FACET
Table of Contents
Director’s Leadership Council B. Heyward Allen Jr. Lacy Middlebrooks Camp Todd Emily Andrew F. Littlejohn D. Hamilton Magill III, chair David W. Matheny Isobel Parker Mills Carl W. Mullis III William R. Newton Christopher R. Peterson, past chair R. Lee Robinson, chair-elect John L. Shlesinger Sara D. Shlesinger Brenda A. Thompson Carol V. Winthrop Friends Advisory Council Greta Covington Cornelya Dorbin Susanna Drennen Bree Hayes, past chair Tiffany Hines Courtney Khail Christina LaFontaine, chair-elect
03 From the Director 04 On View 18 Student Gallery Teachers Bridge Campus and Community 20 A Q&A with Rachel Hayes 26 Conservation Up Close: Larry Shutts Restores Joan Mitchell’s Painting 28 A Refreshed Website for a Refreshed Museum 30 Museum Launches Initiative for Adults with Disabilities 32 Acquisition Highlights 36 Patrons of the Georgia Museum of Art 38 FY25 by the Numbers 40 Museum Notes 41 In the Shop 42 Calendar
Arthur Allen Lewis (American, 1873 – 1957), “Swinging the Gate,” 1936. Color woodcut, 10 × 7 1/2 inches. Georgia Museum of Art, University of Georgia; The Mullis Collection, Gift of Carl and Marian Mullis. 2002.69. Front cover Robert T. McCall (American, 1919 – 2010), “Launch,” from “The Apollo Story,” March – July 1973. Lithograph, 30 × 22 7/16 inches. Georgia Museum of Art; University of Georgia; Gift of Dr. Byron C. Butler. 1979.3987. Back cover John Biggers (American, 1924 – 2001), “Star Gazers,” 1988. Color lithograph, 21 × 12 1/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Larry D. and Brenda A. Thompson. 2016.37. Editorial Hillary Brown and Jessica Smith Design Noelle Shuck Publications Intern Jisu Stanfield
Hours Tuesday and Wednesday 10 a.m. – 5 p.m. Thursday 10 a.m. – 9 p.m. Friday and Saturday 10 a.m. – 5 p.m. Sunday 1 – 5 p.m. Closed Mondays. Museum Shop closes 15 minutes prior. Free tickets required. Shanell McGoy Sherrie Olejnik Mary Prickett Lauren Schlesinger, chair Julia Slatcher Mary Anna Terrell Marilyn Wolf-Ragatz Amy Wraga
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 administrationsof educational policies, programs or activities; its admissions 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.
When I first arrived at the Georgia Museum of Art in the summer of 2023, I was delighted by all the good work that had already been done and even more excited by all that was yet to come. But I also knew that to continue achieving great things, we would need to take a cue from the students around us. In a university environment, one is fortunate to be surrounded by learners. Students are a constant source of inspiration. Their curiosity and drive serve as a tangible reminder of the importance of continuous learning. Although young undergraduates are at the beginning of their adult learning journeys, those of us who have spent more time in our fields would do well to remember the joys and challenges that come with learning and growth. Continuous learning — a lifelong commitment to curiosity and self- improvement — is essential in today’s rapidly evolving world, particularly in higher education and museum work. It fosters innovation, adaptability and openness to change, qualities that help us meet new challenges with creativity and confidence. At its core, continuous learning deepens our understanding of the world and of ourselves, encouraging critical thinking and resilience. By embracing this mindset, we ensure that growth does not end with formal education but continues throughout our lives. At the museum, we strive to embody this spirit of continuous learning in everything we do. For us, it means deepening our understanding of ourselves, finding the best ways to
engage those who already connect with us and discovering how to reach and welcome new audiences in the future. To that end, we commissioned several studies to better understand what our students and community members think about our exhibitions, teaching and public programs. The insights we’ve gained are already shaping how we approach our work — and they remind us that learning, reflection and adaptation are at the heart of meaningful progress. • You greatly appreciate free admission, especially during tough economic times. • You’re hungry for real knowledge and in-person experiences. • Access to art from different time periods, genres and cultures is critical. • You’re not all the same. Some of you want to visit on weekends, with your families. Others prefer to wander on weekday afternoons, by themselves. You want a variety of experiences at different times and on different days. Some of these points may seem obvious, but we don’t get this data unless we ask, and it will inform our strategic planning process as we get ready for reaccreditation from the American Alliance of Museums this year. Thank you for sharing with us and helping us continue to learn. David Odo Director
On vIEw We, Too, Are Made of Wonders January 24________June 28, 2026
Arthur Tress (American, born 1940), “Shadow: The Search, NY,” 1974. Gelatin silver print, 7 1/2 × 7 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of J. Patrick and Patricia A. Kennedy. 2020.2256.
This exhibition takes inspiration from Ada Limón’s poem “In Praise of Mystery,” which she wrote for NASA’s Europa Clipper mission.
