Facet Summer 2020

facet Summer 2020

Pierre Daura Curatorial Research Assistant

Adapting in the Midst of COVID-19

Altered Landscapes

Department of Publications Hillary Brown Candice Lawrence

from the director

Design Noelle Shuck

F ifty years ago, many of us protested the war in Vietnam as well as other political and educational policies with which we took exception. At the same time, we were Baby Boomers graduating from college. My friend, who leads the committee to plan this year’s 50th reunion at my undergraduate school, sent me information about the experience of Grinnell College, a similar liberal-arts school. Grinnell’s May 8, 1970, headline on their campus newspaper, Scarlet and Black (!), announced “Grinnell College Closes Doors in Protest.” At my undergraduate school, we actually held commencement in 1970, but some of us protested with peace symbols sewn on our gowns or painted on our mortarboards. Some of my classmates refused to go to the ceremony. Fifty years later both schools canceled once again traditional commencements because of the COVID-19 pandemic. Now it is all happening again, it seems, even at the University of Georgia. We’ve all encountered the now-cliché of “pivoting” to meet new circumstances. In our case at the Georgia Museum of Art, we didn’t pivot. We swerved! Immediately upon closing the university back in March, the staff of the museum began preparing to meet the expectations of our publics to remain relevant — in short, to continue to fulfill our mission of teaching and service through visual-arts education and research. We put exhibitions online, and we had numerous “followers,” for our classes in mindfulness and yoga. We kept our public informed through gallery talks, blogs and even lectures. One lecture by our curator of the African diaspora, Shawnya Harris, was especially effective in bringing the works and career of the neglected African American artist Vertis Hayes to light, in anticipation of a major future monographic show here at the museum. Even as we sheltered, we were busily investigating how to remain true to our mission in the present while planning for a future that, of necessity, will require virtual programming. If nothing else, our reduced budgets will necessitate fewer on-site events at the museum. Another example of our swerving to accommodate students at the university was also virtual but nonetheless real. MFA students at UGA have the requirement of an “exit show” in order to earn their degrees. Since a physical, on-site exhibition was impossible this year, we presented their exhibition online so that their requirements for graduation were fulfilled. We have also used this time to contemplate and to plan for our future. All of us at the university and museum face a new reality — a much better expression of experience for me than the overworked and inaccurate description of a “new normal.”

International groups and certainly museum organizations in the United States are grappling with how to respond to COVID-19 and to the demands of our constituents to make the museum a bulwark against injustice and racism. The French say, “Plus ça change, plus c’est la même chose,” which means “the more things change, the more they stay the same.” For us, and for our colleagues on the faculty and in our sister institutions at museums around the globe, that phrase rings hollow. Change cannot continue to be “the same thing” any longer. We must develop new programs, new means of delivery, new attitudes toward means of inclusion in our planning. We cannot ignore the social—even political— components of our work, and we must strive to fight the inequities of racism and all other “isms” that include hatred or fear in their definitions. After all, homophobia and misogyny as well as racism all have roots in fear as well as in hatred. We at the museum used our time away from our building and away from each other to strategize, to develop new programming and to contemplate our future with reduced human and financial resources (while remaining active in quarantine). I am proud of what we accomplished. I know that the staff will consider carefully how we proceed into this new reality and that we accept and grow with the challenges ahead. As I have witnessed over the past 30-plus years, I am encouraged in the belief that you, our public, will help us — will “follow us” in cyber terms — as we bring this museum firmly and squarely into the 21st century.

Georgia Museum of Art University of Georgia 90 Carlton Street Athens, GA 30602-1502 www.georgiamuseum.org

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HOURS At press time, the museum is

closed to the public indefinitely due to the COVID-19 pandemic. Please visit our website for online exhibitions, Art at Home projects, our collections database and more.

The Museum Shop is accepting online orders.

William Underwood Eiland, Director

contents

Farewell, Brenda Wade

New Acquisitions

Camera Roll

Online Exhibitions

The Art of Giving: Meet Julia Kilgore

Farewell, Brenda Wade

New Acquisitions

Adapting in the Midst of COVID-19

Apply to be a Docent!

