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That's because they are installing the "Ecstasy" exhibition in the screened and roped-off Schumann Gallery. museums in Connecticut, Missouri and New York. "The work requires a variety of skill sets, and possess many physical and intellectual challenges," he said. "You have to have a good sense of aesthetics so that you capture what the curator and the artist have

in mind. The greatest re-

ward is to see the exhibition come together." Von Ende is a newcomer

to preparator work. He has been trained at the museum. For

most exhibitions, that includes unpacking and packing the pieces, painting the gallery walls, and hanging and lighting the art. Growth has been a distinguishing characteristic since the day 30 years ago when a handful of people gathered at the home of George and Jean Armstrong to discuss their dream of a museum/art center. The result was the formation of the Alliance for the Arts, later renamed the Center for the Arts, which joined with the Vero Beach Art Club to raise funds for a building. That center - the forerunner of today's museum - opened its doors in 1986.After little more than a decade, demands on its

SCRIPPS TREASURE COAST NEWSPAPERS building. More than twice that amount was raised and, by 1999, the center's size had been doubled. Three years later, the facility assumed its current name. Today, the museum's continuing growth  "We have taken huge leaps in the past few years," said Gedeon. "Membership has hit a record of more than6,000. We have outgrown our 247-seat auditorium." We need more space for storage, specifically for our collection and exhibitions area. We also need custom-designed space to bring us in line with professional practice. Frankly, the biggest challenge we face is the size of our facility."  ... that's a thing of beauty. Photo by FRANK KIMMEL Correspondent Vero Beach Museum of Art conservator Jim Liccione spray paints " The End of the Day," an aluminum sculpture by Jane Manus, on the loading dock as part of the museum's ongoing restoration program. The piece will be returned to its permanent place in the sculpture garden. EndBack NextPAGE 2
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.. Following similar rules that guided 20th century artists such as Gerrit Rietveld and Ludwig Mies Van der Rohe in their designs of chairs, Liccione has cultivated his own distinct style that takes form in chairs, tables, plant stands, love seats, beds, room screens, movie props, timepieces and other interior appointments. His craftsmanship results in work that is as appealing to Orchid Island homeowners as it has been to New York set designers.