“We, Too, Are Made of Wonders” brings together historic, modern and contemporary works of art from our permanent collection that explore and respond to the night sky, outer space, and the vast universe. Poems will be guiding lights throughout the exhibition to foreground humanity’s collective interest in the sky and the stars. These poets offer avenues of reflection and creative response. Artists’ books from the University of Georgia’s Hargrett Rare Book & Manuscript Library invite visitors to consider celestial inspiration, imagination and composition. Artists Dorothy Hood, Margaret Evangeline, Mildred Thompson and Boramie Ann Sao use vibrant colors and dynamic movement to explore abstract theories, cosmological mysteries and scientific laws. Lamar Dodd and Robert McCall observe NASA space missions. They respond with artworks that capture the cultural significance of the space exploration program. Photographers Arthur Tress and Mark Steinmetz provide multiple vantage points to think about the night sky and the miracle of flight. John Biggers, Helen Lundeberg and Gene Davis offer unique ways of seeing and remind us to walk outside, look up and stargaze. Moving through a galaxy of connections, these artists and poets encourage us to explore, be curious and engage with a sense of awe and wonder at the world around us. “We, Too, Are Made of Wonders” carves out time and space for us to contemplate the moon and the stars and find some sense of belonging in this vast universe. Curator: Ciel Rodriguez, curatorial assistant in contemporary art
Thomas Addison Richards (American, 1820 – 1900), “Twilight,” 1865. Oil on canvas, 12 × 20 1/8 inches. Georgia Museum of Art, University of Georgia; Gift of Mrs. Agnes Newton. 1975.3347. Harry Brodsky (American, 1908 – 1977), “City Night,” 1949. Lithograph, 16 × 12 inches. Georgia Museum of Art, University of Georgia; Gift of Paul W. Richelson. 2017.400.
Asano Takeji (Japanese, 1900 – 1998), “Moonlight in Wakanoura,” 1975. Woodblock, 15 3/4 × 10 7/8 inches. Georgia Museum of Art, University of Georgia; Gift of Dr. Stuart Katz. 1987.55.
Artful Conversation Wednesday, February 11, 2 p.m. Artful Conversation programs are 30 minutes long, focus on just one work of art and provide opportunities for close looking, open-ended dialogue and discovery. Callan Steinmann, director of learning and engagement, will lead this look at “Stargazers” by John Biggers. Film Screening: “Hidden Figures” Thursday, February 12, 7 p.m. Three brilliant African American women at NASA — Katherine Johnson, Dorothy Vaughan and Mary Jackson — serve as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation’s confidence, turned around the Space Race and galvanized the world. 2016, PG, 127 min. Teen Studio: The Art in Our Stars Thursday, February 19, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio- based workshop. Explore the galleries and make your own work of art inspired by what you see. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. Seats are limited; RSVP on our website or email gmoa- tours@uga.edu to register. Sunday Slowdown Sunday, April 12, 1 – 6 p.m. Take a pause with us at the museum during this day-long program dedicated to mindfulness, movement and making. From meditation and tai chi to mindful art-making and restorative yoga, the museum offers a chance to recharge and reconnect through art and wellness practices. Drop in for one session or stay for the full afternoon. • Guided meditation in the permanent collection galleries, 1 – 1:45 p.m. • Tai chi in the sculpture garden, 2 – 2:45 p.m. • Sound bath meditation in the exhibition “We, Too, Are Made of Wonders,” 3 – 3:45 p.m. • Mandala workshop in the Mary and Michael Erlanger Studio Classroom, 4 – 4:45 p.m. • Restorative yoga in the sculpture garden, 5 – 6 p.m. Film Screening: “2001: A Space Odyssey” Thursday, April 16, 7 p.m. An imposing black structure provides a connection between the past and the future in this enigmatic adaptation of a short story by revered sci-fi author Arthur C. Clarke. 1968, G, 139 min. Curator Talk: “We, Too, Are Made of Wonders” Wednesday, April 29, 2 p.m. Ciel Rodriguez, curatorial assistant in contemporary art, will give a tour of the exhibition.
Studio Workshop: Little Printed Wonders with Amanda Jane Burk Sunday, June 7, 14, 21, 2 – 4 p.m. Join teaching artist Amanda Jane Burk for a three-part printmaking workshop. Over the course of multiple classes, participants will create a printed landscape of shapes, colors and patterns using a collage of relief methods. The workshop will take inspiration from works in the museum’s print collection and “We, Too, Are Made of Wonders.” $15 for members; $25 for non-members. Space is limited and registration is required; secure your spot online. Film Screening: “Asteroid City” Thursday, June 11, 7 p.m. Asteroid City: a fictional American desert town, ca. 1955. Junior Stargazers and Space Cadets from across the country assemble for the annual Asteroid Day celebration, but the scholarly competition is spectacularly upended by world-changing events. Equal parts comedy, drama and romance (with a touch of science fiction). Directed by Wes Anderson and featuring an all-star cast including Jason Schwartzman, Scarlett Johansson and Tom Hanks. 2023, PG-13, 105 min.