Calendar

In the Shop

Museum Notes

Gifts

Camera Roll

The University of Georgia does not discriminate on the basis of race, sex, religion, color, national or ethnic origin, age, disability, sexual orientation, gender identity, genetic information or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-administered programs; or employment. Inquiries or complaints should be directed to the Equal Opportunity Office 119 Holmes-Hunter Academic Building, University of Georgia, Athens, GA 30602. Telephone 706-542-7912 (V/TDD). Fax 706-542-2822. https://eoo.uga.edu/

On the front cover: Giovanni Lanfranco (b. Parma, 1581; d. Rome, 1647), “Saint Cecilia” (detail) ca. 1620 – 21. Oil on canvas, 30 5/8 x 42 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

On the back cover: Delicate works of art covered with paper to protect them from light, waiting for you.

Mission Statement The Georgia Museum of Art shares the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as a repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art.

exhibitions

The following exhibitions have moved online. Click the links or visit our website to see them.

Kevin Cole: Soul Ties This exhibition features recent works from Atlanta-based Black artist Kevin Cole. His work often incorporates neckties, which he uses to symbolize African American experiences with fashion, while also acknowledging the painful history of lynching in the African American community. In 1996, Cole was named Georgia State Artist of the Year recipient, and he was also commissioned to create the Coca-Cola Centennial Olympic Mural that same year. His work has been included in more than 3,600 collections across the United States. Cole was the 2020 Larry D. and Brenda A. Thompson Award recipient.

Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art

(top) Kevin Cole (American, b. 1960), “Spiritual Celebration with Miles, Dizzy and Coltrane,” 1992. Mixed media, 85 x 125 inches. Collection of the artist. (bottom) Kevin Cole (American, b. 1960), “When My Scars Are My Testimony,” 2018. Aluminum, approx. 115 x 125 inches. Collection of the artist.

Kevin Cole (American, b. 1960), “Faith N Determination,” 2016. Mixed media, 40 x 30 x 8 inches. Collection of the artist.

exhibitions

Altered Landscapes: Photography in the Anthropocene

Check out our website’s online exhibitions page for new additions.

In the photographs gathered in this exhibition – all drawn from the Georgia Museum of Art’s permanent collection – humanity’s impact on the natural landscape is undeniable, even if human figures are not immediately visible. Beauty and pathos go hand in hand. These images also suggest how photographs can be controlled or altered, showing the world as their makers want us to see it.

Curator: Jeffrey Richmond-Moll, curator of American art

William Greiner (American, b. 1957) “TV in Bayou,” 1993 (printed 2001) C-print Georgia Museum of Art, University of Georgia; Gift of the artist GMOA 2001.61

The Monsters Are Due on Broad Street: Patrick Dean

Cartoonist Patrick Dean drew a weekly strip for Athens’ alternative newsweekly, Flagpole magazine, from 1997 to 2006, as well as many covers. Influenced by Jack Davis, George Grosz, Tomi Ungerer and early Mad Magazine, he populates his scenes with a wide variety of characters interacting with one another, capturing a broad range of Athens’ population. Jokes abound, and monsters are humanized as much as people are monsterfied. In 2018, Dean was diagnosed with amyotrophic lateral sclerosis (ALS), also known as motor neurone disease (MND) or Lou Gehrig’s disease. He continues to draw, despite his increasing difficulties doing so. This small retrospective begins with his student work at UGA, from which he graduated in 1998, and ends with his recent comics about illness and mortality.

Curator: Hillary Brown, director of communications

Patrick Dean, page from “Monster Opera” thesis project, 1998. Pen, ink and markers on paper. Collection of the artist.

Maltby Sykes (American, 1911 – 1992), “Service Shoes,” 1944. Lithograph on wove paper, 7 3/4 × 9 1/8 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the bequest of Leighton Ballew. GMOA 1997.97.

In Dialogue: Cecilia Beaux’s “Twilight Confidences”

This exhibition marks the first in a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around a single work of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with works of art by influential peers, related sketches and studies or even objects from later periods. The inaugural presentation of “In Dialogue” highlights Cecilia Beaux’s “Twilight Confidences” — an important recent addition to the museum’s collection and the artist’s first major exercise in plein-air painting, which she produced during a summer in the French seaside village of Concarneau. In the exhibition, “Twilight Confidences” appears alongside three studies for the picture in various media and techniques (all on loan from the Pennsylvania Academy of the Fine Arts), in order to show the rigorous yet experimental process Beaux followed in producing this important picture. Although Beaux would not paint out-of-doors again after leaving France in 1889, the lessons of “Twilight Confidences” — light and color as both constructive and expressive elements in painting, and white as a container of all colors — would inform her figure paintings for decades afterward.

