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University of Florida University Galleries UF University Galleries is comprised of three art galleries that play an integral role in the teaching mission of the School of Art + Art History. Gary R.

University Galleries is comprised of three art galleries that play an integral role in the teaching mission of the School of Art + Art History, College of the Arts at the University of Florida, as well as serving the entire UF and Gainesville community. For the 2015-2016 academic year we have 17 varied exhibitions featuring the talent of our students, faculty and alumni. All exhibitions include an opening reception featuring refreshments and live music. We hope you will join us! Our Locations:
Gary R. Libby University Gallery: 400 SW 13th St, Gainesville, FL 32611. For the past 14 years the Gary R. Libby University Gallery has collaborated with myriad UF colleges, community and regional entities in creating a trans-disciplinary venue for the visual arts. Libby Focus Gallery: 850-square-foot space that presents student-curated exhibitions featuring student, alumni and Florida/regional artists. The Gary R. Libby Focus Gallery is located adjacent to the lobby of the School of Art + Art History’s Fine Art Building C. Grinter Gallery: located in the lobby entry area of Grinter Hall, which houses Graduate School offices, and the Centers for Latin American Studies and African Studies. Its mission is to present art and artifacts by international and multicultural artists through student-curated exhibitions.

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Miriam Schaer“Wearable book – Story of Childhood ...
10/08/2026

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Miriam Schaer

“Wearable book – Story of Childhood Fears”

Miriam Schaer is a Brooklyn-based interdisciplinary artist who uses books, garments, photography, installation, and collage to explore feminine, social, and spiritual issues. Her work includes artist books, photography, installation, as well as textiles, felt, and embroidery, often in relationship to the book form.

She is represented in numerous collections, including the Alan Chasanoff Book Arts Collection at the Yale Art Gallery, the Arts of the Book Collection at Yale’s Sterling Library, the Mata & Arthur Jaffe Collection: Book as Aesthetic Object at Florida Atlantic University, the Brooklyn Museum, Harvard University, the Sallie Bingham Center for Women’s History & Culture at Duke University, and the Library of Congress in Washington, D.C.

How Frightened I Have Been! How Dark It Is Inside the Wolf! is from the series The Poisoner’s Kiss. The series is an installation comprised of altered doll dresses floating above a blanket of fallen leaves to suggest a forest of childhood memories. Each dress displays a classic fairy tale quote embroidered around its hem, and is printed with iconic images that reflect the quote.

From the catalogue: “Pinned or hung, Miriam Schaer’s yellowed doll’s dresses brush a string of childhood memories—turning scary with hems embroidered with fragments of tales of the Brothers Grimm.”

Miriam Schaer, How Frightened I Have Been! How Dark It Is Inside the Wolf!, 2007, altered garment, xerox transfer with hand embroidery on doll dress, 8 × 15 × 2 inches.
Miriam Schaer
Center for Book Arts

🌟 Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Ong ...
10/08/2026

🌟 Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Ong Kian Peng

Working across a diverse range of media — including film, sound, virtual reality, and electronics — Ong Kian Peng positions his practice at the intersection of art, technology, and ecology. His work explores ecological thought, addressing issues such as climate change, environmental crises, and the evolving relationship between humans and technology. Ong’s practice navigates the entangled dynamics of culture, nature, and machine, crafting visionary scenarios that prompt existential reflection on humanity’s role in shaping the future of a fragile planet.

He holds an MFA from UCLA’s Design Media Arts program, supported by the DesignSingapore Scholarship. He is also the co-founder of Supernormal.space, an independent platform for emerging and experimental art practices, where he is actively involved as curator and producer. In 2026, his work Disaster Free was presented at The Spirits of Maritime Crossing, a collateral exhibition of the Venice Biennale.

Ong Kian Peng on Disaster Free: “Disaster Free is an AI-generated speculative film exploring Singapore’s future under intensified hydrological disruptions driven by climate change. Through the eyes of Yuexi, a young Singaporean confronting unprecedented flooding, the film interrogates the myth of Singapore as inherently protected from natural disasters. As familiar landscapes submerge and urban infrastructure adapts into floating shelters, Yuexi grapples with the erasure of clear boundaries between land and water. This narrative reframes climate realities, highlighting the vulnerability beneath the city’s perceived resilience and inviting reflection on our collective relationship with environmental change.”

