Traditional Fine Arts Organization

Gallery and Outdoor Evening Exhibitions Project



(above: Stanton Macdonald-Wright, Mural for the Santa Monica Library: Prologue (mountain tops), between 1934 and 1935, 28.5 x 60 inches, Smithsonian American Art Museum. Public domain, via Wikimedia Commons*)


Onsite and/or virtual exhibitions



Traditional Fine Arts Organization (TFAO) is interested in co-sponsorship grants to institutions nationwide planning American representational art special/temporary exhibitions, either web-based and/or in-person, featuring pre-WWII artworks based on topics such as ethnic identity, regionalism, impressionism, realism, portraits, landscapes, decorative arts and crafts, murals, art colonies, and non-journalistic photography.


Orange County, CA

Traditional Fine Arts Organization (TFAO) is also interested in further co-sponsorship grants to Orange County, CA institutions planning American representational art special/temporary exhibitions, either web-based and/or in-person, featuring pre-WWII OC artworks. Of interest are exhibitions based on topics such as impressionism, realism, portraits, landscapes, ethnic identity and non-journalistic photography.  Of special interest are intra-county collaborative and touring exhibits.


For all above exhibitions

For the above exhibitions, TFAO favors grants to institutions whose policy is to archive details of future, current and past exhibitions in the exhibitions section of their websites. Details include online posting of all enriched content which may include: images; recordings of curator interviews and lectures; artist and curator biographies; virtual tours; teacher guides; press releases; media coverage; wall texts; enhanced object labels; illustrated checklists, online brochures, catalogues or gallery guides in flip book format; etc. If an institution has not yet added enriched information about an exhibition at the time of its posting of an upcoming exhibit, yet is committed to add such material when the future exhibition becomes current and retains it when the exhibition is transferred to the past exhibitions section of its website, we will take that into consideration.

We encourage institutions to make online catalogs available to the public without charge, while paper printed copies remain monetized, one reason being that "coffee table" catalogs appeal to an audience largely separate from viewers of online versions: mainly students and teachers. Our Survey of Online Exhibition Catalogues, Brochures, Gallery Guides and Related Materials contains examples freely available to the public. These institutions decided that freely available online brochures and catalogs - optionally locked out for download or content copying - broadly serve the global public, aren't materially detrimental to their net operating income and serve to further their mission statement education component.

We require that all online information posted concerning an exhibition will be at all times available to the public without charge.

Examples of exhibitions with physical and/or online elements co-sponsored by TFAO in 2022 are A Fanciful World: Jessie Arms Botke and Striking Figures: Francis De Erdely

Please see directions for letters of inquiry and further steps leading to project funding. Also see TFAO strategy and preferences.


Outdoor Evening Exhibitions

About TFAO and the project

In early 2022 TFAO issued to UCI Jack and Shanaz Langson Institute and Museum of California Art a challenge grant for production of an evening outdoor exhibit named Plein Air en Plein Air. The content of the multi-year evening exhibit will be artworks from the Irvine collection of California impressionist art. Projection will be on one or more exterior walls of campus buildings. LIMCA's Monthly Muse says: "Plein Air en Plein Air is a site-specific installation conceived by artist Jesse Colin Jackson, professor and associate dean of research and innovation at the Claire Trevor School of the Arts. This work projection maps digital images of select plein air artworks (made outdoors) from LIMCA's collection onto buildings throughout UCI's campus. Digital technology allows us to bring the art to you, the university's 30,000+ students, 25,000+ faculty and staff, plus countless alumni and other visitors."

We encourage institutions to consider evening outdoor projection of pre-WWII American representational artwork exhibitions via loop videos on exterior walls of structures. In locations with evening high pedestrian traffic such as campus buildings, downtown streets, shopping centers and stand-alone buildings, an opportunity exists to both engage new audiences with curated exhibitions and generate further institutional awareness. Desired topics content is the same as for onsite exhibitions.

Issues concerning these types of exhibitions include:

- correlation with temporary or permanent exhibitions curently on display in the galleries, or artworks from the collection not on display

- estimated evening exhibition run's foot traffic engagement, adjusted for darkness hours, rain & fog restraints, seasonal pedestrian patterns, etc.

- image set cycles per available evening, total time per cycle, number of art images and didactic/informatiional elements per cycle

- project costs including purchase vs rental of equipment options

- cost/benefit analysis

- city ordinances

- respect for sight lines of other publics

- subjectivity of suitable reflective luminance (brightness)

- for flat wall surfaces, effects of surface gain, ambient light, image square footage, keystone correction and wall color on luminance

- security of equipment

- availability of adequate electric power

- vehicle traffic distraction

- animal disorientation

- ancillary expenses

Projection mapping technology may also be considered where a wall surface is uneven.

Please see directions for letters of inquiry and further steps leading to project funding. Also see TFAO strategy and preferences.


Art museum outreach: phase one

The Art Museum, Gallery and Art Center index guides viewers to special pages covering Resource Library sources listed by museum name: A-C D-G H-L M-Q R-S T-Z.