RElATED EvEnTs Family Day: Wonders Saturday, January 24, 10 a.m. – noon Join us on a trip to space as we highlight the exhibition “We, Too, Are Made of Wonders.” Families will explore art and poetry with gallery activities and a take-home art project that celebrates the night sky. Family Day is sponsored by Heyward Allen Cadillac-GMC- Toyota. Community Open House Saturday, January 24, 10 a.m. – 7 p.m. Join us for a day-long celebration of our spring semester special exhibitions, including “We, Too, Are Made of Wonders,” “Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home” and our newly reinstalled modern art galleries. Check out a full schedule and register for free at bit.ly/open-house-spring26. In Conversation: Boramie Sao on “A Dark Night” Saturday, January 24, 4 p.m. Contemporary self-taught artist Boramie Sao joins Kathryn Hill, associate curator of modern and contemporary art, and Ciel Rodriguez, curatorial assistant in contemporary art, for a conversation on her painting practice and the influence of poetry, place and landscape on her art. Included in the exhibition “We, Too, Are Made of Wonders,” Sao’s painting “A Dark Night of the Soul, Part 2, Darkness” and its companion work, “Part 1, Lightness,” recently acquired by the museum, illuminate a process of transformation and movement. “Wonders” Opening Reception Saturday, January 24, 5 – 7 p.m. Stick around after the artist talk for a reception to celebrate “We, Too, Are Made of Wonders.” Join us for sparkling beverages provided by the Lark Winespace (including fun non-alcoholic options) and some light bites. Local boutique Ghost Apothecary will also be on hand with an intuitive poetry writing station and tarot readings inspired by the exhibition. $15 per person (complimentary for reciprocal level members and above). Registration is required; please visit our website’s events page to reserve your spot. Faculty Perspectives: Dr. Cassandra Hall Thursday, February 5, 5:15 p.m. Cassandra Hall, assistant professor of computational astrophysics and observatory director, will expand on “We, Too, Are Made of Wonders” through the lens of her expertise in planets beyond our solar system and how they are formed. Toddler Tuesday: Reach for the Sky Tuesday, February 10, 10 a.m. Enjoy looking at art and storytime together in the galleries, then complete an art activity just for the little ones. This program is designed for families with children ages 18 months to 3+ years. Seats are limited; email gmoa-tours@ uga.edu to register.
In THE sHOp 1 Rocket Riddle $20
2 “Goodnight Moon” $12.99 3 Fisher Space Pens $12 – $36
Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home January 3, 2025_______________June 28, 2026
Home, memory and belonging are central to Beverly Buchanan’s art. Inspired by the southern vernacular architecture of her surroundings, she created vibrant drawings, assemblages and sculptures that embody the spirit of place.
Beverly Buchanan’s work reflects an interest in how structures hold history — both personal and collective — using found materials, bold color and expressive mark-making to evoke the resilience of southern communities. While living in Athens from 1987 to 2010, she produced art that honored everyday spaces and the people who inhabited them. This exhibition celebrates the Georgia Museum of Art’s growing collection of Buchanan’s work, highlighting the depth of our holdings and our commitment to preserving her legacy. “Beverly’s Athens,” a concurrent exhibition at the Athenaeum (the Lamar Dodd School of Art’s downtown gallery space), further explores Buchanan’s time in the city, providing other perspectives on her enduring legacy and artistic practice. Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art
Beverly Buchanan (American, 1940 – 2015), “Shot Gun House,” 1992. Mixed media, 14 1/4 × 10 1/4 × 15 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of Ann Oliver in loving memory and honor of her husband Ted Oliver. 2019.321.
House Portrait Painting with Lauren Adams Thursday, February 19, 26, 6 – 8 p.m. Join us for a two-part watercolor workshop presented in conjunction with “Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home.” Local artist Lauren Adams will guide you through the process of creating a fun and funky house portrait. No experience is required. We’ll cover the basics of watercolor, along with adding depth and detail to your painting. You’ll start by practicing fundamental watercolor techniques before moving on to painting your house. $25 for members; $35 for non-members. Space is limited and registration is required; secure your spot online. Family Day: No Place Like Home Saturday, February 21, 10 a.m. – noon Experience the vibrant sculptures and drawings of artist Beverly Buchanan. Discover how Buchanan captured the spirit of place through bold color and found materials with hands-on Art Cart activities and a take-home project inspired by the show. Family Day is sponsored by Heyward Allen Cadillac-GMC-Toyota.
Faculty Perspectives: Dr. Cecilia Herles Wednesday, March 18, 2 p.m. Cecilia Herles, assistant director of UGA’s Institute for Women’s and Gender Studies, will give a gallery talk on “Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home.” She will examine Buchanan’s art through her expertise
RElATED EvEnTs Toddler Tuesday: Art from the Heart Tuesday, January 13, 10 a.m. Enjoy looking at art and storytime together in the galleries, then complete an art activity just for the little ones. This program is designed for families with children ages 18 months to 3+ years. Seats are limited; email gmoa-tours@uga. edu to register. Community Open House Saturday, January 24, 10 a.m. – 7 p.m. Join us for a day-long celebration of our spring semester special exhibitions, including “We, Too, Are Made of Wonders,” “Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home” and our newly reinstalled modern art galleries. Check out the full schedule and register for free at bit.ly/open-house-spring26. Curator Talk: “Shacks, Stories and Spirit: Beverly Buchanan’s Art of Home” Wednesday, February 4, 2 p.m. Join Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, for a tour of the exhibition.
in ecological feminism. Artful Conversation Wednesday, April 15, 2 p.m.
Artful Conversation programs are 30 minutes long, focus on just one work of art and provide opportunities for close looking, open-ended dialogue and discovery. Callan Steinmann, director of learning and engagement, will lead this look at Beverly Buchanan’s “Medicine Woman.”
In THE sHOp
1 “From Our Campus“ Puzzle $20 2 Books “A House in the South” $40 “New Southern Cooking” $19.95 “Murmur Trestle” $34.95 “Through the Arch” $26.95 3 Coloring Books “Art History Coloring Book” $24.99 “Pop Art” $9.99 “Gustav Klimt: Make Your Own Masterpiece” $16.99 “Miniature Secret Garden” $9.99 “Myth World: Fantastical Beasts to Color and Explore” $12.99
Looking Through a Sewn Sky: Rachel Hayes Through July 30, 2027
This commissioned craft-based art installation enlivens the museum’s Jane and Harry Willson Sculpture Garden.
