Facet Summer 2021

SUMMER 2021

table of CONTENTS

From the Director p.3

Exhibitions p.4

The Art of Giving p.12

Martha Daura Named Chevalier de l’Ordre des Arts et des Lettres p.13

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New Acquisitions p.14

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Reaching Incarcerated Audiences p.16

Museum Works Travel the Country p.18

Museum Notes p.19

Gifts p.19

In the Shop p.19

on the covers: Front: Kota Ezawa (Japanese-German, b. 1969), “Empty Frame,” 2015. Duratrans transparency and LED light box, 24 1/2 × 33 1/2 inches. Courtesy of the artist, Christopher Grimes Gallery, Santa Monica, and Haines Gallery, San Francisco. Back: KATO Yasukage (Japanese, 1964 – 2012), untitled, 2006. Shino-glazed stoneware, 14 1/4 × 7 × 7 1/4 inches. Collection of Carol and Jeffrey Horvitz, JC2016.049. (top) SHINGU Sayaka (Japanese, b. 1979), “Erosion,” 2014. Colored stoneware, 7 13/16 × 16 1/2 × 14 5/16 inches. Collection of Carol and Jeffrey Horvitz, JC2017.022. (right) Milton Rogovin (American, 1909 – 2011), untitled, Appalachia Series, 1962 – 71. Double weight fiber based gelatin silver print, 8 × 10 inches. Georgia Museum of Art, University of Georgia; Gift of Michelle Melin-Rogovin in memory of Mark Rogovin. GMOA 2020.214.

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Thursday: 10 a.m.–9 p.m. Friday and Saturday: 10 a.m.–5 p.m. Sunday: 1–5 p.m. Closed Monday – Wednesday Museum Shop closes 15 minutes prior. Free timed tickets required.

Hours

706.542.4662 Fax: 706.542.1051

Hillary Brown and Isabel Walston

Department of Publications

We may be open on Tuesday and Wednesday from 10 a.m. to 5 p.m. starting in August.

Interns

Francesca Felicella, Kaitlyn Page, Tashana Powe and Nick Williams

Check our website for the most up-to-date information.

Design

Noelle Shuck

from the DIRECTOR

board of ADVISORS

As I am writing this report, I am awaiting a symposium Zoom call on — yes, once again — deaccessioning. In this case, the discussion has been disagreements over the use of monies earned from selling works of art, as usual, but with the Association of Art Museum Directors’ moratori- um on the requirement that funds be used only for acquisition of works of art, the floodgates have opened, and you have probably been reading about the brouhahas over the actual and potential sales of art from the Brooklyn Museum and the Baltimore Museum of Art. This new decision by the trustees of AAMD, however, included a directive that the museums taking advantage of the less stringent application of the heretofore sacrosanct policy must use the funds for deaccessioning for direct care of the museum’s collections, thus giving pandemic-weary and financially strapped museums a means to care for collections through their interpretation of the undefined phrase “direct care.” Does that only mean conservation and framing, or does it include a new HVAC system, or even a new roof? What then is “indirect care”? The symposium hosted multiple speakers from art museums and a spe- cial session on academic museums, for which the subject is vital. I was a panelist and with my colleague Andria Derstine, of Oberlin College, tried to hold the line, at least to have it understood that academic muse- ums normally do not have governing boards, but are “embedded” in a parent organization. While the session in which I appeared dealt with the perils of academic museums and while deaccessioning for purposes other than for acqui- sitions becomes more prevalent, the rest of the two-day conference dealt not only with definitions of direct care but also with how collection management intersected with museums’ roles in advancing social justice and equality. Since then, journalists and pundits have written of the rift among museum directors over these issues and how proceeds from deaccessioning can be used for pay raises, for equity and representation of minority artists, including women, in collections and on boards and staffs. As for the continuing issue of deaccessioning, fortunately, this museum has the guidance of AAMD’s “Professional Practices in Art Museums” as well as a new toolkit by the Association of Academic Museums and Galleries. Through our adherence to both, we can seek guidance for collection management. The latter also explains and suggests alter- natives to selling works of art to develop an endowment, shoring up failing sources ravaged by the pandemic and monetizing objects to use as collateral or capitalization. We believe that deaccessioning has its place, but there are ways to continue to diversify our collection without monetizing it. We do not shy away from those discussions here at the Georgia Muse- um of Art. Rather, we recognize not only that change is inevitable but that it is also desirable. Our commitment is to our whole audience — to everyone who passes through our doors. Our collection has been diversi- fied since our founding by our first director and donor Alfred Holbrook to include works by women, by Black artists, by Latinos, by LGBTQ+ artists, by a whole gamut of artists corresponding to recent theories of intersec- tionality. We continue to collect artists of whatever persuasion as long as their work advances our goal of visual-arts education, truly the core mission of art for all.

David Mulkey Carl. W. Mullis III * Betty R. Myrtle ** Gloria B. Norris *** Deborah L. O’Kain Randall S. Ott Gordhan L. Patel, immediate past chair Janet W. Patterson Christopher R. Peterson, chair-elect 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 ** D. Jack Sawyer Jr. * Henry C. Schwob ** Mr. Ronald K. Shelp Margaret R. Spalding Dudley R. Stevens Carolyn Tanner ** Anne Wall Thomas *** Brenda A. Thompson 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 Pagnatarro

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 *

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 * Andrew Littlejohn D. Hamilton Magill David W. Matheny, chair Mark G. McConnell Marilyn M. McMullan Marilyn D. McNeely Ibby Mills

* Lifetime member

** Emeritus member

*** Honorary member

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 repos- itory and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Georgia Council for the Arts also receives support from its partner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is ADA compliant; the M. Smith Griffith Auditorium is equipped for deaf and hard-of-hearing visitors. 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 informa- tion or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-admin- istered 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/

WilliamU. Eiland, Director

We thank the Landon Family Foundation for operating support.

