Current Exhibitions

2014 Rollins Faculty Exhibition
(March 22–August 31, 2014)

The 2014 edition of the Rollins Faculty Exhibition showcases exciting new or recent work by five artists:  Joshua Almond, Rose Casterline, Dana Hargrove, Dawn Roe, and Rachel Simmons with Julian Chambliss and Lee Lines. 



Dawn Roe
No (One) Was With Her When She Died (Dust), 2012/13
2-Channel HD Video
Dimensions vary
Courtesy of the artist 


Joshua Almond
Call the Darkness, 2011
Basswood, 72 x 22 x 18 in.
Courtesy of the artist


Rachel Simmons
Julian Chambliss
Future Bear (detail), 2010–2013
Series of 12 screen prints with colored pencil on paper mounted on wooden boxes on digital print, dimensions vary
Courtesy of the artists


Dana Hargrove
Right to Roam C, 2013 
Acrylic on MDF relief panel
52 x 11 x 6 in.
Courtesy of the artist


The McKean Legacy at the Cornell Fine Arts Museum
(January 4 – April 13, 2014)

The McKean Legacy at the Cornell Fine Arts Museum celebrates the cultural vision Jeannette Genius and Hugh McKean cultivated at Rollins College. For more than 30 years, Dr. and Mrs. McKean demonstrated how essential art was to life seamlessly incorporating fine art into Rollins’ campus. Committed to education and open cultural exchange, they brought diverse exhibitions to Winter Park to be displayed at the Morse Gallery of Art established with the support of the college by the then Jeannette Genius in 1942. Just ten years after its foundation, the Morse Art Gallery had brought more than 50 exhibitions to campus ranging from traveling exhibitions of contemporary American art and art from other countries to art by U.S. Servicemen, Rollins’ students, and artists working in Florida and the larger region of the South.  The McKeans also organized exhibitions especially for the Gallery including an exhibition of modern interior design in 1951, the landmark exhibition Works of Art by Louis Comfort Tiffany in 1955 and an exhibition dedicated to Rookwood Pottery in 1967, among others.

As artists, patrons, curators, arts administrators, and a trained interior designer (Mrs. McKean) and a professor of art (Dr. McKean), the McKeans presented art in all its fullness. Bringing contemporary art to central Florida beginning in the 1940s, while simultaneously supporting amateur and student work the couple emphasized that creativity and beauty were available to everyone. That art and beauty enhance everyday life and that art can bring people together are guiding themes in the McKeans’ approach to display and interpretation. Writing on the occasion of the Gallery’s third anniversary, the McKeans’ vision is clear. A letter sent in celebration underscores “... the Gallery’s and the Art Department’s policy of acquainting students as well as visitors and residents of Winter Park with all phases and expressions of American and foreign arts and crafts” and highlights that “…the Morse Art Gallery is pioneering in two directions— making art a part of community life and aiding international amity through cultural channels.”

The McKean Legacy at the Cornell Fine Arts Museum is planned in conjunction with the Charles Hosmer Morse Museum of American Art, Winter Park, Florida. The exhibition will be on view in the Myers Gallery at the Cornell Fine Arts Museum.                                                                            

Mrs. Jeannette McKean
Photograph, c. 1942
Rollins College Archives

Mr.Hugh McKean
Photograph, c. 1942
Rollins College Archives     

Morse Gallery of Art (now the Cornell Fine Arts Museum)                                                                                                     


Glimpses into the Golden Age
(January 4–May 11, 2014)

This installation, curated by the Cornell Fine Arts Museum's 2013–2014 Fred W. Hicks III Fellow Amanda McRae ('15),  strategically coincides with a show of Old Master paintings on view at the Orlando Museum of Art:  Rembrandt, Rubens, Gainsborough and the Golden Age of Painting from the Collection of the Speed Art Museum in Louisville, Kentucky. 

