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Is this the year you’ll do something truly memorable as a family? Thinking back to my youth, few excursions sparked a level of anticipation as high as when my mother and nana took my brother and me to Disneyland®. I still recall the dizzying array of characters and costumes, the rides and, frankly, how CLEAN everything was. It was a huge upgrade from the sketchy carnival barkers and rickety rides at the transient, parking lot fair back home. It was a true, family adventure.
Parents can transform their own sulking, nothing-to-do, couch-crashing kids into inquisitive, wide-eyed thrill seekers by whipping out Southern California CityPASS® ticket cards. Not only is there 3-day admission to Disneyland® Park, CityPASS also includes three additional premier attractions: Disney California Adventure®, Universal Studios Hollywood and SeaWorld San Diego®. You can also add on the San Diego Zoo/Safari Park and LEGOLAND® California. This option is only available at citypass.com.
Southern California CityPASS doesn’t have to break the bank either: CityPASS holders save 23 percent per adult and 29 percent per child off the combined attraction prices. Plus, it allows ticket holders to skip most main-entrance ticket lines, which for queue-phobic folks, like me, is a huge plus.
So after getting your Southern California CityPASS ticket cards in the mail, here are five easy steps to becoming a hero this spring.
1. Bounce between Disneyland Park and Disney California Adventure Park like a pingpong ball. CityPASS allows back-and-forth admission to both Disneyland Park and Disney California Adventure Park for any three days during the 14 consecutive day period CityPASS is valid. Remember how I referenced long lines? Well, the CityPASS ticket scoots you in for one Magic Morning admission, which allows you to get a jump on the attractions by entering Disneyland Park one hour before regular opening time on a Tuesday, Thursday or Saturday.
Disney California Adventure offers eight different lands where Disney and Pixar characters come to life. You’ll want to drive the Radiator Springs Racers through the desert landscape of Cars Land, inspired by the movie Cars. And thrill seekers will be jumping to ride California Screamin’, the longest and fastest roller coaster at the Disneyland Resort.
At Disneyland Park, you’ll want to strap the family in for Star Wars – The Adventure Continues, which is a 3-D, motion-simulated space flight, and the classic coaster, Big Thunder Mountain Railroad. Personally, I don’t think I can handle another slow boat ride through the “it’s a small world” exhibit. I saw the original at the New York World’s Fair in 1964 (yes, I’m serious) and I still can’t get that blasted song out of my head.
2. See where movie magic happens at Universal Studios Hollywood. The best bet is to get to the thrill rides early. Start with the Revenge of the Mummy coaster and the recently opened Transformers™: The Ride—3D, which gives guests a front row seat to the thrilling battle between the heroic Autobots and the evil Decepticons. No, I have no idea who they are. In April, the new 3-D ride, Despicable Me Minion Mayhem will have the kids wiggling too. There’s also a new host of the famous Studio Tour. Not only is Jimmy Fallon the new Tonight Show host, he’s also the new video tour director of the popular, historic back-lot tour.
3. Celebrate SeaWorld San Diego’s 50th anniversary. On March 21, SeaWorld will celebrate its birthday by unveiling Explorer’s Reef™, which brings guests into the park beneath a 30-foot-tall, 100-foot-wide wave sculpture. Visitors then get to enjoy 3 acres of tropical touch pools featuring 5,000 fish, including shark pups, rays, skates and cleaner fish. For some pulse-quickening fun, take a ride on the Manta roller coaster and then get splashed by Shamu in the new killer whale show. Don’t forget to commune with the sea turtles while you’re there.
4. Take the Tiger Trail. This Memorial Day, San Diego Safari Park opens its expansive new, Sumatra-themed environment for tigers. It includes a log walk, educational presentations, and a chance to see these incomparable cats swim underwater and laze around a waterfall. If you go before the end of May, you’ll find plenty of thrills by taking a guided tour of the 1,800-acre animal park. Watch the elephants, ring-tailed lemurs, and the blindingly fast cheetahs. There are plenty of other adventures, such as zip lines, that require an extra fee. Those who also want to see the San Diego Zoo can just show their CityPASS card and get 10 percent off of admission.
5. Visit LEGOLAND by the sea. Located in coastal community of Carlsbad, between Anaheim and San Diego, this 128-acre family theme park has everything a LEGO® enthusiast could want. With more than 60 interactive attractions and 22,000 LEGO sculptures (some giant), parents are definitely going to want to keep their shoes on. Kids will enjoy firing laser blasters in the Lost Kingdom Adventure and riding the junior Coastersaurus, when they’re not using LEGOS to create something colorful and wonderful.
