PRESENCE: RAN ADLER

Ran Adler, Art of Assemblage (detail), 2015-16, Wire, mahogany pods and driftwood, Dimensions variable. Photo by Steve Scott

Presence: Ran Adler

Wasmer Art Gallery
January 30 - February 27, 2020

Opening Reception, Artist Talk and Performance by the Jazz Combo- Thursday, January 30, 5 -7pm

Artist Ran Adler in his studio. Photo courtesy of Owen Collective

THE ARTIST - RAN ADLER

Ran Adler is a self taught artist of assemblage. Over a lifetime of working in many creative fields, inspired and instructed by nature, he found himself in a practice of creating with little or no instruction. Using various elements of nature as his medium, each is united by the common characteristic of having grown around us. Through these components he utilizes intense wiring, weaving and stringing techniques.

The harmonious transformation of chaos into ordered systems results from the meditative process of Ran Adler. The often repetitive and rhythmic movements of threading, inscribing and assembling become a meditative or prayer like state of mind from which remediation of external forces is understood and expressed in the work.

Currently represented by Judith Liegeois Designs in Naples, Gardner Colby Gallery in Naples and Blackman Cruz in Los Angeles. Adler has exhibited widely in the United States in solo and group exhibitions. He is the artist in residence at Judith Liegeois in Naples and the guest artist at Florida Gulf Coast University.

This exhibition is sponsored by The Wasmer Family, Judith Liegeois Designs, Alice and Dean Fjelstul, Gene and Lee Seidler, the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture and WGCU Public Media

^{Image credits: Artist Ran Adler in his studio. Photo courtesy of Owen Collective;
Ran Adler, Art of Assemblage (detail), 2015-16, Wire, mahogany pods and driftwood, Dimensions variable. Photo by
Steve Scott}

THE EXHIBITION

Each year the FGCU Art Galleries curates an exhibition with the goal of not only exhibiting the work of an outstanding artist, but of also connecting the artist to the region of Southwest Florida in a unique way. This year’s artist, Ran Adler, comes to us with an established and deep connection to the natural environment of our area. Working in close proximity to campus from his studio in Naples, Florida, provides the artist with an opportunity to engage inventive collaborations across multiple disciplines of FGCU.

The Wasmer Art Gallery’s high ceiling inspired Adler to think of his work in a grand scale and to contemplate how his work might inspire others to engage public spaces. With this ambition in mind, Adler took on FGCU Art Major and Gallery Assistant, Marcela Pulgarin, to assist him in maintaining his notable attention to detail in the production of his art. Pulgarin has devoted herself this fall semester to countless hours learning Adler’s craft to help produce his work. Arts Writer Tom Hall agreed to write about Adler’s new body of work and inspired us all with his thoughtful perspective on the role of public art.

The Bower School of Music & the Arts provides an incredible opportunity to cross pollinate ideas between art forms. For this exhibition Ran Adler invited Brandon Robertson, Bower School of Music faculty, and the FGCU Jazz Combo to his studio to see the works in progress and to discuss how musicians could interpret the work. This visit resulted in new compositions to be performed as a concert in the Wasmer Art Gallery. FGCU Theatre faculty Dan Bacalzo developed his course, “Creating New Theatre,” to integrate the exhibition into his students’ creative process. They developed original theatre pieces to be performed within Adler’s installation.

Judith Liegeois Designs opened their doors to support all of these efforts and the Wasmer Family stepped forward to support the exhibition and fund the acquisition of one of Adler’s works for the FGCU Permanent Collection.

All of these generous contributions are a testimony to Southwest Florida’s support of the FGCU Art Galleries’ mission and to the quality of work Adler produces. Thank you all for contributing to the cultural richness of Southwest Florida.

~ John Loscuito, Director Florida Gulf Coast University Art Galleries

ART IN PUBLIC PLACES

written by TOM HALL

Ran Adler’s large-scale assemblages exert an unmistakable Presence on any space they occupy. Rough, raw and random, they serve as needed reminders of the staggering unpredictability and humbling power of nature lurking just outside. The horsetail reed, thorn and seedpod constructs shape the space, opening the mind not only to the fragility if not futility of our efforts to control our physical environment, but to our overarching responsibility as stewards of the planet.

Regardless of the message, the function of art in public places is to stimulate thought, conversation and activity. Public art is not merely decorative. It is the handmaiden of both architecture and interior design, creating an indelible imprint that ties the space in which it has been installed to its underlying history, use or present associations.