Against the amazing scientific and geographic discoveries and political and religious changes of the seventeenth and eighteenth centuries, the professional artists of Western Europe achieved an apogee of technique and content. This exhibition project provides the opportunity for CFAM, housing the area’s only encyclopedic museum collection, to highlight several works in its own possession by artists featured in OMA’s corresponding presentation.

Tiepolo   Gainsborough   Van Loo

Giovanni Domenico Tiepolo  (Italian, 1727–1804)
St. John Gualbert (Contemplating the Crucifix), c. 1753
Oil on canvas
24 1/2 x 17 3/4 in.
Gift of the Myers Family, and Mr. and Mrs. John C. Myers, Jr., R'42, and June Reinhold Myers, R'41

Thomas Gainsborough (English, 1727–1788)
Portrait of Gaëtan Apolline Balthazar Vestris, c. 1781–1782
Oil on canvas
12 1/2 x 10 3/8 in.
Bequest from the estate of Edmund L. Murray

Louis Michel van Loo (French, 1707–1771)
Portrait of the Comtesse de Beaufort, c. 1760
Oil on canvas
50 x 40 in.
Gift of the Hon. Marilyn Logsdon Mennello, and Michael A. Mennello, in honor of Rollins College President Rita Bornstein


John Hitchcock:  Ghosts of Brutality
(January 4–April 13, 2014)

In his exhibition, Ghosts of Brutality, artist John Hitchcock uses familiar images of U.S. military weaponry such as tanks and helicopters set against unfamiliar mythological and hybrid creatures that reference buffalo, wolf, and deer from the Wichita Mountains in western Oklahoma to explore notions of assimilation and control.  For Hitchcock, this subject matter is personal as he grew up in western Oklahoma on Comanche tribal lands that are located next to Fort Sill, the largest field artillery military base in North America.
Inspired by the long history of social and political commentary within the discipline of printmaking, Hitchcock frequently uses the medium to explore relationships of community, land, and culture. Beyond printmaking as it is traditionally conceived, Ghosts of Brutality includes works on paper and a multimedia installation of printed matter and video that reference the trauma of war and fragility of life.
Hitchcock has exhibited his work widely. Currently, he is a professor at the University of Wisconsin at Madison where he teaches screenprinting, relief cut, and installation. He earned his MFA in printmaking and photography at Texas Tech University and his BFA from Cameron University.


John Hitchcock
Ghosts of Brutality, 2013
18 x 24 inches
Courtesy of the artist

Conversations:  Selections from the Permanent Collection
(January 4–Ongoing)

Conversations: Selections from the Permanent Collection, aims to inspire dialogues about works of art created during disparate time periods and among various cultures. To draw new relationships, the collection’s favorites are brought together under four broad thematic categories: Religion Redefined, Gesture and Pose, A Sense of Place, and History and Myth. The four groupings outlined here suggest some universal themes that have persisted throughout the history of art.

Religion Redefined includes traditional religious imagery as well as more contemporary art that relies upon and questions conventional religious symbols and concepts. For centuries religious art has been commissioned for shrines, tombs, churches, and domestic spaces in diverse societies. The persistent effects of religion are reflected in twentieth-century art, too.

The section of Gesture and Pose presents historical portraiture and demonstrates how the movement of an arm or the positioning of a figural form can have dramatic consequences for a given composition and its interpretation.

A Sense of Place examines the fundamental ways in which various sites have inspired generations of artists. Both urban and rural environments are represented here and singular works offer opportunities to look at the roles of foreign locales and famous locations as catalysts for creative production.

Lastly, History and Myth implies that these two broad categories are inherently intertwined and the specific works on display are expressions of that fact.

While these sections help to map the permanent collection, they are fluid, and certain works could find a home in multiple categories.


Jonas Lie (American, 1890–1940)
Dusk on Lower Broadway, c. 1910
Oil on canvas
37 1/2 x 31 1/2 in.
Gift of the family of James B. Thomas