Caught between sculpture, installation, painting and craft, Hayes’ work asks us to look in all directions. She explores the color field genre, craft and contemporary landscape-based art. At first glance, her soft sculptures recall quilts and weavings or midcentury abstract paintings. But her works also engage with natural and built landscape of the garden to create a different kind of experience. Her color-field canopies direct us to look skyward, to the horizon and to our feet, enveloping us with color and light. She invites us to move around, under and through the installation and the moving colors thrown by changing light. In other words, the installation allows us to navigate and engage with the work in a full body experience. Hayes relied heavily on the museum’s collection to choose colors, compositions and material. Major highlights include Frank Lloyd Wright’s windows, Joan Mitchell’s “Close” and Sam Gilliam’s “Patchwork/Terry,” among other favorites in the collection. Curator: Kathryn Hill, associate curator of modern and contemporary art
Rachel Hayes in front of one of her works during the opening reception.
In THE sHOp
1 Gee’s Bend Notecards and Playing Cards $15.95 – $16.95 2 “Pantone: The 20th Century in Color” $40 Notecard sets $16.95 – $24.95 Notebooks $2 3 Lego sets $29.95 – $49.95 4 Scarves $25
asinnajaq: Three Thousand Through June 28, 2026
A detail of a still from “Three Thousand,” by asinnajaq
asinnajaq is a filmmaker, video artist, photographer and curator.
documents blur the boundaries of truth, biases and reality. asinnajaq confronts these histories by reinterpreting and enlivening the archival footage with animations, video films and soundscapes by other Indigenous filmmakers and artists. Laughter, throat singing and sounds from the northern landscape merge with views of play, basket weaving, care and daily life. These scenes come together to tell a history that challenges colonial simplification of Inuit people. In this film, the artist also imagines a future created for and by Indigenous people, one filled with hope and care for one’s ancestors and future generations. Curator: Kathryn Hill, associate curator of modern and contemporary art
The artist was born in Inukjuak, Nunavik, a coastal village bordering the Innuksuak River in northwest Québec. Her films draw on her Inuit heritage and knowledge systems. They invite viewers to reconsider their ideas and preconceptions of Indigenous communities and histories. “Three Thousand” combines archival videos from the National Film Board of Canada (NFB) with animations, soundscapes and contemporary video footage. Historical cinematic representation of Inuit people is complicated. Video footage from the NFB archives shows only snippets of life taken from outside perspectives. These archival
COMIng sOOn
Edmonia Lewis: Said in Stone August 8, 2026 – January 3, 2027
Beginning her career in Boston in 1863, she traveled to Rome in 1866 to join the leading American sculptors of her generation, breaking international, racial and gender barriers. “Sometimes the times were dark and the outlook was lonesome, but where there is a will, there is a way,” Lewis recalled in 1878. “That is what I tell my people whenever I meet them, that they must not be discouraged, but work ahead until the world is bound to respect them for what they have accomplished.” Following her death in 1907, Lewis’ legacy endured in Black communities yet her contribution to American sculpture has largely been underrecognized. Some of her great masterpieces were rediscovered decades later, while others remain lost today. Her vivid, naturalistic stone sculptures feature abolitionists and social reformers, engage with Indigenous identity and give new life to religious and mythological figures. Discover the first museum exhibition of its kind to gather the full range of Lewis’ art alongside works by her contemporaries and the generations of artists she influenced. Together these 100 objects foreground Lewis’ life and work within her worlds and reveal her true mastery of marble. The exhibition is co-organized by the Georgia Museum of Art at the University of Georgia and the Peabody Essex Museum, Salem, Massachusetts. It will open at the Peabody Essex Museum (February 14 – June 7, 2026) and travel to the North Carolina Museum of Art (April 3 – July 11, 2027) after its run at the Georgia Museum. Born in Greenbush, New York, in 1844, Lewis became the first sculptor of Black and Indigenous (Mississauga) descent to achieve international recognition.
Edmonia Lewis (American, ca. 1844 - 1907), “Minnehaha,” 1868. Marble, 12 × 7 1/2 × 4 1/4 inches (with base). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art. 2016.251.
Curators: Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum, and Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, Georgia Museum of Art Major support is provided by the Henry Luce Foundation and the Terra Foundation for American Art.
nOw On vIEw In THE pERMAnEnT COllECTIOn
Reinstallation of Museum’s Swanson and Orkin Galleries Brings Out New Selections of Modern Art
Over the past few years, the Georgia Museum of Art has steadily worked its way through its permanent collection wing, finding creative ways to highlight fresh perspectives and new works. As part of this reinstallation initiative, the Byrnece Purcell Knox Swanson Gallery, which exhibits modern art, and the Barbara and Sanford Orkin Gallery, previously dedicated to contemporary art, reopened September 20 after undergoing a major overhaul. “We’re keeping some favorites, but we are adding a lot of exciting things that haven’t been on view, or haven’t been on view in a long time,” says Kathryn Hill, associate curator of modern and contemporary art. Stepping into the Swanson Gallery, visitors were previously greeted by a survey of self-taught artists, but works by these artists are now part of larger thematic presentations. “They’re more dispersed throughout,” says Hill. “And that’s kind of the intention: to no longer silo individual movements or approaches and to really integrate them into the galleries more effectively.” Thornton Dial Sr.’s “Spirit of Grand Central Station — The Man That Helped the Handicapped,” an unusual large-scale portrait painted on braided rope carpet and industrial sealing compound, was moved to a prominent location at the top of the stairs on the second-floor landing. Howard Finster’s “Howard Goes from Jackass
Speed to the Speed of a Jet with Peter Paul” galloped back into storage, but a different self-portrait by the Paradise Garden visionary is now part of a new selection of portraits, alongside images by Alice Neel, Beauford Delaney, Paul Cadmus and others. In another corner themed around “play and care,” one of Nellie Mae Rowe’s hand-sewn dolls joins a drawing by Rowe entitled “I Am Own My Way I Jest Stop to Rest a Little While.” “With the re-envisioning of this space, something I’m really looking forward to is moving away from a classical, chronological display into intimate groupings with thematic conversations between works,” says Hill. One such conversation is how various mid-century artists responded to the trauma of war and engaged with different political and social environments. Ralston Crawford’s painting “Test Able,” for example, takes its title from the first detonations of nuclear devices that followed the atomic bombing of Nagasaki. Woody Crumbo, a Potawatomi artist, dancer and flutist, used his artwork to promote and preserve Native American history and culture. These wide perspectives contextualize what artists were trying to contend with through their work.