In an August, 2018 green paper, the Americans for the Arts noted that art in public spaces also (1) contributes to a community’s economic growth and sustainability; (2) provides citizens and visitors with drivers of attachment; (3) validates the importance of artists and other creatives; (4) reinforces social connectivity by highlighting other cultures and perspectives; and (5) promotes wellness and enhances quality of life by providing a sense of belonging and engendering a stronger sense of community.

Since the Great Depression, government has fulfilled the central role in commissioning, installing and maintaining public artworks. Most federal, state and local programs utilize a percent-for-art funding mechanism. But while these government-sponsored public art programs strive to advance the benefits derived by the public from interacting and connecting with artistic landmarks, they suffer from several significant infirmities. For example, they limit the location and type of artworks displayed, and because they are keyed to new construction and substantial renovations of existing properties, the money they provide is uncertain and uneven, rendering long-term planning all but impossible. Finally, the continued viability of these programs is subject to political whim and caprice, particularly during recessionary times.

As a consequence, a new paradigm is needed to ensure that public art continues to thrive. Private developers, public and closely-held corporations and individual benefactors need to play a bigger role in creative placemaking.

While many percent for art laws require private developers to participate, most do not. Yet, developers and associated property owners glean numerous advantages from including public art in their projects including, anecdotally, better environments for tenants and employees and higher rents and asking prices for residential and commercial properties. The Riviera-St. Tropez condominium complex along the Caloosahatchee River on Palm Beach Boulevard is a case in point. Although not obligated to do so by Fort Myers’ public art ordinance, its developer nevertheless commissioned an entryway sculpture by renowned monumental metal sculptor Albert Paley. Today, Naiad not only serves as a brand for the complex, it ties the property and community to Paley works located on the FGCU campus as well as at the Baker Museum of Art and Artis Naples.

Caloosahatchee Manuscripts by Jim Sanborn

Caloosahatchee Manuscripts in downtown Fort Myers was the product of a gift from Florida Power & Light. The publicly-traded company commissioned internationally-acclaimed light sculptor Jim Sanborn to fabricate and install a site-specific artwork that would commemorate the company’s conversion of its power plant from oil to natural gas in 2001. After consultation with the City and various River District stakeholders, FPL had Sanborn install the dual drum light sculpture on the sidewalk at the foot of the former post office and federal courthouse. Today, Caloosahatchee Manuscripts is one of the most popular artistic landmarks in all of Southwest Florida. It not only helps identify the Sidney & Berne Davis Art Center as a cultural destination, it provides constant social media buzz, regularly attracting incredible energy, attention and spontaneous audiences to the space.

Finally, there’s Ran Adler’s organic assemblage Waterspout. Philanthropist and Board President Rosemary Wick brought the piece to the Marco Island Center for the Arts after seeing Adler’s work in a solo show in her former hometown of St. Louis. Dominating the main lobby, Waterspout captivates patrons from the instant they walk through the Art Center’s front doors, conveying the subliminal message that one can find dynamic, noteworthy and uplifting works of art virtually anywhere one ventures.

Just as Waterspout exerts Presence in the foyer of the Marco Island Center for the Arts, public artworks everywhere engage viewers, spark conversation, revitalize neighborhoods and enhance quality of life. While developer, corporate and individual benefactors will never supplant government-sponsored public art programs, they can – and should – augment the presence of aesthetic landmarks not only in open spaces, but convention centers, hotel lobbies, airport terminals and other venues where people gather.

We will all benefit from this increased Presence.

WHY PUBLIC ART? WHY YOU? WHY NOW? written by Tom Hall
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“You can tell a lot about a city by its public art,” observes Riviera-St. Tropez/Campo Felice real estate developer Bob MacFarlane. “It’s a sign that we care about creativity and culture, but most importantly, it signals that we care about enriching the lives of all the people who walk our streets, shop in our stores, dine in our restaurants and live in our buildings. Public art is a way for us to connect, engage, and enjoy the arts as a community. It’s for everyone.”

Or as one public art advisory board puts it, “a town with public art is a town that believes in itself, thinks creatively and feels deeply.”