Gauguin: Metamorphoses is the first major monographic exhibition on Paul Gauguin (French, 1848–1903) ever presented at MoMA in New York City, and the first major exhibition to focus particularly on the artist’s rare and extraordinary prints and transfer drawings and their relationship to his paintings and his sculptures. Approximately 160 works, including some 130 works on paper and a critical selection of some 30 related paintings and sculptures, will be on view from March 8 through June 8, 2014, in The International Council of The Museum of Modern Art Special Exhibition Gallery. Featuring loans from many different collections—national and international, public and private—the exhibition offers an extraordinary opportunity to see these works brought together. Many have rarely if ever been shown in the United States. Gauguin: Metamorphoses is organized by Starr Figura, The Phyllis Ann and Walter Borten Associate Curator, with Lotte Johnson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.
More than any other major artist of his generation, Paul Gauguin drew inspiration from working across mediums. Though most often celebrated as a pioneer of modernist painting, at various moments Gauguin was also intensely engaged with wood carving, ceramics, lithography, woodcut, monotype, and transfer drawing—all mediums that ignited his creativity. Gauguin, who had no formal artistic training, led a peripatetic life, settling for extended periods in different regions of the world—including, most famously, Tahiti. His search for a culture unspoiled by European mores and constraints paralleled his eagerness to work with unfamiliar techniques in order to create entirely new types of artworks.
This exhibition focuses on these less well-known but arguably even more innovative aspects of Gauguin’s practice, especially the rare and extraordinary prints he created in several discrete bursts of activity from 1889 until his death in 1903. These remarkable works on paper reflect Gauguin’s experiments with a range of mediums, from radically “primitive” woodcuts to jewel-like watercolor monotypes and large, evocative transfer drawings that rank among the great masterpieces in the history of the graphic arts.
Gauguin’s creative process often involved repeating and recombining key motifs from one image to another, allowing them to evolve and metamorphose over time and across mediums. Of all the mediums to which Gauguin applied himself, it was printmaking—which always involves transferring and multiplying images—that served as the greatest catalyst in this process of transformation. Gauguin embraced the subtly textured surfaces, nuanced colors, and accidental markings that resulted from the unusual processes that he devised, for they projected a darkly mysterious and dreamlike vision of life in the South Pacific, where he spent most of the final 12 years of his life. Through printmaking, Gauguin often sought to bridge the distinctions between mediums. His woodcuts, for example, reflect the sculptural gouging of his carved wood sculptures; his monotypes and transfer drawings combine drawing with printmaking.
In order to highlight the cross-fertilizing relationships among works across mediums in Gauguin’s oeuvre, Gauguin: Metamorphoses is organized, roughly chronologically, into a number of extended groupings of related works.
Zincographs: The Volpini Suite
In 1889, at the age of 41 and having only just reached stylistic maturity, Gauguin made his first prints at the request of his dealer, Theo van Gogh. Named after the Café Volpini in Paris, where the prints were available to view, this suite of 11 zincographs, all of which are included in the exhibition, signals Gauguin’s boldly unorthodox and provocative choices. Creating his compositions on zinc plates rather than the traditional limestone slabs used for lithography, he experimented with unconventionally shaped compositions, details that extend beyond the picture borders, and evocative textural passages. He printed them on vibrant yellow paper more commonly associated with commercial posters.
Seven of the 11 Volpini compositions reinterpret paintings and ceramics inspired by Gauguin’s recent trips to Brittany, Arles, and Martinique. Three of these highly inventive ceramics, which Gauguin created between 1886 and 1888, will be shown alongside the Volpini Suite in the exhibition. Cup Decorated with the Figure of a Bathing Girl (1887–88) and Vase with the Figure of a Girl Bathing under the Trees (c. 1887–88) both explore the figure of a bather, whose crouching pose is reprised in the related zincograph. The painterly textures and glowing colors that Gauguin was able to develop in the process of firing and glazing are also evident in Vase Decorated with Breton Scenes (1886–87), which features a group of young women wearing the region’s distinctive traditional clothing. In the related zincograph, he simplified and abstracted the figures to stark black lines and washes.
