). The deity is known as Avalokiteśvara, Quanyin, Kannon, and Gwaneum in Sanskrit, Chinese, Japanese, and Korean respectively. The figure is seated cross-legged and likely would have originally rested upon a lotus-shaped pedestal on a tiered base. The sculpture’s rounded facial features, its gently downcast eyes, and graceful pose convey a sense of calm and serenity. It is among one of the finest examples of its type in the United States.

WHAT IS IT FOR?

The statue was originally placed in a temple as an object of devotion and prayer to Quán Th ế Âm. During the prosperous M ạc dynasty (1527–1677), Buddhist patronage flourished, and Quán Th ế Âm became a widely venerated figure, leading to the creation of many similar statues.

WHAT IS THIS WORK MADE OF?

The sculpture was crafted from carved jackfruit wood and coated with layers of lacquer and gold leaf, although most of the gilding has worn away over time.

WHY SO MANY ARMS?

The sculpture has 26 arms radiating from the body, symbolizing the bodhisattva’s limitless compassion and ability to assist countless beings. Two arms are held in a prayer gesture at the chest. Others hold symbolic items—such as a book of wisdom or a chrysanthemum flower, which is a distinctive feature in Vietnamese depictions of Quán Th ế Âm—or form symbolic hand gestures called mudras

WHERE TO FIND IT

Ting Tsung and Wei Fong

Chao Foundation Gallery, Center for Asian Art

A MAJOR ACQUISITION FOR THE RINGLING ARCHIVES

Marissa Hershon, Curator of Ca’ d’Zan and Decorative Arts

When I received a phone call out of the blue three years ago, I was surprised to learn about the discovery of business records of Ca’ d’Zan’s architect, Dwight James Baum. The papers had been hidden away in a quaint Tudor Revivalstyle house in The Bronx for decades, unbeknownst to the homeowners until they recently undertook a renovation. The residence originally served as the office for Baum’s architectural firm in the neighborhood where he lived and worked amongst dozens of homes he designed. Long-thought to be lost, the records consist primarily of correspondence that traces the progression of construction of John and Mable Ringling’s winter residence, Ca’ d’Zan, from 1924 to 1926.

Recognizing the importance of these period documents as the holy grail for Ca’ d’Zan, I traveled to the historic Fieldston district in Riverdale, a beautiful neighborhood located north of Manhattan’s Upper West Side, to take a closer look at the documents. As I poured over the records, I was amazed to see many letters between Baum and the architect on-site, Earl Purdy, as well as a vast network of people and firms involved in the mansion’s creation. Thanks to the generous support of the Chair of the Museum's Board of Directors, Meg Hausberg, and her husband, Mark, The Ringling Archives has made a oncein-a-lifetime acquisition of extensive documentation related to Ca’ d’Zan along with records related to several additional Baum architectural commissions in Florida.

The Baum business records mark a watershed moment in the history of Ca’ d’Zan and signify a new chapter of scholarly study focusing on primary source materials. This collection reveals more information about Ca’ d’Zan than has ever been available in the institution’s history. The documents hold great potential for curatorial research, opening avenues for investigation into the sources of functional and decorative features throughout the mansion. The correspondence also sheds light on a multitude of factors that went into decision making for a variety of details spanning from design to construction. For instance, the construction superintendent’s letters and telegrams are particularly telling in terms of the logistical challenges of building a mansion in Sarasota in the 1920s. The Baum records not only give the Museum the ability

to cite definitive period sources, but ultimately, curatorial insights gleaned from the historical records will also expand narratives shared through educational programming.

As I worked with Heidi Connor, Chief Archivist at The Ringling, we determined the next step following this momentous acquisition would be to ship the fragile records to the Northeast Document Conservation Center in Massachusetts for digitization in the summer of 2025. The archival processing of the collection will ensure its preservation along with digital accessibility, enabling interdisciplinary research. Ca’ d’Zan has long attracted the public’s curiosity, and I hope that the Baum records will foster a greater appreciation for Ca’ d’Zan and its lasting influence as a historic landmark building.

