When she was sixteen, she was in her first musical group, IT'S MY PARTY! From ages 7–20, she went to Jewish summer camp, becoming a counselor, and started performing on stage. She started playing violin, learning the Suzuki method, after seeing El Shenkar. Her mother was an attorney for the reservation. Her father was a math and drama teacher at the School of Arts High School in Rochester, New York, where she graduated as salutatorian. This exhibition is funded, in part, by a grant from South Arts in partnership with the National Endowment for the Arts and the Florida Division of Arts and Culture.įor more information, visit spent her formative years on a Chippewa reservation in Bemidji, Minnesota with her two older brothers in a mostly Jewish family. Moon’s ceramics take on particular potency now, as an increase in anti-Asian hate crimes has given rise to a national conversation about the experiences of Asian American and Pacific Islander communities. With colorful, playful, and ornate ceramic works, the Korean-born, Atlanta-based artist creates objects which speak to the rich possibilities that arise through global cultural dialogues. Utilizing humor and repeated icons and motifs, Moon builds her own rich visual language. This exhibition was made possible through the support of an anonymous donor, COCA, and the Florida Division of Arts and Culture.Ĭombining American pop culture and traditional Korean iconography, Jiha Moon’s ceramics explore issues of global identities and the construction of personal narratives. “Bruce Davidson: Love and Longing” features more than fifty original photographs from many of the artist’s most acclaimed series, including “Brooklyn Gang,” “Subway,” “Chicago,” “Central Park,” “Florida - Daytona Biker Week” and the “Birmingham Museum Project.” A master of mood and nuance, his images show us the universalities of not just joy or grief, but also things more difficult to capture – contemplation and hope. FSU Museum of Fine Arts Collection.įor eight decades, Bruce Davidson has documented people on the margins. This exhibition is made possible through the generous support of the staff, students, and alumni of the FSU Flying High Circus, The Ringling, Howard and Janice Tibbals, the Council on Culture & Arts (COCA), the Florida Division of Arts and Culture, and FSU’s Council on Research & Creativity.īruce Davidson, “Central Park,” Cibachrome print (1992). “Trust & Transformation” features an array of photography and video installations, interactive displays, and historic and contemporary circus costumes together with original drawings by the celebrated costume designer Miles White, vintage circus posters, and works of art on loan from the Howard Tibbals Circus Collection and the Ringling Circus Museum. “It takes a lot to be a circus performer, but students and alumni repeatedly reflect on the importance of trust - trusting oneself, trusting one’s partner, trusting one’s apparatus - to achieving the magic that animates each act: a transformation from the everyday and ordinary into the amazing and extraordinary,” said Preston McLane, director of the Museum of Fine Arts. Through countless Home Shows and Halloween performances, summers at Callaway Gardens, over fifteen appearances on national television, and sell-out tours across Europe and the Caribbean, Flying High athletes have earned their reputations as being among the hardest working students at Florida State. Since its founding in 1947, FSU’s Flying High Circus has enjoyed worldwide recognition for its brilliance and creativity. Rillan Dasalla, “Flying High,” digital photograph (2019).
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