Woodcuts: The Noa Noa Suite and The Vollard Suite
A large portion of the exhibition is devoted to the groundbreaking series of works known as the Noa Noa suite (1893–94)—Gauguin’s first woodcuts. Depicting Tahitian scenes, these 10 woodcuts portray a grand life cycle encompassing primordial origins, everyday life, love, fear, religion, and death. Most of the compositions are related to paintings and sculptures that Gauguin particularly prized. For example, in the woodcut Nave nave fenua (Delightful Land), he developed the motif of a Tahitian Eve from his earlier painting Te nave nave fenua (The Delightful Land) (1892), rendering it more stylized and abstract, and reprised the subject in a watercolor monotype, in which his Eve appears as an evanescent, sensual figure. All of these related works will be on view in the exhibition, along with a full-scale charcoal and pastel study for the painting and a small wood sculpture devoted to the same subject.
The Noa Noa woodcuts mark a turning point in the history of printmaking, ushering in the modern era with their distinctly rough and “primitive” aesthetic. Gauguin approached his wood printing blocks as a natural extension of the sculptural carving of his wood reliefs and sculptures, and he experimented with a range of unusual effects in the inking and printing of each impression. In order to highlight the relationship between sculpture and printmaking in his work, the exhibition will include several of the woodblocks that Gauguin used to print the Noa Noa series, alongside related wood sculptures and reliefs. The exhibition will also include several variant impressions printed from each block, each of which represents a new experiment.
In 1898–99, having returned to Tahiti for the second and final time, Gauguin created a second major series of woodcuts known as the Vollard Suite, after the Paris-based dealer, Ambroise Vollard, to whom Gauguin sent the edition for sale. The complete series of 14 prints will be on view in the exhibition. Most reprise figures and themes from Gauguin’s paintings and sculptures made in Brittany, Arles, and Tahiti—serving as a condensed retrospective of his career. When placed side by side, works from this suite create a series of vignettes similar to his monumental paintings of the time, such as Faa iheihe (Tahitian Pastoral) (1898), which will also be included in the exhibition.
In 1894, around the time he was creating the Noa Noa woodcuts, Gauguin made another body of unusual printed works: his watercolor monotypes. Monotypes were traditionally made with oil- or water-based paint on a metal or glass surface and transferred to paper via rubbing or on a printing press. Gauguin’s exact methods are not known, but it is believed that he either made direct counterproofs of his watercolor, pastel, or gouache drawings on damp paper, or used watercolor on glass to copy existing drawings or watercolors and then pulled an impression on paper. Many of Gauguin’s monotypes are related to his paintings, sculptures, or woodcuts, while others seem to be independent studies or sketches. The watercolor transfer process resulted in images that are distinctly ethereal, suggesting ghostly afterimages, faded mementos, or beautiful scenes viewed through the watery veil of memory.
Featured in the exhibition is one of the few surviving drawings that he may have used in this process, Tahitian Girl in a Pink Pareu (1894), along with two of the three known monotypes of the same of the same image.
Oil Transfer Drawings
Gauguin invented the oil transfer drawing technique in 1899, and it represents a grand culmination of his use of printmaking to develop an aesthetic of mystery, indeterminacy, and suggestion. A hybrid of a drawing and a print, each transfer drawing is a two-sided work with a pencil drawing on the verso and the transfer drawing on the recto. In Gauguin’s words, “First you roll out printer’s ink on a sheet of paper of any sort; then lay a second sheet on top of it and draw whatever pleases you.” The pressure from the pencil caused the ink from the bottom sheet to adhere to the underside of the top sheet. When the top sheet was lifted away, the drawing had been transferred, in reverse, to its underside; this transferred image was the final work of art. Using this transfer process, Gauguin transformed a traditional and usually legible pencil drawing into a dark and mysterious print.
Gauguin’s transfer drawings, dating c. 1899 to 1903, range from small, sketch-like examples to large, finished compositions. The exhibition includes several monumental, double- sided transfer drawings; three of these, each titled Tahitian Woman with Evil Spirit (c. 1900), will be shown alongside a remarkable related wood sculpture, Head with Horns (1895–97), reflecting Gauguin’s preoccupation with the recurring theme of a Tahitian woman haunted by a mysterious spirit.
The exhibition is supported by BNP Parisbas, Sue and Edgar Wachenheim III, Anna Marie and Robert F. Shapiro, and by Denise LeFrak in memory of Ethel LeFrak. Additional funding is provided by the MoMA Annual Exhibition Fund. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Gauguin: Metamorphoses is accompanied by a fully illustrated catalogue by Starr Figura, with essays by Elizabeth Childs, Hal Foster, and Erika Mosier, and contributions by Lotte Johnson, that explores the place of printmaking within the artist’s wide-ranging practice. An introductory essay by Figura considers the significance of Gauguin’s innovative printmaking and the relationship between Gauguin’s prints, monotypes, and transfer drawings and his paintings and sculptures. Childs writes on Gauguin’s radical wood sculptures and their pivotal place in his wide-ranging practice. Foster addresses Gauguin’s “primitivism” and its aesthetic and cultural implications. Finally, Mosier offers a conservator’s insights into Gauguin’s unusual printmaking techniques. Gauguin: Metamorphoses is published by The Museum of Modern Art and available at MoMA stores and online at MoMAstore.com. 248 pages; 222 color illustrations. Hardcover, $60. Distributed to the trade by ARTBOOK|D.A.P. in the United States and Canada. Distributed outside the United States and Canada by Thames & Hudson.