Kota Ezawa: The Crime of Art July 17 – December 5, 2021

Kota Ezawa (Japanese-German, b. 1969), “A Lady and Gentleman in Black,” 2015. Duratrans transparency and LED lightbox, 52 1/2 × 43 1/2 inches. Courtesy of the artist, Collection of Nion McEvoy and Christopher Grimes Gallery, Santa Monica.

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This exhibition will bring together new and recent works related to Kota Ezawa’s “The Crime of Art” series, a group of light boxes and video animations that chronicle some of the most infamous and high-profile museum heists in history.

At the heart of this exhibition is a series of images that pays hom- age to the 13 works — including those by Degas, Manet, Rembrandt and Vermeer — stolen from the Isabella Stewart Gardner Museum in Boston in 1990. Ezawa draws from the histories of media, pop- ular culture and art history to create distilled renderings of iconic images. His simplified versions of indelible images remain easily recognizable and potent, the result of a process that illuminates the hold certain images have on their viewers. Working in a range of mediums such as digital animation, slide projections, light boxes, paper cut-outs, collage, print and wood sculptures, Ezawa main- tains a keen awareness of how images shape our experience and memory of events. “Kota Ezawa: The Crime of Art” was organized by SITE Santa Fe with the Mead Art Museum.

In-House Curator: Nelda Damiano, Pierre Daura Curator of European Art

Kota Ezawa, “Munch Theft,” 2017. Duratrans transparency and LED light box, 40 × 50 inches. Courtesy of the artist, Christopher Grimes Gallery, Santa Monica, and Haines Gallery, San Francisco. Kota Ezawa, “The Concert,” 2015. Duratrans transparency and LED lightbox, 28 1/2 × 25 1/2 inches. Courtesy of the artist, Collection of Nion McEvoy.

exhibitions

Neo-Abstraction: Celebrating a Gift of Contemporary Art from John and Sara Shlesinger July 17 – December 5, 2021

“At the end of 2019, John and Sara Shlesinger donated 110 works of global contemporary art from their personal collection to the Georgia Museum of Art, transforming the museum’s ability to teach and exhibit art of the past 25 years.

This exhibition celebrates their gift by showcasing a selection of works by emerging and established artists from it. “Neo-Abstraction” highlights the resurgence of abstract art among contemporary artists, including an early spin painting by Damien Hirst and a photographic abstraction by Walead Beshty. The works vary in method. Some em- ploy traditional forms of painterly abstraction. Others use technology to remove bodily gesture from the equation. Still others investigate the boundary between the representational and the abstract. But, for each artist, abstraction offers a way to make visible materiality, process, expression and chance. As a result, these works bring us as viewers back to a real, physical and emotional encounter with the objecthood of our world.

Curator: Jeffrey Richmond-Moll, curator of American art

Walead Beshty (American, b. England, 1976), “Black Curl (CMY/Five Magnet: Irvine, CA, January 2nd 2010, Fujicolor Crystal Archive Super Type C, Em. No. 1650-021, 09610),” 2011. Color fiber based photographic paper, 55 × 100 1/2 inches. Georgia Museum of Art, University of Georgia; The John and Sara Shlesinger Collection. GMOA 2019.364. ©Walead Beshty. Courtesy the artist, Regen Projects, Los Angeles and Thomas Dane Gallery. Photo: Brian Forrest. Mika Tajima (American, b. 1975), “At the Door,” 2008. Silkscreen, woodcut, cotton rag, CNC Plexiglas, wood, paint, 30 7/8 × 22 inches. Georgia Museum of Art, University of Georgia; The John and Sara Shlesinger Collection. GMOA 2019.457. ©Mika Tajima. Image courtesy the artist, Kayne Griffin Corcoran (Los Angeles), and Taro Nasu (Tokyo).

In Dialogue: Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr. May 29 – November 28, 2021

During their lifetimes, Thornton Dial Sr. (1928 – 2016) and Ronald Lockett (1965 – 1998) were artistic contemporaries who produced rich bodies of work that transformed discarded materials into objects of wonder and complexity.

Their deep friendship was forged through bonds of family, friendship and visual expression. This comparison of their works places the two artists in conversation with one another, highlighting their creativity and their mutual exchange of knowledge and experience. “In Dialogue” is 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 per- manent 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.

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

Thornton Dial Sr. (American, 1928 – 2016), “Food Line,” 2008. Assemblage with various materials on plywood. Georgia Museum of Art, University of Georgia; Gift of Ron and June Shelp. GMOA 2011.611. Ronald Lockett (American, 1965 – 1998), “Undiscovered,” 1993. Rusted tin and colored pencil mounted on wood, 46 1/2 × 45 1/2 × 5 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of Ron and June Shelp. GMOA 2019.309.

exhibitions Hands and Earth: Perspectives on Contemporary Japanese Ceramics May 22 – August 15, 2021

Drawn from the Carol and Jeffrey Horvitz Collection of Japanese Ceramics, “Hands and Earth” features works by some of 20th- and 21st-century Japan’s most important artists.

The exhibition traces the history of Japanese ceramics, beginning in the 1930s when the mingei (“folk craft”) movement sparked a newfound appreciation for the utilitarian pottery made by groups of artisans across the country. Today, the artform is simultaneously rooted in history and radically innovative. “Hands and Earth” illuminates how artists balance these often-contradictory impulses. Many of the contempo- rary ceramicists represented in the exhibition create sculptures that are experimental in both material and method. Inspired by mingei, others fashion functional objects using local clays and techniques passed down through generations. In an increasingly globalized world — and at a time when much of daily life has been relocated to “virtual” space — these works re - mind us of the enduring importance of place, tradition and community.