Another major theme is the body, presented in varying degrees of abstraction. Elaine de Kooning’s popular “Bacchus #81” will remain on view, but it is now joined by a rotating cast of studies she completed in watercolor on paper. Coming out of storage, Saul Baizerman’s sculpture “Day” is a large reclining nude figure, inspired by Michelangelo’s allegorical figure of Day, made from hammered copper. Viewers are able to see the sculpture up close and from all angles, revealing its textured, dimpled surface and hollow reverse side. “When you see them in conversation together, you really see how artists are simplifying the form of the body, transforming it into lines or shapes and then reconfiguring it,” says Hill. One wall explores the theme of dance and music through visual art. Joining abstract expressionist Alice Baber’s oil painting “Sound of the Red Dance” are two other oil paintings: Pierre Daura’s “Dancers” and Stephen Greene’s “Fermata #4.” A bronze sculpture of a woman by John Rhoden invites viewers to consider how the paintings nearby echo abstracted figure’s gestures. To engage the artwork in a different way, Hill worked with Peter Van Zandt Lane, associate professor of composition at the University of Georgia Hugh Hodgson School of Music, to
create a playlist of songs inspired by the works on view. A fermata is a musical symbol indicating that a performer can hold a note, chord or rest as long as they want for emphasis. The playlist encourages viewers to pause and take a moment to reflect on the artwork. “The hope with moving toward thematic grouping is that you really focus on the conversations that these artists are having in response to their surroundings and what is happening in the world around them,” says Hill. A new seating area in Swanson allows space for lounging, reading or drawing. The gallery’s partition wall was extended to create a designated area for photography that will change throughout the year. The first rotation kicks off with two large photographs by Berenice Abbott, best known for her “Changing New York” series that captured the architecture and shifting landscape of the city during the Great Depression. Preparators added a new object wall in Swanson that displays three-dimensional decorative objects on floating shelves hung salon-style. Varying in style and media, these objects range from a glazed earthenware owl figurine by Pablo Picasso to a doomsday calendar Zebedee B. Armstrong painted on a VW hubcap.
Transforming the Dorothy Alexander Roush Gallery into an extension of the classroom, the museum’s study gallery program invites University of Georgia faculty from across disciplines to select objects from the museum’s permanent collection to use as teaching tools. These works remain displayed in the study gallery for the entire semester and can be viewed by all museum visitors. Representing multiple university courses, each installation hosts an unexpected combination of topics, ranging from ancient Greek and Roman art to feminist theories to museum ethics. The study gallery deepens engagement between students, faculty and the museum by providing a unique learning experience. As students observe original works of art in an academic setting, the public can follow along to learn from our collections as well. This semester’s classes include: • ARHI 3030: Baroque Art, taught by Sunghoon Lee • RELI 1001: Judaism, Christianity, Islam, taught by Paul Babinski • ITAL 4120: Topics in Italian, taught by Paola de Santo Study Gallery January 17________May 10, 2026
Orkin also includes a new display spotlighting op art, demonstrating different ways artists have used optical illusions and principles of perception to create the impression of movement, vibration, depth or color. In addition to a rotating series of prints by color field artist Jules Olitski, this section features a wall-bound sculpture by Lila Katzen that emits light and color and a sculpture by Yvaral that creates the illusion of a four-sided pyramid as the viewer’s body moves from side to side. As the museum’s collection grows, curators are adapting and exploring new approaches for getting more works on view. One of the most significant changes to come out of the reinstallation is that the Orkin Gallery, previously designated for contemporary art, will now feature late modern and post-war works. Contemporary art will instead be shown in the museum’s Virginia and Alfred Kennedy Gallery — with high ceilings ideal for large pieces — when it’s not occupied by temporary exhibitions. With changes to the Swanson and Orkin galleries now complete, a new selection of contemporary artwork is expected to go on view in the Kennedy Gallery this spring.
sTuDEnT gAllERy TEACHERs BRIDgE CAMpus AnD COMMunITy Last fall, the Georgia Museum of Art launched its by Jeehyung Pyo, public relations intern
student gallery teacher program, a yearlong experiential-learning initiative for University of Georgia students.
The program offers participants opportunities to learn, teach and build meaningful connections between art and audiences. Its inaugural cohort began this past semester, with members committing to a full academic year of service and training. Designed as an experiential learning environment, the program provides enriching experiences for both UGA students and the Athens community. By stepping into public-facing roles as museum educators, students develop academic and professional skills while strengthening the museum’s ties to local schools and families. “Our hope is to have more UGA students involved directly in our school, youth and family programming,” said Callan Steinmann, the museum’s director of learning and engagement. Student gallery teachers work closely with education staff and community docents to lead tours for pre-K – 12 groups. A central part of their work is engaging Clarke County School District students through the museum’s long-standing 5th-grade-tour program, which is part of UGA’s overall effort to strength ties between the university and the school district. They also support popular youth and family offerings such as Family Days, Toddler Tuesdays and Teen Studio, along with other school tours. All student gallery teachers are paid on an hourly basis for their work. Guided by Steinmann and Kaitlyn Loyd, assistant curator of education, students join regular training sessions that range from teaching workshops to researching objects to behind-
Brynn Hungerford demonstrates an art activity on Family Day.