PAUL GAUGUIN: IN SEARCH OF MODERNISM’S ORIGINS
In conjunction with the exhibition, two public lectures will be given by Gauguin experts exploring his creative process, his peripatetic travels, and new interpretations of his place in art history.
Paradise Lost: Gauguin and the Melancholy Logic of Reproduction
Tuesday, March 18, 7:00 p.m. Theater 3
With Alastair Wright, University Lecturer and Tutorial Fellow, St John's College, University of Oxford, and Chair, Editorial Group, Oxford Art Journal From the moment he arrived in Tahiti, Gauguin bemoaned the destruction of the island’s original culture by French colonialism. Like many Western visitors to Polynesia in the later 19th century, he came to believe that the South Seas paradise of which he had dreamed was by now lost. This lecture will examine the roots of this melancholy view of Polynesia and explore how it is reflected in Gauguin’s extended exploration of reproductive techniques following his first Tahitian trip.
Sauvageries: Gauguin, and the Strategies of Primitivist Sculpture
Tuesday, March 25, 7:00 p.m. Theater 3
With Elizabeth Childs, Etta and Mark Steinberg Professor of Modern Art and Chair, Department of Art History and Archaeology, Washington University St Louis
However much painting remained at the heart of Gauguin's artistic enterprise, a key element in his avant-garde aesthetic was his use of wood—in sculptures, in relief panels, and in woodblock printmaking. He used sculpture to help fashion his artistic identity, both in how he presented his Tahitian works in exhibition in Paris, and in how he decorated his home and studio environments in Polynesia. This lecture examines the central role of sculpture in Gauguin's project of modernist primitivism, considering not just the relationship of his forms to indigenous Oceanic typologies, but also how, during his Polynesian career, his creation of sculpture facilitated his physical and material engagement with the non-European world.
Tickets ($15; $10 members and corporate members; $5 students, seniors and staff of other museums) can be purchased online or at the information desk, the Film desk after 4:00 p.m., or at the Education and Research Building reception desk on the day of the program.
The audio tour accompanying the exhibition features commentaries by exhibition curator Starr Figura, along with MoMA conservator Erika Mosier. The audio is available at the Museum on the MoMA Audio+ mobile guide, and is also available at MoMA.org/audio and MoMA.org/m, for download through MoMA.org/mobile, and as a podcast on iTunes. MoMA Audio+ is sponsored by Bloomberg.
The exhibition is accompanied by a website highlighting the artist’s themes, techniques, and three major print series. It features images of selected works from the exhibition, as well as comparative images, and interactive slide shows (also available within the exhibition) that explicate Gauguin’s unusual techniques in both woodcut and oil transfer drawing. The site launches on March 8, at MoMA.org/gauguin.
The Museum of Modern Art, 11 West 53 Street, New York, NY 10019, (212) 708-9400, MoMA.org. Hours: Saturday through Thursday, 10:30 a.m.–5:30 p.m. Friday, 10:30 a.m.–8:00 p.m. Museum Admission: $25 adults; $18 seniors, 65 years and over with I.D.; $14 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs). Free admission during Uniqlo Free Friday Nights: Fridays, 4:00 p.m.–8:00 p.m. MoMA.org: No service charge for tickets ordered on MoMA.org. Tickets purchased online may be printed out and presented at the Museum without waiting in line. (Includes admittance to Museum galleries and film programs). Film and After Hours Program Admission: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full- time students with current I.D. The price of an After Hours Program Admission ticket may be applied toward the price of a Museum admission ticket or MoMA Membership within 30 days.
Disney World tends to dominate central Florida’s tourism image, but bay-side Tampa easily holds its own as a vacation destination, especially for families with children. The newest CityPASS collects the best family-friendly attractions in the Sunshine State’s third largest metro area into one convenient and economical ticket. Add top-rated beaches, neon nightlife, internationally renowned shopping and dining, the Yankees’ spring training camp, and eclectic events ranging from the Mardi Gras-like Gasparilla Season to a Flan Fest, and you have the makings of a most memorable getaway, no mouse needed.