Sponsors: The Jeffrey Horvitz Foundation

KONDO Yuzo (Japanese, 1902 – 1985), yama sometsuke kinsai kabin (blue-and-white mountain design on gold-painted vase), ca. 1977. Cobalt blue-underglaze with gold on porcelain, 7 7/8 × 7 5/8 (diameter) inches. Collection of Carol and Jeffrey Horvitz, JC2017.001. KOIKE Shoko (Japanese, b. 1943), “Shell,” 1995. Glazed stoneware and porcelain,18 1/2 × 23 × 19 1/4 inches. Collection of Carol and Jeffrey Horvitz, JC2017.010. KUROKAWA Toru (Japanese, b. 1984), “Protocell-E,” 2016. Natural ash-glazed stoneware, 19 1/2 × 25 × 20 1/2 inches. Collection of Carol and Jeffrey Horvitz, JC2017.014.

Inside Look: Selected Acquisitions from the Georgia Museum of Art September 18, 2021 – January 30, 2022

by Sophie Taeuber-Arp; selections from the John and Sara Shlesinger Collection of contemporary art; Russian portraits from the Beloss- elsky-Belozersky family; important abstract and self-taught objects by Black artists; photographs of celebrity culture and everyday life in 1960s England by Lewis Morley; and scenes of the resilient communi- ties of Appalachia by photographers Milton Rogovin and Arthur Tress.

With more than 18,000 objects in its collection, the museum cannot show everything all the time.

This exhibition features many previously unseen works of art, includ- ing new gifts and purchases across our curatorial departments that have filled critical gaps in the permanent collections. Visitors will dis - cover examples from the Femfolio portfolio, featuring prints by artists such as Faith Ringgold and Miriam Schapiro; a suite of abstract prints

Curators: Nelda Damiano, Pierre Daura Curator of European Art; Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art; Asen Kirin, Parker Curator of Russian Art; and Jeffrey Richmond-Moll, curator of American art

May Stevens (American, 1924 – 2019), “The Band Played On,” 2007. Digital print with hand lithography and gold dusting, 12 × 12 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund and the Richard E. and Lynn R. Berkowitz Acquisition Endowment. GMOA 2019.329.20.

exhibitions

“I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.”

Whitman, Alabama May 8 – December 12, 2021

“Whitman, Alabama,” an ongoing documentary project by filmmaker Jen - nifer Crandall, brings the poet Walt Whitman’s words to life through the voices of modern-day Alabama residents. For two years, Crandall traveled through the state, inviting everyday people to recite verses from Whitman’s poem on camera. The outcome is a collection of captivating portraits, and a compelling reflection on American and southern identity. As the people in “Whitman, Alabama” recite lines of Whitman’s poem “Song of Myself,” they also share intimate glimpses of their lives on video. The juxtaposition of poetry against the backdrop of everyday, human experiences — sitting with family on front steps, doing chores around a farm, attending football practice — results in a series of videos that are both unexpected and mesmerizing. Crandall, who previ- ously worked for the Washington Post and Salon as a video producer and journalist, began working on “Whitman, Alabama” while she was artist in residence for the Alabama Media Group. She said, “I came up with the idea of making a series of portraits hoping to show off Alabama’s people – but instead of using a traditional interview format, I wanted to use a poem as the common thread. And beyond that, let people speak for themselves.” To learn more about the project, visit www.whitmanalabama.com.

Creative Mindz Dance Crew. Still from Jennifer Crandall’s “Whitman, Alabama.”

The Sullivans. Still from Jennifer Crandall’s “Whitman, Alabama.”

Curator: Callan Steinmann, curator of education

Don’t Miss

Rediscovering the Art of Victoria Hutson Huntley Through August 15 Echoes from Abroad: American Art from the Collection of Barbara Guillaume Through August 15 Contemporary Japanese Ceramics from the Horvitz Collection Through June 2022 Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt Through September 26

Power and Piety in 17th-Century Spanish Art Through November 2022

KIMURA Yoshiro (Japanese, b. 1946), orb-shaped sculpture, 2017. Collection of Carol and Jeffrey Horvitz.

Victoria Hutson Huntley (American, 1900 – 1971), “Cabin” (also known as “Hunkie’s House”), 1931. Lithograph, 10 × 14 1/2 inches. Private collection.

the art of giving HOW YOU PIVOTED WITH US

We’ve been talking about pivoting so much in these pages over the past year, highlighting efforts by our educators, curators, communications team and more to reinvent their jobs to serve the public. But what about you? How have our patrons and donors joined us in this process of reinvention?

Our Board of Advisors quickly responded as we reached out to express pressing financial needs. Donations from them and from many others helped us keep our entire staff employed, even through months when the museum closed its physical doors to the public. State budgets were cut, meaning a difficult time for the university, including the museum. At the same time, we needed to buy personal protective equipment, create art kits to inspire and entertain children, make new signage for the building, add new features to our website and much, much more. We couldn’t have done any of it without you. In spite of the pandemic seeping into our current fiscal year, we set a very ambitious fundraising goal of $4 million, hard to raise in any time but especially in the middle of a global health emergency. We are pleased to announce that as of May 1 (6 weeks prior to

the end of the fiscal year) our fundraising total surpassed $5.6 million in cash and in-kind gifts of art. That means we exceeded our goal by 40 percent! Give yourselves a well-deserved pat on the back. Finally, as we mentioned in the last issue of Facet, rather than hosting our biennial gala, Elegant Salute, we launched a campaign to create a Fund for the Future Endowment, with an initial goal of $1 million. The interest that endowment generates will provide both stability and immediate support for our daily operations. As of May 1, we are beyond the halfway point of that initial goal and are truly grateful that so many of you answered the call. Your support of this endowment will provide vital funding for postage, telephones, printing and so many of the less “attractive” but no less vital necessities that enable us to continue to offer free inspiration to all.

To contribute to the Fund for the Future, visit https://bit.ly/fundforthefuture.

Martha Daura NAMED CHEVALIER DE L’ORDRE DES ARTS ET DES LETTRES

Martha Daura, who has dedicated her life to advancing the study, enjoyment and practice of the visual arts, has received the chevalier de l’ordre des Arts et des Lettres (the French Order of Arts and Letters).