Drama and Devotion in Baroque Rome

Rome has long been a key destination for artists. At the beginning of the 17th century, painters from across Europe flocked to the Eternal City to see the revolution caused by painter Michelangelo Merisi da Caravaggio (1571 – 1610). Everyone copied his stark contrast of light and dark, powerful realism and dramatic sense of staging. The works presented in this exhibition, all from the Museum and Gallery at Bob Jones University, celebrate how Caravaggio shaped the Italian Baroque and galvanized numerous followers. One of the main highlights is a Crucifixion by Peter Paul Rubens, who spent more than eight years in Italy.

Curator: Jeffrey Richmond-Moll, curator of American art

Cecilia Beaux (American, 1855–1942), “Twilight Confidences,” 1888. Oil on canvas. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the William Underwood Eiland Endowment for Acquisitions made possible by M. Smith Griffith and the W. Newton Morris Charitable Foundation. GMOA 2018.117.

Curator: Nelda Damiano, Pierre Daura Curator of European Art

Peter Paul Rubens (b. Siegen, 1577; d. Antwerp, 1640), “Christ on the Cross,” ca. 1610. Oil on panel, 45 x 30 3/4 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

Recognizing Artist Soldiers in the Permanent Collection

Every summer, the Georgia Museum of Art participates in the National Endowment for the Arts’ Blue Star Museums program, which offers free museum admission to military families from Memorial Day to Labor Day. This year’s version of the

program was canceled due to COVID-19, so we created an online exhibition focusing on artists’ military service and how it related to their art. This exhibition is a living thing that will grow and change as needed.

The Art of Giving:

Meet Julia Kilgore

“ I would say that my original interest in art stems from its visual prowess and its ability to tell stories both in terms of the history they hold and their visual qualities.”

Julia Kilgore has joined the museum staff as Pierre Daura Curatorial Research Assistant.

She was previously a provenance research assistant and a museum host assisting with special events and other museum experiences at the Sidney and Lois Eskenazi Museum of Art at Indiana University (EMA). While at the EMA she also assisted with educational initiatives as a volunteer. Kilgore earned degrees in art history and library science from Indiana University Bloomington. Her love of art started at a young age. “When I was young, I was always producing art in some form or another,” said Kilgore. “Wherever I went, you would always see at least one of three things with me: a book, my camera or a drawing medium of some sort. At the root of it all, however, I would say that my original interest in art stems from its visual prowess and its ability to tell stories both in terms of the history they hold and their visual qualities.” It’s those stories that act as muses for her, but Kilgore finds herself magnetized the most by connections. “The interaction between people and the arts inspire[s] me most of all,” she shared. “[Artists’] ability to share that love and devotion to their craftmanship, relate their stories and the ability to inspire others through it is what I love most about working in cultural insti- tutions, especially museums. But more than that, it’s the people who come to view and learn about the art, especially younger children and how they interact with art, that inspire me.” Kilgore’s research interests range from the Hudson River School in American art to baroque painters like Rembrandt, Peter Paul Rubens and Nicholas Poussin. She also admires Pierre Auguste Cot and

William-Adolphe Bouguereau’s works, as well as Japanese Ukiyo-e prints. She prefers the latter to include “scenes from history and folk tales as well as travel scenes and landscapes.” Some of Kilgore’s past research areas have also deepened her topics of interest. “My research for Indiana University’s Lilly Library on Gustave Doré has inspired me to con- tinue to explore the world of 19th-century literary illustration,” said Kilgore. “My work in conducting provenance research at the EMA has helped me develop a curiosity in the history of collecting and exhibitions, and the intersection of modern art and politics during the World War II.” In her new role at the Georgia Museum of Art, Kilgore is looking forward to melding her previous experiences with new opportunities. “I’m thrilled that this position combines multiple areas of museum-related work that I’ve done in the past whether it be research, curatorial, education and archival-based work. It’s exciting that I will be able to continue to delve into all of these facets in one job.” As the Pierre Daura Curatorial Research Assistant, she is enthusiastic about explor- ing the archives. She stated, “The amazing thing about working with archival material is that you get to be immersed in the prima- ry source material and, to a large extent, explore the world of that artist from their

perspective as well as those contemporane- ous with them.”