Student gallery teacher Samaya Porter leads an activity making clay animals in the museum’s classroom.
the-scenes tours and field trips. These activities help them gain new skills in object-based teaching, research and program evaluation. They also gain a broad understanding of the museum’s collection and special exhibitions. The program reflects the museum’s belief that galleries are not just places to look at art but also spaces for active learning. The approach to gallery teaching is interactive, inquiry-based and multi-modal, prioritizing observation and noticing and fostering personal discovery, creativity and curiosity. Instead of simply delivering facts, student gallery teachers employ a variety of activities and techniques to encourage visitors to ask questions, share observations and make personal connections with works of art. Tours become lively conversations rather than one- sided lectures. The new initiative not only builds job skills for students but fosters a strong sense of community for them. Students from different majors and backgrounds work together to refine their craft, exchange ideas and share challenges. This collaborative environment allows them to learn just as much from one another as they do from their training. “It is a unique way to meet and work closely with other UGA students,” Steinmann said. “It will be a great opportunity for the student gallery teachers to form a real learning community as a group.” The inaugural group of six students held its first meeting September 10. Since then, they have been preparing to lead tours and developing strategies to share their knowledge in engaging ways.
Sophia Nguyen, a third-year undergraduate majoring in international affairs and art history, was inspired by years of visiting museums while traveling with her family. “I resonated with their mission to make information about the past more accessible, significant and powerful in the present,” she said. “The Georgia Museum of Art has the same mission right here on campus, and I thought: why not take the chance to do the same?” Ella Madden, a third-year art education major, especially looks forward to working with children. “They have the best questions! I love sharing what I know with others and learning from them through the questions they ask,” she said. Through the program, she hopes to encourage greater interaction with art while gaining communication skills and overall educational experience. Together with their peers, these students bring diverse academic interests and personal experiences to their work with the museum. This diversity ensures that every tour and program benefits from fresh perspectives and innovative approaches. The student gallery teacher program goes beyond providing teaching opportunities. Members deepen their understanding of museums as cultural institutions, grow their professional and interpersonal skills, and make meaningful contributions to both the university and the Athens community. By building bridges between visitors and original works of art, student gallery teachers embody the museum’s mission to share more art with visitors of all ages.
A Q&A wITH RACHEl
HAyEs
Commissioned for the Georgia Museum of Art’s Jane and Harry Willson Sculpture Garden, the color-field canopies in “Looking Through a Sewn Sky” balance craft and contemporary landscape-based art. In the following Q&A with public relations intern Nabiha Rahman, Rachel Hayes shares insight into her creative process and sources of inspiration.
Q
Georgia Museum of Art: How do principles of abstract painting — such as color, composition and movement — influence your design process? How do they show up in your work? Rachel Hayes: For this particular installation the museum wanted me to reference some of the pieces in the collection, and they are all abstract. I can go through them and kind of explain what I’m drawn to in each of these pieces and how I’m referencing them. How about that? Sounds good. All right. So, this is a Joan Mitchell painting — it’s called “Close.” I love this color combo, the yellow next to purple next to a dark green or turquoise. Sometimes when you put colors together, it’s really pleasing to the eye. And then sometimes when you throw in an “off color” it makes you kind of curious, like, why did I do that? Why did they do that? But in the end, it actually makes something a little bit more interesting to look at. I’m not saying that this is what’s happening in her painting, but when I’m putting it through my filter and my colors that I use, it kind of feels like, okay, now it’s time to try to fit that turquoise in. And I don’t know if it wants to be here, but I’m going to make it work and kind of intuitively know that it’s going to make something more interesting if it’s a little uncomfortable.
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Rachel Hayes sewing in her studio.