This award recognizes individuals for their significant contributions and promotion of the arts. Daura’s vision and generosity have benefited immeasurably not only the people of Georgia, but also museums and their constituents throughout the United States and Europe. She has been a model philanthropist and earned the respect of all who know her, having dedicated more than 40 years to sharing her family’s legacy. Since the death of her parents, artists Louise Heron Blair Daura and Pierre Daura, in the 1970s, Martha Daura has promoted the rediscovery of their work through dona- tions to more than 30 museums in Spain, France, and the United States. She has funded two curatorial positions for European art at the Georgia Museum of Art and the creation of a study center that houses archival material related to the life and career of her parents. She also established an international artists’ residency program by donating her family home in the village of Saint-Cirq- Lapopie in the South of France to the French government. To this day, she actively supports the purchase of her father’s works and that of artists who ran in her father’s circle. She funds numerous exhibitions that showcase her father’s legacy. Daura lived in Athens, Georgia, for many years, and a significant part of her philanthropy has been directed to the Georgia Museum of Art. She and her late husband, Thomas W. Mapp, chose the Georgia Museum of Art to be the main custodian of Pierre Daura’s artistic production through an endowment established in 2002. Nelda Da- miano, Pierre Daura Curator of European Art, was thrilled at the announcement: “it is a rare privilege to have the unwavering support of such an extraordinary individu- al. To know and benefit from Martha Daura’s kindness, intelligence and dedication has been one of the most rewarding aspects of my job.”

Her gift and effort have facilitated the presentation and study of European art at the museum and led to a signifi - cant expansion of the collection of European art, with the museum now owning more than 600 paintings, prints, drawings and sculptures by Pierre Daura. The muse- um also oversees the Pierre Daura Study Center, which preserves, among other material, correspondence by the Daura family that provides an intimate knowledge of the art scene from the 1920s to the 1970s. This gift opened the door to new humanities research and opportunities for the museum to collaborate with other departments on campus, as well as other museums and institutions. William U. Eiland, director of the Georgia Museum of Art, who nominated Daura for this award, expressed that “the French government could not have had a better person upon whom to bestow this great honor. Martha Daura has literally changed the direction of this museum and many others with her generosity, her love of art and her commitment to her father’s legacy.”

MUSEUM RECEIVES MAJOR DONATION OF PHOTOGRAPHY

new acquisitions

In December 2020 the California-based photography collector David Knaus facilitated a significant donation of 20th-century photographs to the Georgia Museum of Art.

Arthur Tress (American, b. 1940) had an early interest in ethno - graphic photography, which led to his post as a U.S. government photographer to record the endangered folkways of Appalachia. This experience spurred a new environmental awareness in Tress and a series focused on resource extraction and the human costs of pollution. Following this work came a more personal, “magic real - ist” period, in which he combined spontaneous aspects of everyday life with staged fantasies. This became his hallmark style, likely influenced by his childhood in Brooklyn, when he made snapshots of the circus performers and run-down buildings of Coney Island. After a few years experimenting with color photographs filled with children’s toys, Tress returned to black-and-white photography, working in the more formalist style of midcentury modernism. His works recently appeared in a show on surrealist painting at the Menil Collection and will be featured in an exhibition on the history of gender politics at the Tate Modern (2021) and a major mono - graphic exhibition at the Getty (2022). Stanford University holds the master archive of Tress’ vintage prints, making our collection only the second comprehensive archive of his work in the country. (The University of Pennsylvania also owns 2,000 photographs, along with the artist’s collection of Japanese illustrated books.) Milton Rogovin (American, 1909 – 2011) was a self-described “social documentary photographer” deeply concerned with the poor and with workers’ rights. His work is often compared to 19th-century forerun- ners Lewis Hine and Jacob Riis. Rogovin trained as an optometrist and established his practice in Buffalo, New York, after serving in World War II. After he was called before the House Un-American Activities Committee in 1957, however, he took up the camera to address urgent social issues. He made series on the plight of miners across 10 coun- tries (beginning with mining communities in Appalachia), the decline of industry in Buffalo and the struggle of working people in Buffalo’s impoverished Lower West Side. His first series, documenting music in Buffalo’s Black storefront churches (1958 – 60), was published by Minor White in Aperture magazine (1962), with an introduction by W.E.B. DuBois. The master collection of his photographs is held by the Center for Creative Photography, in Tucson, Arizona, and the Library of Congress also owns a major collection of his photographs and negatives. Lewis Morley (Australian, b. Hong Kong, 1925 – 2013) was a self- taught photographer whose career spanned fashion, theater, re- portage and portrait photography. His most iconic works include his portrait of Christine Keeler and the first published photographs of models and actors like Twiggy, Jean Shrimpton and Michael Caine. Morley is considered one of the most significant photographic voices of 1960s Britain. He captured the rising tide of art, journalism and media during a period that witnessed the transition from 1950s con- servatism to 1960s satire, irreverence and subversive creativity. The Lewis Morley archive was donated by the artist’s family to the U.K.’s National Media Museum in 2013, with assistance from David Knaus. Only four “museum sets” of Morley’s work exist, making this group of prints the fourth to enter an institutional collection. Selections from Rogovin’s and Tress’ photographs of Appalachia will be on view at the museum this September in the exhibition “Inside Look” (see page 9).

In both quantity and content, this gift effectively transforms the mu - seum’s photographic holdings and helps pave an exciting new path for research and programs on modern and contemporary photogra- phy. The gift consists of three parts:

90 PRINTS by the self-described American “social docu - mentary photographer” Milton Rogovin, donated by both David Knaus and the artist’s daughter-in-law Michelle Melin-Rogovin 60 PHOTOGRAPHS by Australian photographer Lewis Morley, considered one of the most significant photographic voices of 1960s British culture, gifted by Dr. J. Patrick and Patricia A. Kennedy ; and AN ARCHIVE OF NEARLY 3,000 PRINTS by the so-called “magic realist” American photographer Arthur Tress, also from the Kennedys . In addition, the Kennedys donated a small group of vintage prints by American photographers Harry Callahan, Joel Levinson and Ezra Stoller.