People may be surprised to know that Kilgore is a Colorado Springs native and a triplet. Though she and her siblings — a sister and a brother — are not identical, she and her sister share a twin telepathy despite now living thousands of miles apart. Kilgore recounted the two of them simultaneously wearing the same colors or eating the same foods on the same day. She also shared an- other interesting tidbit about her childhood: “I grew up in prairieland Colorado with ostriches for neighbors; fun fact: they hate the color red, and what was the color of our family's van? Red, of course.” Kilgore has spent much of her life in the Midwest, including time in Michigan and Indiana. In addition to her new position at the museum, she is excited to experience Athenian culture. At a time of reduced state budgets, the museum was able to welcome Julia thanks to the generous support of Martha Daura and the Daura Foundation. Martha Daura has been a steadfast patron of the Georgia Museum of Art from the transformative gift in 2002 of her father’s work and archival material, Catalan-American artist Pierre Daura (1896-1976), to ongoing special projects, exhibitions and acquisitions. She is truly an expert in the art of giving.

Farewell, Brenda Wade

“

Time goes by quickly when you love what you are doing, and money is not as important as being happy in your work.”

Brenda Wade, the Georgia Museum of Art’s administrative assistant and receptionist, retired at the end of April, after more than 23 years working here. She brought an easygoing, friendly and helpful nature to all she worked with, and she was never shy about sending around a well-timed joke, story or pick-me-up when needed. Wade originally hails from West Virginia and grew up in the southern part of the state. After she and her husband married and lived in Atlanta, Georgia, for a few years, the couple relocated to Athens. Wade was reluctant initially, but she eventually fell in love with the Classic City. One of the draws was working at the museum. Not only did it allow her to be surrounded by art and artists, but it also gave her opportuni- ties to contribute her own works. “I was able to do two of my favorite things: talk and make art,” said Wade. “When I started there was no Internet presence, so the telephone was the best way to learn about exhibitions. I later got to make the art for the front marquee to attract visitors inside.” Wade also had some of her works of art featured in the exhibition “Nature in Art and Poetry,” in 2004. She recalls this as one of her proudest accomplishments, both per- sonally and professionally. “Carissa DiCindio [the museum’s former curator of education]

curated a show and asked me to do a series of poetry in calligraphy to accompany the works by women artists,” said Wade. “It was the first female-only exhibition I had ever seen. Being part of that really meant so much to me as an artist. I cherish that memory.” Over the years, Wade has assisted with count- less museum events and met a slew of people along the way. Each event presented a new op- portunity to connect with different people over a mutual appreciation for art. Wade treasured these interactions. “I think some of the best memories have been the people I met and worked with over the years, some who became real friends,” reminisced Wade. “Working with volunteers on Elegant Salute and making Friends like Smitty Griffith, Ann Scoggins and Michael Montesani; working on the Green Symposium and getting to be friends with Dale Couch, David and Linda Chesnut and Peggy Galis. [There were] so many more fun and exciting people — coworkers, current and past, who supported me; students who have influenced my experience there are priceless; the Wednesday library ladies; the docents and all of the art loving volunteers who help to make the place run.” She enjoyed these experiences so much that they are one of two aspects she’ll miss the most about the museum. She said, “being paid to come to a museum” is the other thing she’ll miss the most. “

Two of her favorite exhibitions the museum showed were the National Gallery of London exhibition and the Louis Comfort Tiffany exhibition. When reflecting on lessons she learned while working at the museum, she noted, “Time goes by quickly when you love what you are doing, and money is not as important as being happy in your work.” During retirement, Wade and her husband plan to relocate to West Virginia, where they will restore her childhood home. She also has a few art projects in mind and hopes to scratch plein air painting and horseback riding off her bucket list. Wade said if she had to sum up her career at the museum in one word, it would be “remarkable.” Here’s to you, Brenda Wade, and hoping you’ll enjoy a little more bluegrass music and billiards during retirement.