And similarly, there’s this Elaine de Kooning painting that I put in, and it also has some greens and turquoise. It’s called “Bacchus.” I was just — oh, now I’m really glad I printed these out (photos of paintings). Yeah, they’re coming in really handy! And then here are the Frank Lloyd Wright windows that are part of the collection. Yes. Okay. So, that is an important thing that I like to reference in the way that I sew. When I sew two colors together, there’s always a seam, and that seam makes a line. And when there’s sun shining and you’re underneath it, or you’re seeing it with light through it, it kind of creates a new color, or it makes the line more prominent. That’s something that I would throw in — a black line or a thin dark color — to kind of reference the stained glass and the way that it’s built. Also, it has all of these angles. There’ll be a bunch of small little lines and then a larger shape. I definitely thought about that too. In one of my pieces, I have a lot of thin little stripes and then a larger breathing space, like a larger pane of glass. And I guess I would say the same about these two pieces also that are in the collection. This is Sophie Taeuber- Arp and Albert Gallatin. So, so far, we’ve got color and then these bold moves. A lot of dark and light and then pops of color. Then there’s this Sam Gilliam painting. It’s a painting that’s actually patchworked together, which means a lot to me for my work to be seen in that way. Here’s a direct example of someone who is patchworking, picking pieces of his painting to create a shaped painting. You can see there’s a triangle on the inside, and several of the pieces that I made are based on a triangular pattern. So, I was thinking about that. And he, too, has a lot of white and dark. There’s a lot of light and dark play. So, in synopsis, to reference the abstraction, I love to be thinking about light and dark, translucency and opacity and how an off-tone color can provide a breathing space for the piece as a whole. And so, that’s the direct reference, I guess, to the abstract painting. In a blog post on She Explores, you said that in the beginning of your career, you wanted to challenge the dialogue that often surrounded your work in relation to craft and sewing by creating larger and bolder work, as if to deem it more masculine. How do you think the feminization of textile arts affects how viewers engage with your art? I will say that I feel like there’s an inherent sincerity to textile work where people can imagine how things are made by hand. And, most often, historically, a lot of those makers were women. It was a way to express themselves. And then, the piece that I’m making outside — I have my
There’s a sensitivity we all have to those materials. Like, what we choose to put on our body, and how different textures have a pleasing or displeasing roughness or softness. And can I also talk about different things? There’s all kinds of things you can bring into what textiles reference. Like, lingerie is sheer, therefore sexy. Versus something very opaque and solid, like workwear or leather bondage. I mean, you name it. You know? It has the ability to talk about all of those things, and those aren’t necessarily what I’m talking about, but it’s there because it’s textiles. So therefore, people can bring something to it. It’s not pure abstraction in a way because there are all these inherent meanings that people can bring to textiles. And I love that, because although I view my work as abstract and color play and this formal thing, the flip side of the coin is that there’s a lot to talk about. If you want to look for things to talk about, you could talk about patchwork and quilts, or you could talk about architecture and shade and function, or you could look at it as a whole, as an interactive, environmental installation that someone can partake in and walk around with. I guess I’ve never really thought about textile art in that way. Well, I think that’s what I was trying to say in a nutshell in that blog post a long time ago. So, there’s a lot there. I like to have the work be open so that people can bring whatever it is that they’re interested in to the work. Like, let’s say you’re a mathematical engineer type of person. You might really be more interested in how these things are built and made. For the math and engineering that comes with working this way and thinking about the elements and the actual practical things. The sturdiness, the weights. And then if you’re just into color and that makes you feel really good to be in a space and surprised by a large gesture of color, that is a completely different experience. I like that it can work in a lot of different ways. In some ways, it’s kind of like a hybrid of all the things that I’m interested in. I think that’s why I find your work so interesting, because there’s so many forms of artistic reasoning that are interacting to create your sculptures. Well, thank you. I think it evolves from just kind of being influenced, and I find so many things interesting to look at and think about. And it used to really stress me out to really hone in on this one idea. Like, what am I all about? What is it that I want to say? And I could never really figure that out. And then, through time and working through a lot of ideas, to just be like, okay. It’s not about one thing. It’s about a lot of things. And now I’m happy that I worked that way because I feel like I have a lot of different audiences that I can speak to.
Joan Mitchell, “Close” Elaine de Kooning, “Bacchus #81” Frank Lloyd Wright, “Window from Walser House, 42 N. Central Ave., Chicago, Illinois”
Sam Gilliam, “Patchwork/Terry” Albert Gallatin, “Composition”
scale model here — it’s definitely taking up space on an architectural scale. To me, that’s showing how powerful these kinds of materials are that can be overlooked because they are so familiar to us, like in craft, fashion and even textiles that we have in our home, like curtains and bedding. Things that you surround yourself with and really, literally envelop and touch.
That kind of leads into my next question, which is, what are some things that you have learned throughout your career? And if you could tell your younger self one thing, what would it be? I would say to not worry about categories so much. What would I tell my younger self? I would tell them a lot. Always be observant and listen to what people say or how they react, and particularly what I like and what I’m attracted to. And if I want to see it in the world, then I will make it because no one else is going to. So, that’s what I would encourage in my younger self instead of holding back, which maybe I did a little bit in the beginning. Are there any materials that you particularly enjoy working with? Why? Well, I’ve had to become kind of like a textile engineer because I have to figure out how to make these pieces last for two years outside, and at the same time, be thinking about the indoor component to this installation. Those materials are almost the complete opposite. They’re very fragile and lightweight. And so, I love that I get to use all kinds of different materials and explore and try to bring out the best in each material. Like, what does it really want to do? What is it good at? I try not to force any material to do what it doesn’t want to do. And something that I’ve been exploring on the side for a long time that is getting more attention in my studio and I’m excited about is working more with glass. A lot of my materials have that ability to cast shadow and be seen through in the same way as stained glass. So first, I learned how to do stained glass and dabbled in that for a while… Let’s say 10 years, but never really figured out how to make it fit in my work. I guess I was still trying to figure it out, and then I got the opportunity to work with glass blowers. In that, I found more of a relationship where it’s like you’re taking something solid and through the process of melting it, the gravity creates the volume and the shape. I also like that I can cut the glass and arrange it in a similar way to how I arrange a textile pattern. And so, all that practice, like cutting glass for stained glass, has been helpful. I can cut these glass pieces and then work with the glass blowers to give it that volume in the form of a cylinder. In a way, the liquid glass becoming something hard again captures a moment in time in the same way that a lot of my outdoor photography can capture this moment in time. So, I think that’s an interesting thing to think about.