IF THESE WALLS COULD TALK

Conserving the Astor Cream Salon

By Barbara A. Ramsay, Chief Conservator

The lavishly-decorated interior of the Astor Cream Salon in Gallery 19 of the Museum of Art is known as boiserie—that is, wood-paneled walls with ornately carved, painted, and gilded decoration, originating from or in the style of 17th- and 18th-century France. This paneling was fabricated circa 1896 by Jules Allard et Fils, a leading interior designer of the Gilded Age. The room was originally installed in the palatial Astor Mansion on Fifth Avenue in New York City for Caroline Schermerhorn Astor (1830–1908). In 1926, when the mansion’s contents were sold prior to demolition of the home, John Ringling purchased the boiserie of this room—and the adjoining Astor Library—for installation in the Museum of Art.

Over time, the painted and gilded finishes throughout the Cream Salon suffered damage and occasional restoration. The flat wall panels were repainted numerous times and are now a dull, greenish-gray color. Much of the gilded ornamentation was locally varnished, overpainted, and/or regilded, masking the subtle gilded details and altering the intended appearance of the room.

Conservators conducted a technical examination of the boiserie to determine the nature and condition of the gilded and painted finishes. This work revealed the original light cream-colored painted finish and several subsequent paint layers in the background areas. The sophisticated gilding technique was found to incorporate burnished water gilding, matte water gilding, and oil gilding throughout the intricate designs—with much of the original gilding still intact but covered by bronze paint or other coatings. Testing was undertaken to evaluate the feasibility of removing nonoriginal coatings and restoring the original gilded finishes.

In the spring of 2025, EverGreene Architectural Arts conducted a pilot conservation treatment on one half of one panel in the southwest corner of the room—to enable comparison of the treated and untreated sections. The goal was to apply and assess the proposed conservation approach, with a view to preserving and revealing as much as possible of the original gilded finishes. Damages or losses would then be restored in a conservative manner.

The treatment involved reattaching areas of lifting gilded gesso to prevent further loss. Damaged carved wood elements were stabilized and repaired. Surface grime layers were removed and disfiguring, non-original coatings on the gilded decoration were reduced where possible—exposing the exquisite gilded surfaces below. Ingilding (applying gold leaf to areas of loss) or limited overgilding (applying gold leaf to gilded areas that had disfiguring, non-removable coatings) was carried out. As it was not feasible to uncover the original paint layers on the large fields of boiserie background, the color was matched and the panel was repainted.

This pilot conservation treatment allows us a glimpse into how the room would have looked during Caroline Schermerhorn Astor’s day. The methods developed during this treatment will be applied to the comprehensive restoration of the entire Cream Salon—once funding has been secured for that project—returning the room to the splendor of the early Astor family years in New York.

AS EARTH IS TO SKY

Selections from the Gift of Murray Bring and Kathleen Delaney Bring and

The Ringling Collection of Modern & Contemporary Art

By Ola Wlusek, Curator of Modern and Contemporary Art

In 2021, The Ringling unveiled the first selection from a transformative gift of twenty-two works of abstract and minimalist art donated by Murray Bring and Kathleen (Kay) Delaney Bring—local collectors and long-time supporters of the museum, as well as other cultural institutions in Sarasota. The Brings’ generous philanthropy and visionary commitment to the arts have left a lasting impact on The Ringling’s holdings of modern and contemporary art.

The debut of this remarkable gift culminated in the exhibition As long as there is sun, as long as there is light: Selections from the Bring Gift and The Ringling Collection of Modern and Contemporary Art (2021–2024). This presentation included exceptional examples of sculpture and painting by celebrated artists such as Anthony Caro (1924–2013), Gene Davis (1920–1985), Clement Meadmore (1929–2005), George Rickey (1907–2002), Rebecca Salter (b. 1955), Kenneth

Snelson (1927–2016), Anne Truitt (1921–2004), and Yuriko Yamaguchi (b. 1948). These artists are widely regarded as pioneers who pushed the boundaries of form and material, employing innovative techniques with challenging mediums including wood, aluminum, stainless steel, and kinetic elements.