A majority of Americans agree with these sentiments. According to a survey of 3,020 adults conducted by Ipsos Public Affairs in 2016 for the Americans for the Arts:
- 87 percent of Americans believe arts & culture are important to quality of life;
- 82 percent believe that arts & culture are important to local business and the local economy;
- 73 percent say the arts are a “positive experience in a troubled world;
- 64 percent feel “pure pleasure to experience and participate in [the arts]; and
- 63 percent believe the arts “lift me up beyond everyday experiences.”
To help educate community members, local decision makers and other stakeholders on the value that public art can bring to cities, towns and universities, the Americans for the Arts teamed up with the Public Art Network Advisory Council in 2018 to publish a report entitled “Why Public Art Matters.” This green paper grouped the benefits provided by public art into five categories:
- Economic Growth and Sustainability. By engaging in public art as a tool for growth and sustainability, communities can thrive economically. According to another Americans for the Arts report that was supported by the Alliance for the Arts, the nonprofit arts and cultural sector contribute substantial activity to the local economy. Fort Myers’ nonprofit arts and cultural organizations supported 1,280 full-time equivalent jobs and produced $49.7 million in economic activity in 2015, while county wide, the economic impact of the nonprofit arts sector exceeded $140 million and supported 3,875 full-time equivalent jobs. While data on the financial impact of public art is admittedly scant, public artworks are known to attract cultural tourists. “It makes a city more dynamic, and it’s definitely an economic development strategy,” touts Mindy Taylor Ross, Director of Public Affairs for the Arts Council of Indianapolis. “It makes an impact on conventioneers, who come back because of the dynamic cultural energy here.” And public art events like Olafu Eliasson’s 100-foot towers of cascading water on the Manhattan Bridge typically bring in $5-$7 in revenue for every dollar spent. Raquel Laneri, “Why We Love – And Need – Public Art,” Forbes Magazine (May 5, 2009).
- Cultural Identity and Attachment. In addition to cultural and heritage tourists, public art draws Millennial, Gen X and Gen Z creative class workers, a demographic that places a premium on lifestyle amenities over other career goals, including compensation. Public art influences how people perceive and connect with a place, appealing to the imagination, dreams and desires of young creative workers. Cities have long used art to adorn and commemorate. However as quality of place becomes a more critical piece of the total package that enables a region to attract talent, the inclusion of permanent and semi-permanent public art in streetscapes takes on added importance.
- Artists as Contributors. Providing a public art econosystem supports artists and other creatives by validating them as important contributors to the community. Artists are highly entrepreneurial. They are 3.5 times more likely than the total U.S. work force to be self-employed.
- Social Cohesion and Cultural Understanding. Public art provides a visual mechanism for understanding other cultures and perspectives, reinforcing social connectivity with others. This dovetails with Mayor Randall Henderson’s 18-member Diversity and Inclusion Advisory Committee, which is pursuing data-driven research and analysis to measure things like efforts to recruit and retain minority companies for city services, engage employees from all backgrounds to work in the city, and include other diversity-related organizations that could assist in these efforts.
- Public Health and Belonging. Public art addresses public health and personal illness by reducing stress, providing a sense of belonging, addressing stigmas towards those with mental health issues, and engendering a stronger sense of community. Public art is noted as slowing pedestrians down to enjoy their space and providing a positive impact on mood. Public artworks and installations break up the monotonous and often oppressive nature of city working life and provide a new way to experience the city. Public art improves our quality of life, makes us stop and open our eyes and transforms the banal into the sublime, igniting thought, conversation and imagination in the process.
Acknowledging the strength and utility of the Americans for the Arts/PAN Advisory Council green paper, art advocate and City of Fort Myers Public Art Consultant Tom Hall will present a pictorial survey of the ways in which Southwest Florida residents, visitors, vacationers and cultural tourists connect and interact with the public artworks interspersed throughout the region, demonstrating in the process why public art improves overall quality of life and attracts creative class entrepreneurs, workers and new residents, including retirees, to the region. The presentation will conclude with an analysis of the role that individual citizens can play in supporting public art in both outdoor and indoor environments and providing the images and messages that dominate our public spaces and shape our visual landscape.
Focus on Marcela Pulgarin: Art Major has a hand in Naples Artist's ExhibitionbyLaurie D. Badcock
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At the opening reception of “Presence: Ran Adler” at FGCU’s Wasmer Art Gallery at the end of January, gallery assistant Marcela Pulgarin was explaining the process of having sewn together hundreds of mahogany pods for the enormous “Kimono” piece hanging from a large bamboo culm.

She grabbed the sleeve to open the kimono and show the stitching, and her companion gasped audibly. “My blood and sweat is in this room,” Pulgarin said, laughing at the idea that she wasn’t allowed to touch the museum gallery piece....Read the full story on FGCU 360...

^{Marcela Pulgarin and Ran Adler at a gallery reception. Photos: James Greco/FGCU}