Ong Kian Peng, Disaster Free, 2024, AI-generated film, 9 minutes 11 seconds.
Ong Kian Peng | 王建斌
ongkianpeng.art

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Carol Barton“Traversing Pages with Vertical Readi...
10/06/2026

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Carol Barton

“Traversing Pages with Vertical Reading”

Carol Barton is an artist, educator, curator, and proprietor of Popular Kinetics Press. After graduating as a painting major from Washington University in St. Louis in 1977, Barton moved to Washington, DC, to work at Glen Echo Park Arts Center, where she learned the necessary skills to start printing her own works and was later offered a grant to produce her first artist’s book, Beyond the Page.

She says of her practice: “the fact that an artist’s book can encompass a wide variety of subject matter and materials prompted me to make the transition from painting to book arts early in my artistic career.”

Since then she has published numerous artist’s book editions, and her work has been exhibited internationally and is in several collections, including the Smithsonian Institution, the Library of Congress, the Museum of Modern Art, the Getty Museum, and the Victoria and Albert Museum in London.

Beyond the Page is a wordless novel that utilizes illustration, photomontage, and die-cuts. The catalogue describes the work as digging and cutting out the page to build a narrative in sequential film frames.

Carol Barton, Beyond the Page, 1983, book.
Center for Book Arts

🌟Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Kate ...
10/06/2026

🌟Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Kate Paxman

Kate Paxman is a post-disciplinary artist, researcher, and educator working with sound and listening practices and experimental moving image to develop installations, guided tours, and performance lectures exploring environmental exploitation and the material and lived realities of place.

Grounded in long-durational, arts-based fieldwork, Kate frames the hyper-local as a microcosm of converging global forces, while rendering these visible through attentive, research-led artworks. Her practice responds to the everyday violences of structural and systemic decisions shaping habitats and their possibilities for co-inhabitation.

From Kate’s artist statement: “Song of the Sireniae listens to the transformation of coastal habitats by warming and expanding seas and imagines a near future where lands and waters are continually in rapid flux. It is composed from field recordings gathered along a stretch of local, economically neglected urban coastline, where semi-flooded marine caves are filled with an unexpected and glowing emerald-green sea.

Its title plays on the duality of the word ‘siren’ – a hybrid creature from mythology, or piercing warning sounds – and ‘sirenia’, or fully aquatic, herbivorous mammals. The sounds of a swimmer are played in reverse, transforming the rhythm of swimming into a more laboured, persistent act in which breath signals effort and endurance.

Song of the Sireniae examines embodied response to sound and reflects on the possibilities of persistence as a condition for living within changing coastal ecologies.”

Kate Paxman, Song of the Sireniae, 2026, sound installation.
Kate Paxman
Katepaxman.xyz

🌟Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Dusti...
10/01/2026

🌟Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Dustin Jacobus

Dustin Jacobus is a Belgian artist, illustrator, and industrial design engineer whose work explores how nature and the built environment can grow together. Deeply inspired by natural systems, his art is rooted in biomimicry, sustainable design, and the solarpunk movement.
 
Trained as an industrial design engineer, Jacobus works largely in drawing, building detailed cutaway and cross-section illustrations of everyday life organized around decentralized, low-technology systems: nomadic vehicles, modular housing, cooperative streets, and the furniture and infrastructure that would make them habitable. His vision has been shared in exhibitions, talks, workshops, and a wide range of publications across books, magazines, and other media.
 
Hover Vehicle - Storm Protection, from a chapter on nomadic life, follows a vessel through an ordinary emergency: diplomats at work in the cabin, a storm gathering, the hull closing itself into what the drawing labels storm protection modus. Nothing is monumental. The interest lies in furniture, storage, thresholds, and the moment a home becomes a shelter.
 
Jacobus has described the underlying problem plainly: “We need to rethink how we build resilience by developing services and production models that reduce our dependence on highly centralized systems.” The drawings answer with objects a person could live inside.
 