This fall, The Ringling will present the second installment in this ongoing celebration: As Earth is to Sky: Selections from the Gift of Murray Bring and Kathleen Delaney Bring and The Ringling Collection of Modern & Contemporary Art. This new iteration will highlight abstract sculptures in steel, copper, and bronze by acclaimed artists Mark di Suvero (b. 1933), Bryan Hunt (b. 1947), and John Van Alstine (b. 1952). It will also feature works on paper and panel by notable artists Robin Rose (b. 1946) and Robert Stackhouse (b. 1942) who hold a connection to Florida. Together, these artists explore abstraction through diverse materials and forms, creating dynamic sculptures and works that engage with space, texture, and movement.

A major highlight of the exhibition will be Diamond Sentinel II (1981–89), a vertical cast iron sculpture by pioneering American artist Beverly Pepper (1922–2020). Renowned for her site-specific installations and contributions to land art, Pepper’s work draws from abstract expressionism, ancient architecture, and natural formations. Diamond Sentinel II exemplifies the artist’s unwavering dedication to integrating form with landscape, and her ability to create totemic structures that resonate with both power and serenity. The exhibition title is drawn from a 1975 essay by art historian Edward F. Fry on the work of Pepper—a phrase that evocatively captures the relationship between sculpture, nature, and the sublime.

Through this continued celebration of the Bring gift, The Ringling reaffirms its commitment to presenting bold, thoughtful works that challenge viewers to consider the evolving relationship between form, material, and space.

As Earth is to Sky: Selections from the Gift of Murray Bring and Kathleen Delaney Bring and The Ringling Collection of Modern & Contemporary Art opens November 15 in the Ulla R. and Arthur F. Searing Wing.

PAGE

ABOVE

DISCOVERING DETAILS A Closer Look at Circus Tent Making

By Heidi Connor, Chief Archivist

Howard Tibbals captured the heyday of the American tented circus era in his Howard Bros. Circus Model. His attention to historical detail is confirmed in the research of Devin Jernigan, a PhD Candidate in Architectural History and Theory at Yale University, who is writing his dissertation on the space of the American traveling circus at the turn of the 20th-century. The William Hobson papers, including a 100-foot scroll that includes architectural drawings for every canvas structure on the 1928 Ringling show, were accessioned by the Archives in 2024. Hobson was the superintendent of tent making for Ringling Bros. and Barnum & Bailey® from 1928 to 1939.

The scroll, donated by Frederic Pfening III, is supplemented by Hobson’s papers, purchased by The Ringling with support from Les Smout, offering insight into stitching, construction details, supplies, and daily work progress.

Jernigan compares Tibbals's and Hobson’s construction design. “In model-making, models exist on a spectrum of realism as abstractions of their full-size counterparts. Howard’s drawings demonstrate remarkable accuracy in proportions, materiality, and essential details at his chosen scale. However, comparing his work to Hobson’s journals—

and drawing from my experience reconstructing a red and white striped canvas concessions tent from the same era—reveals the additional complexity that was involved in constructing the canvas circus tents.

A prime example is the structural system: large tents relied on an intricate network of ropes that created tension when erected, securing and supporting the canvas. Hobson’s journals devote considerable space to documenting the amount, placement, size, and type of rope sewn into the canvas to form this structural network. While Howard wasn’t constrained by these structural requirements at model scale, he still chose to represent this system through careful appliqué on the model tent’s fabric surface, indicating where these ropes would be positioned in the full-scale tent.”

Jernigan’s research reveals a new appreciation for Tibbals’s tented circus construction.

OPPOSITE PAGE, LEFT TO RIGHT

William Hobson, Madame Leitzel’s Private Tent, ca. 1929. Photo by Chris Snipes.