The anchor of the CityPASS ticket, Busch Gardens reigns supreme when it comes to thrill rides. The renowned theme park also delivers astonishing animal encounters and world-class entertainment. Experience unforgettable G-forces and negative gravity, fighter pilot-style simultaneous loops and rolls, catapult launches, multiple inversions and speeds topping 70 mph – and that’s just on the eight track-style coasters. The newest thrill ride, Falcon’s Fury, opens this spring in the reimagined land of Pantopia. Like its bird-of-prey namesake, Falcon’s Fury dives face-first to the ground at speeds of 60 mph from a 335-foot drop tower, the tallest freestanding drop tower in North America. But Busch Gardens delivers a lot more than adrenaline-pumping fun. Throughout the park, you can observe and assist with animal care, and learn about the conservation efforts for more than 30 endangered and threatened species, including cheetahs, tigers, lions, gorillas, lemurs and elephants.
Add just one more of the fabulous attractions on the Tampa Bay CityPASS roster and you’re already saving money. Parents magazine named Tampa’s Lowry Park Zoo the #1 zoo in the country. Continue the African safari here, with sightings of zebras, white rhinos, pygmy hippos, okapi, African penguins and (for an extra fee) a chance to feed a giraffe. This is also a great place to explore Florida’s biodiversity, with manatees, alligators and river otters in residence. At the zoo’s Wallaroo Station, you can introduce the kids to Australia’s distinctive animals, such as wallabies, koalas, cockatoos and emus. You can even “adopt” your favorite, contributing to the animal’s on-site care and to worldwide conservation efforts with your symbolic gesture.
Close encounters with more than 30,000 species of aquatic plants and animals take place at The Florida Aquarium in downtown Tampa. The Coral Reef Gallery simulates a 60-foot scuba dive, starting in the shallows and descending through deeper and deeper microhabitats. At the Bays and Beaches exhibit, you can meet a 300-pound Goliath grouper, the aquarium’s largest fish. The interactive touch experiences at Stingray Beach, Horseshoe Crab Lagoon and the No Bones Zone put the exhibits in your hands, letting you “pet” stingrays, sharks, anemones and sea cucumbers, among others. For an extra fee, you can become part of the attraction at The Florida Aquarium. Visitors six and older can Swim With the Fishes, learning about the aquatic environment while receiving an introductory lesson in scuba diving. Certified divers age 15 and older can even face off with sand tiger sharks and moray eels inside the Aquarium's largest exhibit.
You can meet the star of the movie “Dolphin Tale” at the Clearwater Marine Aquarium. Staff rehabilitated Winter the bottlenose dolphin after she lost her tail in a crab trap, teaching her to swim with a prosthetic tail. She went on to star in the movie based on her life story. Winter’s co-stars Rufus 1 and 2, pelicans who shared the role, live here too, and in exchange for a few fish, (and an extra fee) pose for fan pictures. But don’t let the Hollywood stars overshadow the rest of the cast, which includes stingrays, sharks, sea turtles and river otters.
Tampa Bay CityPASS holders can choose between exploring magnificent works of art by Dale Chihuly at the Chihuly Collection in nearby St. Petersburg, along with experiencing local live glassblowing demonstrations at the Morean Glass Studio & Hot Shop, or getting some hands-on science experience at the Museum of Science and Industry, located in Tampa-proper.
This permanent collection of Dale Chihuly’s renowned artworks resides in a 10,000-square foot waterfront building custom designed by Albert Alfonso specifically to showcase the large-scale installations. Docent-led tours share detailed knowledge of each piece of art, including the Ruby Red Icicle Chandelier created specifically for the Collection, and the artist himself. You can linger as long as you like among the explosions of color, but it’s possible to view the entire collection in less than an hour, leaving you with plenty of time to visit the Morean Glass Studio and Hot Shop, located in the main Morean Arts Center, less than a mile from the Chihuly Collection. Local glass artists demonstrate their techniques as they create one-of-a-kind blown-glass objects. They are also available to guide you through the process of crafting your own piece of art (must be reserved in advance).
At the Museum of Science and Industry, children answer questions such as “Can you really lie on a bed of nails?” and “Can you ride a bike on a steel cable 30 feet above ground?” They can also experience life inside a lunar colony; survive a tornado, hurricane and wildfire; and see the night sky from any time and place on Earth in The Saunders Planetarium. MOSI’s 400,000 square feet contain more than 450 interactive exhibits, making this the largest children’s science center in the country. It also includes Florida’s only IMAX Dome Theater, which shows science-themed movies throughout the day.
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