Dustin Jacobus, Hover Vehicle - Storm Protection, 2017, inkjet print and 3D printed materials
Dustin Jacobus
dustinjacobus.com

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Guy Laramée“Conceptually (& Actually) the Book as...
10/01/2026

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Guy Laramée

“Conceptually (& Actually) the Book as Sculpture”

Guy Laramée is an interdisciplinary artist working in theater writing and directing, contemporary music composition, musical instrument design and building, singing, video, scenography, sculpture, installation, painting, and literature. His work has been presented in the United States, Belgium, France, Germany, Switzerland, Japan, and Latin America.

Laramée’s work frequently explores the relationship between knowledge, culture, and erosion, often through the transformation of books into sculptural landscapes. Of this particular practice, he states: “Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS.”

Laramée’s Archéologies serves as an example of a book manipulated to resemble natural erosion. On the theme of erosion, he says: “The erosion of cultures – and of ‘culture’ as a whole – is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that ‘new technologies’ will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge?”
 
Guy Laramée, Archéologies, 2010, altered book, unique sandblasted copy of La Société Grolier edition of Encyclopédie de la jeunesse, Tome 5, 1477–1840. 9⅝ × 6⅝ inches.

Center for Book Arts
Guy Laramée

🌟 Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Tere...
09/29/2026

🌟 Artist Highlight from Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Terence Hannum

Terence Hannum is a Baltimore-based artist whose work spans painting, sculpture, sound, and digital media. Drawing on interests in ecology, ritual, and technological mediation, Hannum creates immersive bodies of work that explore accumulation, decay, and the limits of control.

He received his MFA in Painting and Drawing and a Post-Baccalaureate Certificate from the School of the Art Institute of Chicago, and holds a BA in Religion/Philosophy and Studio Art from Florida Southern College. Hannum’s work is held in several public collections, including the Metropolitan Museum of Art’s Watson Library, the Museum of Contemporary Art Chicago Artists’ Book Collection, and the Joan Flasch Artist Book Collection at the School of the Art Institute of Chicago.

Hannum on his work: “Using 3D printing I create fictional organisms inspired by poisonous and psychoactive plants, imagining evolutionary trajectories shaped by technological intervention rather than natural selection. These works occupy the space between scientific artifact, ritual object, and science fiction, proposing ecosystems that have escaped human control while remaining products of it.

Sculpture is the foundation of my practice. I use digital modeling and additive manufacturing not as technologies of precision, but as processes capable of producing mutation, error, and excess.
These works propose worlds in which technology no longer serves as a tool for mastering nature, but instead becomes another evolutionary force within it, producing ecosystems that are simultaneously seductive, toxic, and profoundly unfamiliar.”
 
Terence Hannum, Necrobiome, 2026, 3D printed wall sculptures

terence.hannum_art

https://terencehannum.com/

🌟 Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Susan Joy Share“A Structure Defined in a Perform...
09/29/2026

🌟 Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Susan Joy Share

“A Structure Defined in a Performative Response”

Susan Joy Share is an Anchorage, Alaska-based visual artist, bookbinder, and performer. She creates kinetic forms, architectural spaces, costumes, and experimental books that integrate visual depth, movement, and sound.
After receiving her BFA in 1977, Share studied traditional bookbinding and conservation and went on to pursue her career as an artist. Her innovative early performances with foldout sculptures connect the book with the human body. Her work is in collections such as the Anchorage Museum, The Brooklyn Museum, the Jaffe Collection, the National Museum of Women in the Arts, and the Victoria and Albert Museum.

Black and White Slinky and Orange Slinky demonstrate how sculptures can become kinetic, challenging conventional ideas of the book form. In performance, Share manipulates the works by picking up, stretching, and folding them, mimicking the movements of a slinky.

Share: “I think of performance as a way of giving viewers access to my multifaceted bookworks. Collaborations with dancers, poets and musicians help uncover the dramatic and kinetic potential of my pieces. Through play and improvisation with these fold-outs and wearables, we find humor and nonlinear stories. In solo and group performances, we animate boxes, colorful folding screens, flowing paper waterfalls, percussion instruments, masks, headdresses, and abstract costumes.”