Graphite hand-drawn rendering of Madame Leitzel’s Private Tent for the Ringling Bros. and Barnum & Bailey ® Circus

Photographer unknown, William Hobson, The World’s Greatest Tentmaker, ca. 1930. The John and Mable Ringling Museum of Art Archives, Papers of William Hobson.

ABOVE

Photographer unknown; Scherz & Son Awnings, Cincinnati, Ohio; ca. 1910. The John and Mable Ringling Museum of Art Archives, Papers of William Hobson.

William Hobson, second from left with pencil and paper in hand, was employed as a draftsman, designer ,and salesman for Scherz & Son, Cincinnati, Ohio.

CREATIVITY KNOWS NO { AGE } LIMIT

The Ringling’s Lifelong Arts Program, generously supported by E.A. Michelson Philanthropy, is a shining example of how the arts can enrich lives at every stage. Designed specifically for adults aged 55 and older, this program offers a vibrant series of hands-on workshops that explore diverse art forms and techniques—while fostering connection, curiosity, and community.

Since its inception in 2023, the Lifelong Arts Program has welcomed hundreds of older adults into the creative fold. With an average age of 66, participants have explored everything from printmaking and weaving to storytelling and movement arts, guided by expert teaching artists who bring both passion and professionalism to every session. These workshops are held both at The Ringling and at off-site community locations, ensuring accessibility and inclusion for all. In fact, 78 percent

of participants shared that the program helped them stay engaged in the community and helped them feel more connected to the museum.

The Lifelong Arts Program has had a profound impact on our community, with 74 percent of participants noting that the workshop helped them make new social connections. Participants often share how the program has reignited their creative spark, introduced them to new friends, and given them a renewed sense of purpose. 86 percent of participants said that the workshop offered them a sense of joy. One participant remarked that “meeting new people in a low-stress class meant a lot. The art instruction was very low pressure. I liked that very much. It was like being a kid again having fun.” Another shared that “this workshop had me feeling inspired, social, and creative. I was motivated to do the best I can.”

Thanks to the initial grant from E.A. Michelson Philanthropy, The Ringling has been able to provide high-quality materials, hire exceptional teaching artists, and integrate participants into the broader cultural life of the museum through exhibitions, performances, and events. And now, we are thrilled to announce that this generous grant has been renewed for another two years—as a matching grant. This means that every dollar donated by our community will be matched, doubling the impact of your support.

Thank you for helping us offer these transformative experiences to older adults in our community. With your support—no matter the size—we can continue to give access to meaningful, creative engagements for older adults. Whether it’s $10 or $100, your contribution helps provide art supplies, supports teaching artists, and brings joy and connection to those who need it most.

The Lifelong Arts Program is more than just a series of workshops—it’s a celebration of lifelong learning, creative aging, and community. With your support, we can continue to inspire, connect, and uplift through the power of the arts.

AROUND THE RINGLING

TEEN GUIDE PROGRAM

In July, nine teenagers from across our community pioneered the Teen Guide Program (TGP), which activates our strategic plan goals to welcome more young people to the museum and continue making The Ringling accessible to all. Over four weeks, the teens trained in the Museum of Art, where they participated in active learning gallery exercises under the mentorship of seasoned guides and the Education Department. Afterwards, the teens took over, leading the group in visitor-centered and learner-focused activities that offer visitors a new and exciting entry point into the works on view. The TGP hits academic standards while giving teens a leg up when it comes to public speaking and interacting in a professional setting. As they study the art history canon, tailored to our collections, they earn volunteer hours for the Florida Bright Futures Scholarship Program and get a taste of what it’s like to work in different Museum departments, opening their eyes to future careers in the arts. Having completed their training, the teens can volunteer at Ringling events throughout the school year and share their knowledge and enthusiasm as ambassadors for their age group. Next summer, they will return and train the second cohort of teen guides.