New Acquisitions

In this untitled work, Blanche Lazzell spreads a mosaic-like series of brushstrokes across her canvas, pro- ducing a vibrant vision of brilliantly blooming flowers nestled in a small drinking glass and a large cream and blue vase. Born in Maidsville, West Virginia, Lazzell studied in South Carolina, at West Virginia University and at the Art Students League in New York City. In 1912, Lazzell sailed for Europe to continue her training. Her immersion in the modern art world of early-20th-century Paris — particularly her exposure to post-impressionists like Paul Cézanne as well as pioneers of cubism like Fernand Léger and Albert Gleizes — would transform her work, inspiring the abstraction, slightly uptilted perspective and exuberant color palette of her many still lifes. Painted in the 1940s, this work harkens back to this earlier period in France, but it also points to her parallel efforts as a printmaker. Lazzell was one of the founding members of the Provincetown Printers in Massachusetts, where she likely pro- duced this painting. The strong blue outlines of the flowers, leaves and vases reflect her modernist compositional approach to the white-line woodcut technique that she would help make popular in the United States.

Blanche Lazzell (American, 1878 – 1956) Untitled (still life), ca. 1940s Oil on canvas, 19 1/2 x 23 1/2 inches

Rowena Bradley (American, Cherokee, 1922 – 2003) Double-weave basket, 1997 Rivercane with bloodroot and butternut dyes Georgia Museum of Art, University of Georgia; Gift of Dr. Janice Simon in honor of Dale Couch and his many years of service to the museum as curator of decorative arts GMOA 2019.310

Georgia Museum of Art, University of Georgia; Museum purchase in memory of Dorothy Alexander Roush with funds provided by the Dorothy Alexander Roush Museum Acquisition Endowment and the William Underwood Eiland Endowment for Acquisitions made possible by M. Smith Griffith GMOA 2019.268

Rowena Bradley created this double-weave Cher- okee basket with diagonal clusters of rivercane dyed with butternut and bloodroot. The design is reminiscent of the Flowing Water pattern. The double-weave technique, a mark of a seasoned basket weaver, is created by weaving one basket inside of another. Some of these baskets are woven tightly enough to hold water. A lifelong weaver, Bradley wove her first basket at the age of six, under the guidance of her mother, Nancy Bradley, and her grand- mother Mary Dobson.

Beverly Buchanan is known for her iconic shack paintings and sculptures, and the Georgia Museum of Art recently added another to its collec- tion. Riddled with small buttons along the side panels and front porch, this red house symbolizes the tougher side of the Peach State. The Georgia license plate screwed atop of the roof keeps with the color scheme and provides a sense of place for the state where she lived for several years. Buchanan studied science and medicine, earning master’s degrees in parasitology and public health from Columbia Univer- sity. She then decided to focus on art, enrolling in the Art Students League in New York before making her way back to the South in 1977. Buchanan resided in Athens from 1987 to 2003. She received several awards, including the National Endowment for the Arts fellowship in sculpture and the Lifetime Achievement Award from the Women’s Caucus for Art.

Beverly Buchanan (American, 1940 – 2015) “Shot Gun House,” 1992 Mixed media 13 x 14 x 8 1/2 inches Georgia Museum of Art, University of Georgia; Gift of Ann Oliver in memory of her husband Ted Oliver. GMOA 2019.321

Adapting in the Midst of COVID-19

T he world is experiencing surreal and unprecedented times due to the spread of COVID-19, but the Georgia Museum of Art has evolved during the pandemic. In keeping with our aim to remove accessi- bility barriers by providing art, education and inspiration for everyone, we have upped our digital presence and provided hands-on ways to interact with art even while our doors are closed. To date, we have added several virtual exhibi- tion tours such as “Drama and Devotion in Ba- roque Rome” and “The Monsters Are Due on Broad Street: Patrick Dean.” We also provide daily inspiration via our Instagram account. Our blog is publishing on a more frequent schedule, with guest writers covering their favorite works of art, art inspired by or related to art from the museum and profiles. We have virtual yoga in the galleries and Morning Mind- fulness (both presented via Zoom), as well as online versions of our Studio Workshop, Teen

In keeping with our aim to remove accessibility barriers by providing art, education and inspiration for everyone, we have upped our digital presence and provided hands-on ways to interact with art even while our doors are closed.