Milton Rogovin (American, 1909 – 2011), untitled, Appalachia Series, 1962 – 71. Double weight fiber based gelatin silver print, 10 × 8 inches. Georgia Museum of Art, University of Georgia; Gift of Michelle Melin-Rogovin in memory of Mark Rogovin. GMOA 2020.216. Milton Rogovin (American, 1909 – 2011), untitled, Appalachia Series, 1962 – 71. Double weight fiber based gelatin silver print, 10 × 8 inches. Georgia Museum of Art, University of Georgia; Gift of Michelle Melin-Rogovin in memory of Mark Rogovin. GMOA 2020.215.

Jeffrey Richmond-Moll Curator of American art

reaching incarceratedaudiences A NEW STUDENT PROJECT

“Art for everyone” is our unofficial motto, and we’re always looking for new ways to reach the widest audience possible. Through the University of Georgia’s service-learning initiative, students have been considering the museum’s collection and resources as they try to bring a museum experience into incarcerated classrooms across North Georgia. Common Good Atlanta , operated by co-directors Sarah Higinbotham and Bill Taft since 2010, provides democratic access to higher education for incarcerated and formerly incarcerated students in Georgia. Its Clemente Course in the Humanities offers students college credit through Bard College in subjects like critical thinking and writing, literature, U.S. history, philosophy and art history. Emphasizing the value of ambiguity, nuance and critical thinking in academia, these courses further Common Good’s mission by encouraging students to cultivate a better understanding of themselves and societal forces. Dr. Caroline Young , lecturer of English at the University of Georgia and site director at Whitworth Women’s Facility for Common Good Atlanta, has stayed busy during this last year envisioning and organizing this collaborative effort even with limited access to her students due to the public health crisis. Through UGA’s service-learning program, which aims to support community engagement initiatives designed to enhance students’ civic and academic learning by responding to community needs, she taught the course “Writing for Social Justice: The Prison Writing Project” throughout the spring and summer semesters of 2021. Her students began by interrogating a society that perpetuates injustice, exclusion and social control through punitive captivity by investigating the American carceral system and the role of the arts in education, social justice, incarceration and personal freedom. With this nuanced perspective and curiosity, informed by incarcerated writers, artists, scholars and activists, students immersed themselves in the Georgia Museum of Art’s collection.

John Biggers (American, 1924 – 2001), "Star Gazers," 1988. Color lithograph, 23 × 14 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Larry D. and Brenda A. Thompson. GMOA 2016.37.

Ronnie Goodman (American, 1960 – 2020), "Night Time Jazz," 2012. Linocut on paper, 12 × 18 inches (image). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund. GMOA 2013.67.

Throughout the semester, Dr. Young’s students toured and explored the museum’s collection through different channels. Through both self-guided visits and guided tours of the permanent collection led by Callan Steinmann and Sage Kincaid (curator and associate curator of education), they meditated on their personal experience of art and museums while exploring and challenging the ways in which art and educational institutions can foster or hinder societal awareness and social equity. With the help of the museum’s education interns, students mined the museum’s online database of roughly 13,000 objects and selected individual works to view in person in the Shannon and Peter Candler Collection Study Room. With an intimate and multifaceted understanding of our collection, students began to conceive of the ways in which they might help to connect Common Good Atlanta’s students and the museum through scholarship. Each class took collective responsibility for the production of art kits containing a student-selected collection of 140 works from the museum’s permanent collection. Picking for an audience whose access to “beauty” is restricted, students sought to represent the artistic breadth of the collection while contextualizing contemporary issues and highlighting artists historically excluded from the mainstream art historical narrative. Each work of art is accompanied by student writing about the work, its artist and historical context, as well as suggestions for engagement activities, prompting questions and personal reflections or interpretations. Speaking of John Biggers’ “Star Gazers,” Emma Jones, rising 4th year majoring in psychology an spanish, reflects, “Biggers’s art is like a visual ‘deep talk,’ suggesting the transcendent truths beyond appearances. Do you think that visual ‘deep talk’ is valued less than written ‘deep talk’ in society? If so, why do you think we place more value on words than images?” UGA’s service learning students ended the semester by writing letters to their incarcerated peers. Meditating on their own learning experience, inquiring and anticipating the ongoing exchange, students shared their reflections, hopes and insights. Travis Garrick, who recently

graduated UGA with his degree in psychology, addresses a theme raised this semester: the uncomfortable and imposing formality sometimes experienced in museums. Offering a perspective that resonated with him, he urges his future reader “to not let others define your personal experience with art. . . . Your insight, your feelings, beliefs, interpretations [and] anything you encounter when viewing this artwork is valuable.” Beginning this fall, Common Good Atlanta’s Clemente professors will integrate these kits into their course curriculum and their students will respond in a manner appropriate for their field of study. By the time Don Chambers begins teaching his art history course at Common Good Atlanta in the spring of 2022, his students will have interdisciplinary scholarship from their peers with which to respond. Synthesizing and drawing on the writing of both UGA and Common Good Atlanta’s students, Chambers’ class will collaborate with the museum on an exhibition, hopefully in the fall of 2022. Chambers says, “There is so much hope and possibility in the idea of finding ways to cross pollinate culture between our communal ‘bubbles.’ We are becoming more and more isolated from each other and art is a powerful, deep way of sharing our hidden commonalities.” In many ways, this project is an extension of our re-examination of the museum experience as a strictly in-person one in the last year. The museum aims to serve everyone, and through creative and collaborative service learning, our student community brings us closer to this goal. Dr. Young expresses her hopes for this interinstitutional project as an exercise in cultivating community despite divisions of “space, time and resources to foster a deeper self and social awareness” for participants and the public. In seeing each other, one’s humanity becomes bound to the humanity of others. Through community, collective care and liberation becomes possible and necessary.