MEET JULIANNE BOSCH

For Julianne Bosch, PhD, life’s most meaningful lessons arrive when she least expects them. What began as a post-pandemic volunteer opportunity to share Ca’ d’Zan’s rich history as a tour guide evolved into something deeper. One day, after fielding a flurry of questions from a group of grandparents with their grandchildren, Julianne had a realization: she didn’t just give tours—she ignited curiosity. That spark shaped the next chapter of her professional journey.

Today, Julianne serves as Administrative Specialist, Directorial Operations, working for Executive Director Steven High and Deputy Director Jean Evans. With a PhD in Management from California Coast University and a Master’s in International Management from the Thunderbird School of Global Management, she brings academic rigor and a global perspective to her role. Having lived in 13 cities across four continents, Julianne embodies a people-first approach and ability to connect across cultures and communities. In collaborating with The Ringling Foundation Board of Directors, Julianne looks forward to supporting its mission and learning from its dedicated members. Whether she’s coordinating behind the scenes or helping Ringling guests feel at home, she leads with heart and a deep appreciation for the Sarasota community and its visitors.

GIVE THE GIFT OF MEMBERSHIP!

The holidays are just around the corner. Give the gift that inspires, educates, and entertains your loved ones all year long—membership at The Ringling! Members receive unlimited admission, discounted tickets, early access to popular programs like Ringling by the Bay, and memories that they will cherish forever.

Gifts purchased in October and November will be dated to expire on December 31, 2026. To complement the membership, we also have limited-edition pins featuring the mural of Mable and John Ringling from the Ca’ d’Zan Playroom ceiling. Supplies are limited and must be collected in the Visitors Pavilion. Shop early to get one for everyone on your holiday list and then enjoy the rest of the holiday season at The Ringling!

BECOME A CIRCLE MEMBER

As the year comes to a close, many members choose to make a meaningful contribution to The Ringling through our Circle Giving Membership, a fully tax-deductible way to support exhibitions, educational programs, and the care of our collections, venues, and grounds.

Circle members enjoy a deeper connection to The Ringling through enhanced access, special recognition, and opportunities to engage more closely with exhibitions, curators, and fellow art supporters. From private tours and exhibition preview receptions to meaningful behind-the-scenes experiences, Circle membership offers a more personalized and impactful way to support The Ringling’s mission.

Gifts may be made through personal contributions, Donor-Advised Funds, IRAs, and family foundations, providing flexible options for generous year-end giving. Join now and you’ll receive invitations to an exciting season of spring Circle events and programs!

LEARN MORE OR BECOME A CIRCLE MEMBER

Visit ringling.org/join-give/membership/circle-giving or contact Alexandra O’Bryan, Circle Development Manager, at alexandra.obryan@ringling.org or 941.358.2605.

MAY 8 MICROWIP 2025/26 SEASON

OCT 18 + 19 BIJAYINI SATPATHY

OCT 29 – 31 RAFAEL RAMÍREZ

JAN 23 + 24 KAVITA SHAH QUINTET

FEB 7 + 8 CALEB TEICHER + CONRAD TAO

FEB 28 – MAR 6 AHAMEFULE J. OLUO

MAR 14 JAKE BLOUNT

MAR 27 – 29 LE CIRQUE KIKASSE

APR 17 + 18 LUCIANO ROSSO

Different from anything else in Sarasota!

Get your tickets today— Subscriptions available! PERFORMANCE. MASTERCLASSES. ARTIST TALKS. FILM. Scan QR code for more info

@arthurvartanian

@steveclifford_nottattoo

@xzoelevine

@teresathuy

MEMBER EVENT

FRI, DEC 5, 6:00 – 8:00 PM

Members are invited to a special evening of shopping and champagne. Meet Sarasota jewelry artist, Sheri Lynn Davis, of SLD Designs, who will be showcasing her exquisite new work. Find great gifts for family and friends or treat yourself! MEMBER HOLIDAY

10:00 AM – 5:30 PM, Thursdays until 8:00 PM