Informational letters sent to the following museums based on anecdotal information:


Museum contacts / inquiry date(s) // reply date(s)
Amon Carter Museum of American Art 8/22/22
Melanie Boyle
Director of Development
Autry Museum of Western Heritage 8/23/22
Mr. Cristian Hamilton
Vice President of Advancement
Bakersfield Museum of Art 9/3/22 
Amy Smith
Executive Director
Bowers Museum 6/3/22
Peter C. Keller
Bowers Museum
Butler Institute of American Art  8/23/22
Rebecca Davis
Development Director
Cantor Arts Center, Stanford University 6/1/22 // 6/5/22
Brynn K. Myers
Director of Development
Chazen Museum of Art, University of Wisconsin 8/23/22 // 8/25/22
Ale Nicolet
Director of Development
Claremont Lewis Museum of Art 9/3/22 
Adrienne Luce
Colorado Springs Fine Arts Center Museum 8/20/22 // 8/27/22
Mr. Christiano
Crocker Art Museum  8/20/22
Lial A. Jones
Mort and Marcy Friedman Director
de Saissat Museum, Santa Clara University 7/19/22 // 7/22/22
Lauren Baines
Interim Director
Dixon Gallery and Gardens 8/23/22 // 8/27/22
Chantal Drake
Director of Development and Communications
Founders Gallery at University of San Diego 6/3/22
Derrick Cartwright, PhD
Director of University Galleries
Katherine Powers Noland
Frederick R. Weisman Museum of Art, Pepperdine University 7/19/22
Rebecca Carson
Managing Director
Fresno Art Museum 9/3/22 
Michele Ellis Pracy
Executive Director & Chief Curator
Craig Hamilton Arnold
Membership Director & Donor Relations
The Hilbert Museum of California Art at Chapman University 5/18/22 // 6/1/22
Mary Platt
Intuit: The Center for Intuitive and Outsider Art  8/23/22
Ms. Alison Amick
Senior Manager of Exhibitions and Development & Chief Curator 
Laguna Art Museum 6/1/22 // 7/29/22
Julie Perlin Lee
Executive Director
Long Beach Museum of Art 6/3/22
Ronald Nelson
Executive Director
Long Beach Museum of Art
Los Angeles County Museum of Art 8/22/22
Michael Govan
Mennello Museum of American Art 8/20/22
Ms. Page
Mint Museum 8/22/22
Martha Snell
Grants Manager
Montclair Art Museum  8/23/22
Emily Nso
Director of Development
Monterey Museum of Art 8/20/22
Ms. Madden
Muckenthaler Cultural Center 8/22/22
Farrell Hirsch
Chief Executive Officer
Museum of Ventura County 9/3/22 
Elena Brokaw
The Barbara Barnard Smith Executive Director
New Britain Museum of American Art 8/23/22
Amanda Shuman-Bisson
Associate Director of Development
New Orleans Museum of Art 8/20/22
Ms. Taylor
Oceanside Museum of Art 8/22/22
Maria Mingalone
Executive Director
Orange County Museum of Art 8/22/22
Heidi Zuckerman
Director and CEO
Oakland Museum of Art 8/22/22
Kelsey Coil
Associate Director, Development Operations
Palm Springs Art Museum 9/3/22 
Adam Lerner
JoAnn McGrath Executive Director/CEO
Riverside Art Museum 8/22/22 // 8/22/22
Valerie Found
Director of Resource Development
Ruth Chandler Williamson Gallery, Scripps College  6/3/22
Mary MacNaughton
Gabrielle Jungels-Winkler Director  6/3/22
Saint Mary's College Museum of Art 9/3/22 
Lauren MacDonald
Director, Museum of Art
San Diego Museum of Art 8/22/22
Stacey Loomis
Director of Development
San Luis Obispo Museum of Art 8/22/22
Leann Standish
Executive Director  
Santa Barbara Museum of Art 7/19/22
Ms. Kawaguchi
Tucson Museum of Art 8/22/22
Kelly Wiehe
Director of Communications and External Affairs
USC Fisher Museum of Art / University of Southern California 6/3/22
Selma Holo
Kay Allen
Associate Director
Westmont Museum of Art, Westmont College 6/3/22
Judy L. Larson
R. Anthony Askew Professor of Art History and Director of Westmont Museum of Art
Referral contacts / inquiry date(s) // reply date(s)
California Art Club Gallery  8/22/22
Eire Hoke 
Manager of Exhibitions
The Feitelson Lundeberg Art Foundation  8/22/22
Marian Yoshiki-Kovinick
ArtsOC 7/14/22 // 7/14/22
Rick Stein
Jean Stern 8/22/22
personal email address 
Mid-America Arts Alliance 8/22/22
Margaret A. Keough


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Links to sources of information outside of our web site are provided only as referrals for your further consideration. Please use due diligence in judging the quality of information contained in these and all other web sites. Information from linked sources may be inaccurate or out of date. TFAO neither recommends or endorses these referenced organizations. Although TFAO includes links to other web sites, it takes no responsibility for the content or information contained on those other sites, nor exerts any editorial or other control over them. For more information on evaluating web pages see TFAO's General Resources section in Online Resources for Collectors and Students of Art History.

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