Studio and Toddler Tuesday programs and educational Art at Home projects to engage museum patrons of all ages and levels. Our YouTube account has been publishing new content weekly, providing glimpses of the mu- seum from afar. We’ve created and participat- ed in museum-related games, allowing you to feel mentally stimulated and engaged. The museum is not new to providing inspira- tion online. Our website already hosted down- loadable educational packets and materials, including lesson plans that follow Georgia Performance Standards. But maintaining our mission during an indefinite closure propelled us to further expand our efforts both on and offline. Our education staff has been creat- ing art kits for Clarke County School District

students, which they’ve worked with CCSD to distribute at free meal pick-ups, and we made and wrote postcards for people in senior com- munities, who are feeling particularly isolated at this time, to help them feel more connect- ed. We’ve donated surplus PPE to folks who needed it and worked with other local organi- zations to survey artists about their needs and promote resources that might help them. Though we cannot physically be together during these times, we can still share our love of art. Check out our website and social media to stay up to date on virtual tours, lectures and events as well as for updates on our reopening.

Apply to Be a Docent! A docent is a person who leads museum tours and facilitates engagement with works of art. A Georgia Museum of Art docent is open to new ideas, curious and interested in joining a group that provides a welcoming place to learn and grow in your under- standing of art and museums.

We’re looking for art lovers and life-long learners who want to:

• Learn more about exhibitions at the museum • Share their passion for art

• Meet museum visitors of all ages • Contribute to the Georgia Museum of Art community

New docents are accepted every summer! Each semester, docents can look forward to attending training classes and leading tours for all ages. No previous background in art or education is required. For more information, please contact Emily Hogrefe-Ribeiro at ehogrefe@uga.edu.

Calendar

Events are subject to change. Keep an eye on our website/social media channels for updates about virtual tours and video gallery talks by museum staff. All events on Zoom require sign up. Family Day and Toddler Tuesday can be found in the Art at Home section of our website: https:// georgiamuseum.org/learn/art-at-home/

Virtual Family Day: Everyday Art Saturday, August 15, 10 a.m. – noon During the 1930s, artists became more interested in capturing the everyday experi- ence of Americans living all over the country in a style named social realism. Check out examples of these works of art from the museum’s permanent collection, and then make your own inspired-by-everyday-art collages. Virtual Family Day includes an Art at Home worksheet, games online and an art activity kit that can be ordered from Athens’ own K.A. Artist Shop. Virtual Art Cart (After Class) Wednesday, August 19, 3 – 4:30 p.m. Drop in online and explore representations of community in the museum’s permanent collection. This free after-school program offers “choose your own adventure”–style gallery activities, art projects and games that explore a different theme each month. Art Cart (After Class) is a program the whole family can enjoy at their own pace. Virtual Toddler Tuesday: Water is Wet! Tuesday, August 25, 10 a.m. Enjoy story time and looking at art in the galleries online, plus an Art at Home activity just for the little ones. Check out the painting “Grand Canal, Venice” during story time and then head outside to make your own art using water. This free program is designed for families with children ages 18 months to 3 years. Virtual Family Day: The Thompson Collection of African American Art Saturday, September 12, 10 a.m. – noon In 2012, collectors Larry and Brenda Thomp- son donated 100 works by African American artists to the museum. This major collection includes paintings, prints and sculpture dating from the 1890s to the present. Check out examples of these works of art in the museum permanent collection and create your own family centered collage based on “7 Steps” by Radcliffe Bailey. Virtual Family Day includes an Art at Home worksheet, games online and an art activity kit that can be ordered from Athens’ own K.A. Artist Shop. For more information email sagekincaid@uga.edu. Virtual Art Cart (After Class) Wednesday, September 16, 3 – 4:30 p.m. Drop in online and explore abstraction in the museum’s permanent collection and tempo- rary exhibitions. This free after-school program

offers “choose your own adventure”–style gallery activities, art projects and games that explore a different theme each month. Art Cart (After Class) is a program the whole family can enjoy at their own pace. Teen Studio via Zoom: Prints on Paper Thursday, September 17, 5:30 – 7:30 p.m. Teens ages 13 – 18 are invited to this studio-based Zoom workshop led by local artist and educator Kristen Bach. The museum has an incredible collection of printed works of art on paper. Check out these rarely seen treasures via the museum’s database, and then carve and print your own works of art. This program is free, but art