I can definitely see how there would be an overlap between your fabric art and your glass blowing, and I’m excited to see how that influences your future work. I also love that there’s two sides when looking through a cylinder, so I can layer it and play with layers of color in the same way that I can play with the textiles. And you know, there’s so much going on in the textile and glass, and that kind of brings me back to Frank Lloyd Wright being part of my inspiration. Back to this specific installation, there are these outdoor pieces that are in the garden behind the museum that someone will be able to walk around and explore. And then there are three pieces that are on the facade of the building. There’s a piece down here. This is, like, if you’re in the sculpture garden looking at the museum. This is on the glass outside, and this is on the glass outside. And then this over here is inside after you come into the museum. There’s a whole wall of windows, so you’ll probably see one of the pieces on the windows first, and then you’ll realize there’s more outside. And then once you get upstairs, there’s an interior piece. So. depending on how you’re coming through the museum, it’s either leading you out or leading you in. It kind of reminds me of the abstract painting principles question because it’s like the movement kind of draws your eyes in a certain direction depending on where you’re coming from. When you enter a new environment, what does your process of designing a sculpture that engages with that space look like? Well, I walked around it and kind of followed the pathway, the natural pathway. I guess I like to not think practically at first, because then you can always pull back from that. I kind of just go with my gut and then get the idea out, get the drawing out, and then work back from there. After that, I like to know what is not possible, and then once you find out all the constraints of the space, then you can play and find out what is possible. That’s probably one of the main things that I like to think about first, and what’s great about that way of working is that I’m never working with a blank canvas. I always have something to respond to. It feels like a natural call and response to a space where I’m not coming in and splashing everything around with no care for the space. My goal is for it to feel seamless. Like, it was always there, and it should be there and it’s part of it.
What are a few things that inspire you to create? I guess the inherent need to make something. And then, learning about yourself, learning through studying, being culturally aware and always looking are constant sources of inspiration. Whether it was looking at fashion magazines when I was a kid or going to places with my parents. I mean, I don’t really know how far back I need to talk about anything, but I’d say my materials are definitely my muse. What can I do? How can I see this anew? And then the working site specifically is always invigorating too. So, I’ve got the materials that I work with, and then I’ve got a site that I’m working with. And before I was getting asked to do things at a museum, I was doing it in my backyard. Like, oh, there’s this beautiful sunset. I want to hang something up in front of it and see what it looks like. Or I have got my hands on a ton of this material — I’m going to lay it out in the yard. And then you start to think about, like, oh, wow. That kind of looks like a picture that I saw a long time ago of people laying out their textiles to dry on these big stairs by the river in India. Or this looks like some quilts that I saw hanging in a picture in my book about the quilters of Gee’s Bend. I guess I’m inspired by the art that I was exposed to in college. And before then, the art that my parents had in their house. So obviously, art is an inspiration, and I like being part of that dialogue. But I also very much like seeing myself as just being part of this world and that everything is potential inspiration, whether it’s this chair that I’m sitting in or a pretty sunset, or a beautiful vintage dress that I find at a thrift store. You know, inspiration is everywhere. What kind of sensory or emotional experiences do you hope to evoke from viewers with your art? I mean, I feel like I’m a director of a movie. I’ve got all these things in place, and I have an idea of how I would like someone to walk around and notice different things. There’s a romanticism that I feel when I’m thinking about things, and I want someone else to bear witness to how beautiful something can be, or the impact that it can have visually. When you’re asking someone to walk through a garden, it becomes physical too. All these colors are going to be over your head, or through a window. And the sky will look different every time you come. So, how does that affect the piece? How does the sky affect the colors? It’ll feel different every time, and I love that. It will never be the same. In some ways, the work is alive, and it’s present and ever-changing. And those are ideas that I’m attracted to. There’s this idea of capturing a moment here at the museum. Maybe catching someone in one mood, and having an effect on that. Not to cheer people up, but maybe just to have a time of reflection. At the same time, you could look at my work and see it purely as form and function, you know? I don’t know if it evokes any of those ideas. Those are just things that I’m thinking about.
I guess it is subjective to everyone based on their preconceptions. Mm-hmm. And where they are on that day. Where is your favorite place that you’ve ever created an installation, and why? Well, I have three places that I’ve been going to for 23 years, I’d say. One is in New Mexico. There’s a couple of spots in New Mexico. I love to go to White Sands ‘cause it’s literally this beautiful gypsum, white-sanded area. So, the color really pops, and like I was saying, the sky always looks different. I love going there because no matter how big I think I’m working, everything looks so small. It just really messes with your perspective and your sense of scale and your place in this world. I guess I like those big feelings. And then I love going to my husband’s family farm in South Dakota. It’s also a different kind of grand vista of rolling prairie lands. And it’s far enough north that the sun doesn’t set in the summertime ‘til almost 11 at night. So, you get a big long day, and there’s just all kinds of old barns and old farm equipment and beautiful grasses and gravel roads, and that has been an endless inspiration to just kind of be out there and play in the summertime with no one watching except myself, and then when I bring someone in who’ll help me. My parents are actually from opposite coasts, but I grew up in Missouri. So, I grew up visiting both of their homes, California and New York, my whole life, with these long road trips. [Missouri is] very foresty, like more deciduous and green with all the trees. I could hang the same piece up in their yard with all this greenery around and it looks so different. Like, the colors look different. It looks so dense. Surrounded by green. I would think, “Well, should I put red in there?” ‘cause that’s a complementary color, and then think about “Why does red look good with green?” Or, maybe more oranges or something. Hot orange. And then in the fall, when all the trees are brown and orange and yellow, everything looks very different then as well. I guess those are my three favorite places to go to. All very different experiences. What’s next for you in terms of your career? I don’t know. This is a highlight because it’s a long-term project with the museum and that really means the world to me as an artist to get this opportunity. And also being around students and seeing what the young kids are doing. That’s inspiring to me too.
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