Katie Landers Education Intern

museum works TRAVEL THE COUNTRY

1. Cecilia Beaux’s “Twilight Confidences” ( GMOA 2018.117) will be on loan to the exhibition “Whistler to Cassatt: American Painters and France,” on view at the Denver Art Museum, November 14, 2021 – March 13, 2022, and the Virginia Museum of Fine Arts (Richmond), April 16 – July 31, 2022. 2. Vertis Hayes' painting “The Lynchers” ( GMOA 2012.127) will be part of the exhibition “Black Artists in America, 1929 - 1954,” on view at the Dixon Gallery & Gardens (Memphis, TN), October 17, 2021 – January 2, 2022. 3. John Leslie Breck's painting “Misty Day, Venice” ( GMOA 2018.49) will be on loan to the traveling exhibition “John Leslie Breck and the Birth of American Impressionism,” at the Mint Museum Uptown (Charlotte, NC) September 18, 2021 – January 2, 2022, the Dixon Gallery & Gardens (Memphis, TN) January 22 – March 27, 2022, and the Figge Art Museum (Davenport, IA), May 28 - August 28, 2022. 4. Ralston Crawford's painting “Test Able” ( GMOA 1946.140) is on loan to the exhibition “Ralston Crawford: Air & Space & War” (organized by the Vilcek Foundation) traveling to the Brandywine River Museum of Art (Chadds Ford, PA), June 19 – September 19, 2021, and the Dayton Art Institute (OH), October 30, 2021 – January 23, 2022. 5. John Twachtman’s “The Little Bridge” ( GMOA 1945.90) is on loan to the exhibition “America’s Impressionism: Echoes of a Revolution,” on view at Dixon Gallery and Gardens (Memphis, TN), January 23 – May 9, 2021; the San Antonio Museum of Art (TX), June 11 – September 5, 2021; and the Brandywine River Art Museum (Chadds Ford, PA), October 9, 2021 – January 9, 2022. 6. Three prints from our collection — Albrecht Dürer's “Ecce Homo” ( GMOA 1958.626), Dürer's “The Monstrous Pig of Landser” ( GMOA 1974.3247) and Hendrick Goltzius' “The Passion: Christ Before Caiaphas” ( GMOA 1971.2676D) — were on loan to the exhibition “Art of Printmaking: Global and Historical Approaches,” on view at the Richardson Family Art Museum, Wofford College (Spartanburg, SC), February 9 – May 16, 2021. 7. Pierra Daura’s “Martha at Thirteen” ( GMOA 2003.317, pictured) and “Mallorcan Village” (2003.309) were on loan to the exhibition “From Spain to Virginia: The Art and Times of Pierre Daura,” on view at Taubman Museum of Art in Roanoke, Virginia, October 30, 2020 – March 14, 2021. 8. Charles Alston’s “Head of a Woman” ( GMOA 2011.575; pictured) as well as Hayward Oubre’s “Startled Woman” ( GMOA 2012.142) and Jewel Simon’s “The Crucifixion” ( GMOA 2012.148) were on loan to the exhibition “Black Citizenship in the Age of Jim Crow,” on view at the Atlanta History Center, January 18, 2020 – March 12, 2021. 9. Art Rosenbaum's triptych “Hurricane Season” ( GMOA 2007.11), one panel of which is pictured here, was on loan to the Carroll Reece Museum, East Tennessee State University (Johnson City), January 13 – February 21, 2020. 10. The museum-organized exhibition “Cercle et Carré and the International Spirit of Abstract Art” is on view at the El Paso Museum of Art (TX), April 8 – August 15, 2021. This lithograph by Sonia Delaunay ( GMOA 2012.177) is included in it. 11. Before that, it was on view at the Gregory Allicar Museum of Art at Colorado State University January 21 – April 11, 2020. This lithograph by Willi Baumeister ( GMOA 2013.97) was included in it. 12. Ben Shahn’s painting “The Clinic” ( GMOA 1948.204) was on loan to the exhibition “Dreaming of Utopia: Roosevelt, New Jersey” at the Morven Museum & Garden (Princeton, NJ) November 15, 2019 – January 24, 2021.

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museum notes Staff Notes Isabel Walston has joined the museum

delayed conference in April with the award for Creativity in Crisis: Community Impact for our Art at Home programming. The traveling exhibition “Cut and Paste: Works of Paper,” organized by guest curator Didi Dunphy as a collaboration between the Lyndon House Arts Center and the museum, snagged the GAM award for best exhibition between $1,000 and $25,000. The next traveling exhibition of that type is al- ready in the works. In the Galleries We are continuing to reinstall the permanent collection one gallery at a time. The Nancy Cooper Turner Gallery got a fresh look in April, and the H. Randolph Holder Gallery will follow in October. Newly on display in the lobby, beginning July 3, is a large painting by Barbara Rogers , who studied painting at the San Francisco Art Institute with Richard Diebenkorn, Elmer Bischoff and Frank Lobdell before graduating from the University of California, Berkeley, where she studied with painters Michael Goldberg and Angelo Ippolito. After a long and distinguished teaching career, she is now professor emeri- tus of painting and drawing at the University of Arizona.

staff as part-time as - sistant editor. Walston was previously a

publications intern at the museum. She has a degree in journal- ism and art history from the University of Georgia and has interned at Art Papers and Arts ATL as well as work- ing with Tif Sigfrids Gallery in Athens. Awards The museum was a grand prize finalist and recipient of an honorable mention for art books in the Eric Hoffer Book Awards for “Master, Pupil, Follower: 16th- to 18th-Century Italian Works on Paper.” The Georgia Association of Museums , for which museum public relations coordinator Michael Lachowski is a board member, honored us at its

gifts The Georgia Museum of Art received the following gifts between January 1 and March 31, 2021:

In memory of Julia Sanks by Svea & Ron Bogue

In memory of Lewis Burton by William Underwood Eiland

In honor of William U. Eiland by Betty Robertson and Patricia & Tom Wright

In memory of Ann Scoggins by Gregory Ann & Richard Woodruff

In memory of John Curtis by William Underwood Eiland

In honor of his birthday by Sam Carleton

In memory of John Scoggins by Mary Erwin and Marilyn & John McMullan

In memory of Henry D. Green and Frances Y. Green by A. Felton Jenkins III

In honor of Julie Jenkins by A. Felton Jenkins III

In memory of Anderson Scott by William Underwood Eiland

In memory of Edgar Myrtle by Samuel Carleton and Frances Williams

In memory of Larry Beard by Aline & Al Hartgraves

In memory of Irene Smith by W. Thomas Wilfong

In memory of William Power by Kathy Prescott & Grady Thrasher

In memory of Dianne Belch by William Underwood Eiland

in the shop “Kota Ezawa: The Crime of Art” chronicles some of the most infa- mous and high-profile museum heists in history. The art world has always contained epic stories of charming con men, skilled forgers and daring thieves. Read up on a few of the most fascinating in one of these compel- ling titles now available the Museum Shop. Follow undercover agents, learn the tricks used by appraisers to spot forgeries and get the inside scoop on some of the biggest art heists and cons in history.

“Stealing Rembrandts: The Untold Stories of Notorious Art Heists”

“Provenance: How a Con Man and a Forger Rewrote the History of Modern Art”

“The Art of the Con: The Most Notorious Fakes, Frauds, and Forgeries in the Art World”

$19.99

$20

$17.99

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Virtual/“To-Go”

In-person

SUNDAY SPOTLIGHT TOUR Sunday, August 22 and September 26, 3 p.m. These drop-in, public tours feature highlights of the permanent collection and are led by museum docents. CURATOR TALK: RONALD LOCKETT AND THORNTON DIAL SR. Wednesday, September 1, 2 p.m. Join Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, for a Zoom talk on our newest In Dialogue installation: “Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr.” ARTIST TALK: KOTA EZAWA Tuesday, September 7, 5:30 p.m. Kota Ezawa is best known for his light boxes and animations that combine found images, video and film to comment on contemporary culture, appropriation and historical events. This program will focus on the exhibition “Kota Ezawa: The Crime of Art,” part of a series that chronicles some of the most infamous museum heists in history. At the heart of this exhibition is a series of images that pays homage to the 13 works — including those by Degas, Manet, Rembrandt and Vermeer — stolen from the Isabella Stewart Gardner Museum in 1990. GALLERY LAB: NICK CAVE’S “SOUNDSUIT” Wednesday, September 22, 2 p.m. Join fashion historian and UGA doctoral student Sara Idacavage for an interactive gallery program focused on Nick Cave’s “Soundsuit,” on view in the Barbara and Sanford Orkin Gallery. This drop-in program will explore how Cave uses costumes and performances to blur the lines between fashion and art while bringing attention to racial inequalities, queer culture and artisanal craftwork. Attendees can discuss Cave’s work and “upcycle” discarded materials into new forms.

TOURS AND GALLERY TALKS

SPECIAL EVENTS

STUDENTWEEK: THE CRIME OF ART Thursday, September 9 – Sunday, September 12, 1 – 5 p.m. daily The Georgia Museum of Art Student Association hosts a special Student Week program to celebrate the museum’s summer exhibitions, including “Kota Ezawa: The Crime of Art.” Drop by the museum any time Thursday through Sunday between 1 and 5 p.m. to explore the galleries with a fun scavenger hunt and pick up a free “Art to-Go” kit with all the materials and instructions needed to create your own “Kotafied” remixed work of art at home. Student Week is generously sponsored by UGA Parents Leadership Council.

Keep an eye on our website and social media channels for more video gallery talks by curators and other museum staff, and for the most up-to-date information about possible program changes. Some in-person programs may be moved to a virtual format as needed. CURATOR TALK: “HANDS AND EARTH: PERSPECTIVES ON JAPANESE CONTEMPORARY CERAMICS” Wednesday, July 14, 2 p.m. Join William U. Eiland, museum director, for a Zoom talk about works on view in the exhibition. CURATOR TALK: “ECHOES FROMABROAD: AMERICAN ART FROM THE COLLECTION OF Meghan Gerig, museum intern and recent graduate of UGA’s art history program, will be joined by Jeffrey Richmond-Moll, curator of American art, for a conversation about works in the exhibition, and Gerig’s research for the show as a student intern. CURATOR TALK: “REDISCOVERING THE ART OF VICTORIA HUTSON HUNTLEY” Wednesday, August 4, 2 p.m. Co-curator Lynn Barstis Williams Katz, librarian emerita for art and special BARBARA GUILLAUME” Wednesday, July 21, 2 p.m. collections at Auburn University, will give a Zoom talk on the prints of artist Victoria Hutson Huntley. TOURS AT TWO Wednesday, August 11, and 25; September 8 and 29, 2 p.m. These drop-in, public tours feature highlights of the permanent collection and are led by museum docents. ARTFUL CONVERSATION 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. • Wednesday, August 18, 2 p.m. Mika Tajima’s “At the Door” (2008). With Emily Hogrefe- Ribeiro, assistant curator of education • Wednesday, September 15, 2 p.m. Daniel Garber’s painting “Spring Panel” (1931 – 33). With Sage Kincaid, associate curator of education

YOUTH AND FAMILY PROGRAMS

Family Day art kits are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota and the Friends of the Georgia Museum of Art

FAMILY DAY TO-GO: ARTIST, MENTOR, FRIEND Thursday – Sunday, July 8 – 11

Thornton Dial Sr. and Ronald Lockett were both artists who made works of art from dis - carded materials. Check out the “In Dialogue” exhibition that highlights their creativity and friendship, then make your own found-object sculpture at home using the free Family Day To-Go kit. The kit includes a guide and art supplies and can be picked up from the muse - um Thursday – Sunday the week of the event. TODDLER TUESDAY Enjoy looking at art and storytime in the galleries, and then complete an art activity just for the little ones. This free program is designed for families with children ages 18 months to 3 years. Seats are limited; email sagekincaid@uga.edu to reserve a spot. • Tuesday, July 20, 10 a.m. : Art Friends • Tuesday, August 24, 10 a.m. : Primary Colors • Tuesday, September 21, 10 a.m. : Faces and Places