Youth & Family Programs

Family Day programs are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota and the Friends of the Georgia Museum of Art. Teen Studio via Zoom: Patrick Dean: Comic Strip Monsters studio-based Zoom workshop led by local artist and educator Kristen Bach. Explore the art of Athens cartoonist Patrick Dean in a virtual exhibition on the museum’s website, and then create your own cartoon monster. This program is free, but art activity kits are limited. Please email sagekincaid@uga.edu to reserve a kit. Thursday, July 9, 5:30 – 7:30 p.m. Teens ages 13 – 18 are invited to this

activity kits are limited. Please email sagekincaid@uga.edu to reserve a kit.

Virtual Toddler Tuesday: Leaves and Trees Tuesday, September 22, 10 a.m. Enjoy story time and looking at art in the galleries online, plus an Art at Home activity just for the little ones. Check out a magnifi- cent Hudson River School landscape during story time and then paint your own nature-in- spired treasures. This free program is designed for families with children ages 18 months to 3 years.

Workshops & Classes

Virtual Family Day: Art for Everyone Saturday, July 18, 10 a.m. – noon

Morning Mindfulness (via Zoom) Friday, July 10 and 24, August 7 and 28, September 11 and 25, 9:30 a.m. The Georgia Museum of Art invites you into the galleries via Zoom to participate in free guided mindfulness meditation sessions, held every other Friday. Sessions include a variety of instructor-led meditation, movement and mindfulness techniques. No experience neces-

Alfred Heber Holbrook started the museum in 1948 with his donation of 100 works of art. Holbrook believed in “art for everyone” and drove all around Georgia sharing art. Check out some of the first works of art in the permanent collection, and then make your own art to mail to someone special. Virtual Family Day includes an Art at Home work- sheet, games online and an art activity kit that can be ordered from Athens’ own K.A. Artist Shop. Virtual Toddler Tuesday: Shape Search Tuesday, July 28, 10 a.m. Enjoy story time and looking at art in the galleries online, plus an Art at Home activity just for the little ones. Check out Charles Biederman’s large and colorful abstract painting during story time and then trace and name the shapes you find at home. This free program is designed for families with children ages 18 months to 3 years.

sary. Registration is required; email sagekincaid@uga.edu to register.

Yoga in the Galleries (via Zoom) Thursday, July 16 and 30, 3 p.m., August 13 and 27, and September 17, 6 p.m. Join us for a yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. Email callan@uga.edu or visit our website to sign up.

in the shop The Museum Shop is a great place to find all kinds of jewelry, toys and other unique gifts, but our pride and joy will always be our selection of award-winning publications created to accompany Georgia Museum of Art exhibitions. These catalogues span decades of offerings in our galleries across a wide variety of artists and styles, from decorative arts to contemporary works on paper. If you missed an exhibition, want to relive your visit or just love the works that were included, now is a great time to visit our online store and order a copy or two of our full-color compendiums. These are a few of our favorites, but you can find a full list of all available titles at georgiamuseum.org. As always, every purchase goes to support museum programming.

Studio Workshop: “Nature to Abstraction in Watercolor” Thursday, September 3, 10, 17 and 24, 6:30 – 8:30 p.m. Join Athens-based artist and educator Erin McIntosh for a four-part series of online, studio-based courses that will explore abstrac- tion and watercolor through a variety of approaches and techniques. This workshop is open to artists of all levels and experience, from enthusiastic beginners to more seasoned practitioners. The sessions will draw inspiration from the museum’s collection and special exhi- bitions, including works from the archives and many not currently on display. The cost of the course is a $25 materials fee, which will cover all necessary supplies for the four sessions. Space is limited and registration is required; please email callan@uga.edu to sign up.