Susan Joy Share, Black and White Slinky, 2016. Artists’ book. Hardcover folded unique  book with acrylic paint on butcher paper, 7½ × 9¼ × 4 inches closed, approx. 7½ × 9¼  × 144 inches open.

Susan Joy Share, Orange Slinky, 1987. Artists’ book. Folded architectural tracing paper with soft cover and custom Bristol board enclosure, 7½ × 8½ × 4 inches closed, approx. 7½ × 8½ × 900 inches open.

Susan Joy Share

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Barton Lidicé Beneš “The Book as Material Subvert...
09/26/2026

🌟Artist Highlight from Vico’s Spiral Half a Century of Artists’ Books: Barton Lidicé Beneš

“The Book as Material Subverts Access to Content”

Barton Lidicé Beneš was a New York-based artist. From an early age, Beneš developed a love for artifacts in part through frequent visits to the American Museum of Natural History, and he would later create artifacts of his own. Beneš graduated from the Pratt Institute in Brooklyn, and became active in New York’s LGBTQ+ scene in the post-Stonewall era, exploring themes including the AIDS epidemic and death in his work.

From the catalogue: “After testing HIV positive and losing close friends, Barton Lidicé Beneš confronted subjects that were then taboo with books made of pills, capsules, bodily fluids, relics, intravenous tubes, HIV-infected blood, and cremated human remains.”

By focusing on these subjects, Beneš often had difficulty finding galleries and museums that would display his work, but his work was exhibited in locations ranging from North Dakota, United States, to Lund, Sweden. Some of his works are currently held in the collections of The Art Institute of Chicago and The Smithsonian.

Barton Lidicé Beneš, Censored Book, 1974, book tied in rope, nailed, gessoed, and painted.

🌟Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Jason Ferguson / Jason J Fe...
09/26/2026

🌟Transmitted Futures: bytes not boxes — Solarpunk, Cofuturisms and other everyday tomorrows: Jason Ferguson / Jason J Ferguson

Jason J Ferguson uses humor, the uncanny, and an absurdist voice to create public interventions, performance works, videos, and sculptural objects. Ferguson’s psychologically charged installations have been said to raise issues of artistic control, consciousness, and mortality. In his work private space becomes public, the ethereal becomes tangible, and the obvious becomes obscure.

Ferguson’s work has been exhibited internationally including exhibitions in Tokyo, Mexico City, Berlin, São Paulo, Rosario, and Tirana; as well as nationally in Brooklyn, Chicago, Philadelphia, Baltimore, Kansas City, Cincinnati, and Detroit.

Jason currently resides in Michigan where he is a Full Professor in the School of Art & Design at Eastern Michigan University.

Receptacle: Brute Bursa — “Receptacle combines a reliquary from 10th century Northern Italy with a common 44-gallon Rubbermaid BRUTE trashcan raising questions of context, value, the container and the contained.”

HOME-21-LAT42-LONG-84-003 — “The works created for artifact reflect a deeper investigation into topics that Ferguson has explored throughout his career. Recurring themes in his studio include corporeal existence, the use of monotonous and repetitive action to embody time, and the replication, manipulation, and recontextualization of familiar objects to create uncanny experiences. This collection of small sculptures captures poetic moments from the sheltered and repetitive routine of life during a global pandemic. Each fragment was created by taking hundreds of photographs of seemingly mundane compositions in his home. The process became an act of seeing rather than looking; of paying closer attention to the quiet, often overlooked, arrangements of objects in space. The ruptured, incomplete forms highlight the limitations of software and speak of focus, memory, and loss. This is an ongoing project with no determined end.”
 
Jason Ferguson, Receptacle: Brute Bursa (white), 2026, PLA 3D print.
Jason Ferguson, HOME-21-LAT42-LONG-84-003, 2026, PLA 3D print.
www.jasonjferguson.com/

Address

400 SW 13th Street
Gainesville, FL
32611

Opening Hours

Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 12pm - 4pm

Telephone

+3522733043

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