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TEEN STUDIO: IN DIALOGUE Thursday, July 22, 5:30 – 8:30 p.m. Teens ages 13 – 18 are invited to this

FILMS

WORKSHOPS AND CLASSES

FILM SERIES: THE CRIME OF ART Presented in conjunction with the exhibition “Kota Ezawa: The Crime of Art.”

studio-based workshop led by local artist and educator Kristen Bach. Check out the exhibition “Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr.” by Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, and then create your own sculpture from found materials. This program is free, but seats are limited. Please email sagekincaid@uga.edu to register. FAMILY DAY TO-GO: NEO ABSTRACTION Thursday – Sunday, August 12 – 15 Artists of our time continue to push the boundaries of abstract art. Check out global contemporary art from the recently donated Shlesinger collection, then make your own cutting-edge spin painting at home using the free Family Day To-Go kit. The kit includes a guide and art supplies and can be picked up from the museum Thursday – Sunday the week of the event. FAMILY DAY TO-GO: THE CRIME OF ART Thursday – Sunday, September 9 – 12 Kota Ezawa’s “The Crime of Art” series chron- icles some of the most high-profile museum heists in history. Check out paintings, light boxes and video animations that explore the images and memories of stolen art then make your own “Kotafied” photo collage at home using the free Family Day To-Go kit. The kit includes a guide and art supplies and can be picked up from the museum Thursday – Sunday the week of the event. TEEN STUDIO: ART HEIST Thursday, September 23, 5:30 – 8:30 p.m. Teens ages 13 – 18 are invited to this stu - dio-based workshop led by local artist and educator Kristen Bach. Check out the exhibi- tion “Kota Ezawa: The Crime of Art,” which is inspired by some of the most infamous mu - seum heists in history, and then create your own “Kotafied” work of art. This program is free, but seats are limited. Please email sagekincaid@uga.edu to register.

YOGA IN THE GALLERIES

Thursday, July 15, August 19 and September 16, 6 p.m.

“STOLEN” Thursday, September 16, 7 p.m. It was the most expensive art heist in Amer - ican history. In March 1990, two thieves disguised as Boston police officers gained entrance to the Isabella Stewart Gardner Museum and successfully plundered $500 million worth of art. Among the 13 priceless works stolen were Rembrandt’s “The Sea of Galilee” and Vermeer’s “The Concert,” one of only 35 surviving works by the artist. Filmed 16 years after the heist, the film raises a new magnifying glass to this crime, following the renowned art detective Harold Smith as he pursues the mystery of the stolen works. With Smith as a guide, it journeys into the mysterious and surreal world of stolen art and examines the many possibilities as to where the art might be today. 2005, NR, 85 min. “HOWTO STEAL AMILLION” Thursday, September 23, 7 p.m. Charles Bonnet (Hugh Griffith) expresses his passion for art by forging masterpieces — and selling them at a hefty profit. The trouble starts when his reproduction of a prized sculpture winds up in a famous Paris museum. If experts determine that it is inauthentic, Bonnet’s reputation will be tarnished. That’s why his fetching daughter, Nicole (Audrey Hepburn, in costumes designed by Givenchy), hires cat burglar Simon Dermott (Peter O’Toole) to steal the sculpture back before it’s too late. 1966, NR, 123 min. “TOPKAPI” Thursday, September 30, 7 p.m. Beautiful thief Elizabeth Lipp (Melina Mer- couri) and criminal genius Walter Harper (Maximilian Schell) put together a plan to steal an emerald-encrusted dagger from Istanbu’ Topkapi Palace. As part of their crew, they hire small-time hustler Arthur Simon Simpson (Peter Ustinov) to act as their fall guy. When the Turkish secret police capture Simpson at the border, they persuade him to spy on his partners in crime, mistakenly believing that they’re Communist agents plot - ting an assassination. Based on Eric Ambler’s 1962 novel “The Light of Day,” this Techni- color film won an Academy Award for Best Supporting Actor in 1965. 1964, NR, 120 min. Film series generously sponsored by UGA’s Parents Leadership Council.

Join us for a free yoga class surrounded by works of art in the galleries. Led by instruc- tors from Five Points Yoga, this program is free and open to both beginner and experi - enced yogis. This program is available both in-person and via Zoom. DRAWING IN THE GALLERIES Sunday, August 8, 2 p.m. Experience the pleasure of drawing in the museum’s galleries. This workshop is led by a teaching artist and provides drawing instruc - tion, art supplies and enough space to spread out in the galleries. Program is free, but space is limited; to reserve a spot email sagekincaid@uga.edu. MORNINGMINDFULNESS Friday, August 27, September 10 and 24, 9:30 a.m. The Georgia Museum of Art invites you into the galleries to participate in free guided mindfulness meditation, held every other Friday. Included is a variety of instructor-led meditation, movement and mindfulness techniques. No experience necessary. This program is available both in-person and via Zoom. SKETCHING IN THE SCULPTURE GARDEN Thursday, September 9, 6 – 7:30 p.m. Sketch in our sculpture garden at this free life-drawing class, open to all levels. Draw from live models and experiment with ma - terials in a casual class led by teaching artist Phil Jasen. Drawing supplies will be provided, or you are welcome to bring your own mate - rials. This outdoor program is free, but space is limited and registration is required; email callan@uga.edu to reserve a spot. ART + WELLNESS STUDIO Sunday, September 19, 2 – 4 p.m. The therapeutic benefits of art can offer a welcome respite. By looking at, making and talking about art, studies show that we can increase our sense of well-being. Join us as we explore art and create something won - derful together. Program is free, but spaces are limited; email sagekincaid@uga.edu to reserve a spot.

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