Before 1948: American Paintings in Georgia Collections (1999) $40.00

Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection (2017) $40.00

Exuberance of Meaning: The Art Patronage of Catherine the Great (2013) $50.00

Bloom Where You’re Planted: The Collection of Deen Day Sanders (2018) $50.00 Coming Home: American Paintings, 1930 – 1950, from the Schoen Collection (2005) $45.00

Amazing Grace: Self-Taught Artists from the Mullis Collection (2007) $48.00

Museum Notes

Board of Advisors B. Heyward Allen Jr.* Rinne Allen Amalia K. Amaki** June M. Ball Linda N. Beard Karen L. Benson** Richard E. Berkowitz Sally Bradley Jeanne L. Berry Devereux C. Burch* Robert E. Burton** Debra C. Callaway** Shannon I. Candler*

Deborah L. O’Kain Randall S. Ott Gordhan L. Patel, chair Janet W. Patterson Christopher R. Peterson Kathy B. Prescott Rowland A. Radford Jr.* Annemarie S. Reynolds*** Margaret A. Rolando* Julie M. Roth Alan F. Rothschild* Jan E. Roush Bert Russo Sarah P. Sams**

Michael Lachowski

D. Jack Sawyer Jr.* Helen H. Scheidt** Henry C. Schwob** Mr. Ronald K. Shelp Margaret R. Spalding Dudley R. Stevens Carolyn Tanner**

Faye S. Chambers Harvey J. Coleman Sharon Cooper James Cunningham Martha Randolph Daura*** Annie Laurie Dodd*** Sally Dorsey** Howard F. Elkins Judith A. Ellis Todd Emily James B. Fleece Phoebe Forio*** John M. Greene** Helen C. Griffith** Barbara Guillaume Judith F. Hernstadt Marion E. Jarrell** Jane Compton Johnson* George-Ann Knox* Shell H. Knox*

Georgia Humanities awarded the Georgia Museum of Art with a Georgia Humanities CARES Act Emergency Operating Grant to help with funding during the COVID-19 era.

Anne Wall Thomas*** Brenda A. Thompson, immediate past chair William E. Torres C. Noel Wadsworth* Carol V. Winthrop Gregory Ann Woodruff Ex-Officio Lacy Camp Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner Marisa A. Pagnattaro

Michael Lachowski has been elected as a board member for the Georgia Association of Museums.

Elizabeth Howe and Austin Marable. Photograph by Twin Hearts Photography.

The Georgia Association of Museums honored the Georgia Museum of Art with exhibition of the year for Richard Hunt: Synthesis . The Athens Award Program selected the Georgia Museum of Art for the 2020 Best of Athens Awards in the category of Local Business. In addition to its frequently updated online collection database , the Georgia Museum of Art collection is now viewable online via Google Arts and Culture . More than 160 copyright-cleared works of art in the museum’s collection will be available as well as an online exhibition of the works donated by C. Herman and Mary Virginia Terry.

Jana McGee has retired from the museum after serving as an accounting assistant for nearly 11 1/2 years.

Madison Hogan , education programs assistant, has left the museum to earn her masters degree in museum studies at the University of Colorado in Boulder. Penske McCormack , assistant registrar for the Parker Collection, has left the museum to continue museum studies at the University of Denver.

Andrew Littlejohn D. Hamilton Magill David W. Matheny, chair-elect Mark G. McConnell Marilyn M. McMullan Marilyn D. McNeely Ibby Mills C.L. Morehead Jr.* David Mulkey Carl. W. Mullis III* Betty R. Myrtle** Gloria B. Norris***

*Lifetime member **Emeritus member ***Honorary member

Museum preparator Elizabeth Howe married Austin Marable at the end of May.

In honor of William Underwood Eiland by Lynn & Tim Callahan, Anne & Bill Newton, and Gloria Ricks Taylor In honor of Fran Hilsman by Meika & Hamilton Hilsman In memory of Harvey Cabaniss by William Underwood Eiland

In memory of Grace Eubank by William Underwood Eiland and Brenda & Michael Wade In memory of Lee Hatmaker by William Underwood Eiland In memory of Glen Kaufman by William Underwood Eiland

In memory of Beverly Pepper by William Underwood Eiland In memory of Reita Irle Rivers by William Underwood Eiland In memory of Julia Sanks by William Underwood Eiland, Mary Fletcher, Virginia & Joseph Knappenberger, Robert Sanks, Ruthann Walton and Geraldine Williams

Gifts

The Georgia Museum of Art received the following gifts between January 1, 2020, and March 31, 2020:

Camera Roll

For more photos, visit us on Flickr, Facebook or Instagram.

Black History Month Dinner and Awards Celebration

Family Day

Patrick Dean: The Monsters are Due on Broad Street

90 Carlton Street Athens, Georgia 30602-1502 www.georgiamuseum.org

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