Florida Art History, the Materios, & A Manufactured Controversy

       Generating a little controversy through art, whatever the medium, is quite entertaining, especially in a local arts scene dominated by the mundane.  So it was with much anticipation that I attended the recent exhibition of collector Phil Materio’s compendium of Florida art, as part of the West Palm Beach Downtown Development Authority’s series exhibiting on Clematis in the heart of West Palm Beach.

                “Foul play!”, shouted one pedantic local blogger, the self-styled “FireAnt” of the Broward/Palm Beach New Times.  It seems that this “FireAnt” felt that Materio’s exhibition violated “fair dealing,” as he is the husband of West Palm Beach City Commissioner Shannon Materio, and his exhibition may somehow generate business for Mr. and Mrs. Materio's McMow Art Glass business.

                We at the FAD blog compliment the anonymous “FireAnt” on his dizzying intellect – suggesting that somehow Mr. Materio was given preferential treatment for exhibition is surely worthy of a journalistic prize of some third world country or cow town. Bravo for Holmes-like deduction skills.

                For our purposes, and for our readers, who presumably are concerned more with the aesthetic than with scoring minor political points, we will judge the exhibit on its own merits. Spanning a range from 1890 to the present day, Materio’s collection was an impressive tutorial on the history of certain schools of regional Florida art.

                Included were examples of the Flagler-funded art colony of St. Augustine, the traveling Black artists dubbed the "Highwaymen", and tourist and local art ranging nearly the entire 20^th century.

        Some of the tourist art seemed to almost revel in its saleable tackiness:

      What exactly are we to make of number six in this set of tourist art from the 1920's to the 1940's?  To this critic, #6 calls to mind a nuclear meltdown at Hialeah Park.  Yet while this set of paintings might not exactly make the heart sing, Materio's historical notes explained that such works enabled artists to earn their living from painting and selling their finished products to tourists flooding Florida and searching for a little reminder of paradise to bring home.

      I most enjoyed the earliest paintings from Flagler-era artists in and around St. Augustine.  Flamingos and crocodiles call hotel art to my mind, but depictions of the winding Spanish influenced architecture of St. Augustine represent something more substantial and timeless:

        

      So in totality, Materio's exhibition was an enjoyable immersion into several schools of regional art in Florida.  Whether Materio had an inside track to display his collection (or if the exhibition generated publicity for his art glass business) is of no consequence: hopefully, the manufactured controversy surrounding his exhibition publicized even further - and generated higher attendance at - this impressive array of schools of art we may not have previously been aware of.  If such a refreshing experience is the consequence of benevolent cronyism, we at the FAD blog can only say, "More, please."