Facet Summer 2022

SUMMER 2022

table of CONTENTS

board of ADVISORS

From the Director p.3

B. Heyward Allen Jr.* Rinne Allen Amalia K. Amaki** June M. Ball Linda N. Beard Karen L. Benson** Richard E. Berkowitz Jeanne L. Berry Sally Bradley

Ibby Mills David Mulkey

Carl. W. Mullis III* Betty R. Myrtle** Gloria B. Norris*** Deborah L. O’Kain Randall S. Ott Sylvia Hillyard Pannell Gordhan L. Patel, immediate past chair Janet W. Patterson Christopher R. Peterson, chair-elect Kathy B. Prescott Margaret A. Rolando* Julie M. Roth Alan F. Rothschild* Jan E. Roush Bert Russo Sarah P. Sams**

Exhibitions p.4

The Art of Giving p.10

Devereux C. Burch* Robert E. Burton** Debra C. Callaway** Lacy Middlebrooks Camp Shannon I. Candler* Faye S. Chambers Wes Cochran Harvey J. Coleman Sharon Cooper James Cunningham Martha Randolph Daura*** Annie Laurie Dodd***

New Acquisitions p.12

Annelies Mondi Retires p.14

The Green Symposium Is Back p.16

D. Jack Sawyer Jr.* Henry C. Schwob** Margaret R. Spalding Dudley R. Stevens Carolyn Tanner**

Museum Notes p.18

Sally Dorsey** Judith A. Ellis Todd Emily

James B. Fleece Phoebe Forio*** Freda Scott Giles John M. Greene** Helen C. Griffith** 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

Gifts p.18

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

Camera Roll p.19

Sarah Peterson Usha Rodrigues

* Lifetime member

** Emeritus member

*** Honorary member

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. Free timed tickets required.

Mission Statement: The Georgia Museum of Art shares the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as a repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. Funds from the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art support exhibitions and programs at the Georgia Museum of Art. The Georgia Council for the Arts also provides support through the appropriations of the Georgia General Assembly. GCA receives support from its partner agency, the National Endowment for the Arts. Individuals, foundations and corporations pro- vide additional museum support through their gifts to the University of Georgia Foundation. The museum is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, Ga. 30602-1502. For more information, including hours, see http://www.georgiamuseum.org or call 706-542-4662. 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 ad- ministrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-administered programs; or employment. Inquiries or complaints should be directed to the Equal Opportunity Office 119 Holmes-Hunter Academic Building, University of Georgia, Athens, GA 30602. Telephone 706-542-7912 (V/TDD). Fax 706-542-2822. https://eoo.uga.edu/.

706.542.4662 Fax: 706.542.1051

Department of Publications Hillary Brown

Design Noelle Shuck

Cover: Kristin Leachman, “Longleaf 1,” 2020. Oil on canvas on panel, 54 × 72 inches. Courtesy of Kristin Leachman.

from the DIRECTOR

One cannot discount the savagery and brutality of war, especially one being waged upon innocent victims who want peace, security and liberty for their country and for their children. The images we have seen daily of the murder of non-combatants have been sickening and terrifying. Who will forget the diaspora of Ukraine’s mothers, her children, as they seek shelter and safety in neighboring countries, and how often have we heard those children and their mothers express their ardent wishes to go home? As it should be, this war has been a focal point of discussion lately — and shall continue to be so for years to come — by the global museums of the In- ternational Council of Museums’ (ICOM) community. At times, it has almost seemed crass to me, as a member of ICOM-US’s board, that we have worried over the language that condemns the war for its possible and proven destruc- tion of Ukraine’s cultural heritage almost before we condemn the havoc it has rained upon its citizens, who have been killed, dislocated, separated and disheartened. In fact, our first response privileged objects, or seemed to do so, over people, and for that I am sorry. Our second statement, calling out the monstrous atrocities of Russia’s troops and its mercenaries against the civil- ian population, was stronger and more direct in its solidarity with the people of Ukraine as well as in emphasizing our fear that Putin meant to efface or erase the nation’s rich and vibrant history and culture. Museums have already been bombed and set afire; even as I am writing, I am receiving news of the destruction of another provincial museum in Ukraine. To the end of sharing the distress of museum professionals everywhere over the plight of people and museums in Ukraine, I would like to include here part of what I drafted for ICOM-US’s condemnation of the Russian incursion: The past three years have been intense ones for the employees and care- takers of museums around the world. Recently added to the tribulations of COVID, the challenge of facing down racial and social injustice, and this hateful, unnecessary war, we now learn of the stabbing of our colleagues at MoMA and a fire at the Whitney. What affects one of us truly affects us all. For example, our concern for our shared cultural heritage is not just for that of the Americas but for human achievement worldwide. We shiver at the threat of the Russians to destroy or remove to Moscow the magnificent objects and structures of Ukraine’s glorious past. Ukraine, in today’s world, is not so far away. Those of us who abhor what is happening to the people and to their art and history reach across thousands of miles to them. Symptomatic of our concern has been the international acceptance of the Ukrainian national anthem to the extent that so many of us have learned the music without understanding the lyrics. We find if not solace at least comprehension of the horror of war in the words of such poets as Rupert Brooke, in such novels as Edith Wharton’s “A Son at the Front” and, frighteningly, in “Animal Farm” and “1984.” Goya is unrelenting in his depiction of the terror of battle and suffering in his “Disasters of War.” Like - wise difficult but necessary to see is Miriam Beerman’s two-part painting “O the Chimneys,” a visual exegesis on the savagery that humans have inflicted on each other in the 20th century. As Mathew Arnold so eloquently said in his poem “Dover Beach”:

Miriam Beerman (American, b. 1923), “O the Chimneys, Part 1: Shoes,” and “O the Chimneys, Part II: Flames,” 1990. Oil and mixed media on canvas, 71 × 59 inches (each). Georgia Museum of Art, University of Georgia; Museum purchase with funds generously provided by Paula and Jerry Gottesman. GMOA 2016.156.1 – 2.

And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.

Francisco Goya (Spanish, 1746 – 1828), “Unhappy Mother!,” from “The Disasters of War,” 1808 – 17. Etching, aquatint and drypoint on laid paper, 5 5/16 × 8 inches (image). Georgia Museum of Art, University of Georgia; Gift of James B. Anderson. GMOA 1985.11.50.

William Underwood Eiland, Director

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Kristin Leachman: Longleaf Lines

July 23, 2022 – February 5, 2023

In June 2020, artist Kristin Leachman traveled to an old-growth longleaf pine forest in southwest Georgia.

Longleaf forests are one of the most biologically rich ecosystems in the world, second only to tropical rainforests; however, today these forests primarily grow on private lands and are largely unfamiliar to the general public. Through their scale and intimacy, Leachman’s paintings collapse this sense of distance and offer viewers a physically immersive experience. Focused on the longleaf’s bark formations, her works enlarge these patterns into monumentally scaled bio- morphic abstractions. Capturing the tree’s marvelously scaly and fire-resis - tant surface, Leachman’s pictures also appear singed with fire. This effect points to the destructive histories

of these landscapes. Longleaf once spanned 90 million acres across the southern United States but declined to just 3 million acres after centuries of harvesting for ship masts, railroad ties and turpentine farming. These forests would have been cleared entirely for develop- ment had it not been for quail hunting, which became popular in the 1800s. The scorched surfaces of Leach- man’s pictures also correspond with the practice of regular burn cycles that foresters now use to maintain the longleaf ecosystem. As both a ravaging and refining force, fire is a fitting metaphor for the revitalized forests of longleaf pine, which today rise phoenix-like from the ashes.

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“Longleaf Lines” represents part two of Leachman’s “Fifty Forests” project, which she began in 2010 in her adopted home state of California to document the self-organizing patterns in trees. The project is taking Leachman to var- ious forested and deforested sites, protected and unpro- tected lands, in each of the 50 U.S. states. By transcribing the unspoken language of trees’ structural integrity and biological resilience, Leachman explores the intersection of painting and the natural world. “Fifty Forests” also reflects upon the relationship between humans and trees. What is at stake, Leachman’s paintings ask, as our country continually struggles to reconcile its connection to nature with its extractive use of natural resources?

Curator: Jeffrey Richmond-Moll, curator of American art

Kristin Leachman, “Longleaf 2,” 2021. Oil on canvas on panel, 54 × 72 inches. Courtesy of Kristin Leachman.

Kristin Leachman, “Longleaf 4,” 2022. Oil on canvas on panel. Courtesy of Kristin Leachman.

Kristin Leachman, “Longleaf 1,” 2020. Oil on canvas on panel, 54 × 72 inches. Courtesy of Kristin Leachman.

exhibitions

Infinity on the Horizon September 3 – December 31, 2022

Speaking about the landscape of the American Southwest, Georgia O’Keeffe once remarked, “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding – to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.”

landscape painting from the late 1960s to the present. Featured artists like O’Keeffe, Elaine de Kooning and Richard Mayhew foreground modernist and abstract expressionist approaches to the natural environment through vibrant colors and manipulated planes of space. Meanwhile, contemporary artists such as Jenni- fer Sirey and Matthew Brandt use new mediums and techniques to challenge artistic traditions and renderings of the landscape. Moving across various themes, the exhibition highlights how artists extrapolate identifiable elements and visual markers of landscapes to comment on political, social and ecological issues happening within and to the environments around us.

This exhibition, inspired by O’Keeffe’s phrase, highlights modern and contemporary objects in the Georgia Museum of Art’s permanent collection by prominent and lesser-known artists. The notion of “Infinity on the Horizon” sparks a dia - logue about the use of abstraction to expand our understand- ings of the landscapes around us. In traditional depictions of a landscape, the motif of a horizontal line demarcates the separation of land, water and the sky — in other words, the separation of the land beneath us and the expansive “other.” By examining the infinite approaches of abstraction, this exhibition begs the question: how far can the artist abstract nature before we lose sight of the horizon? Examining this intersection of abstraction and landscape, artists with work in the exhibition build on histories of

Curator: Kathryn Hill, curatorial assistant in contemporary art

Matthew Brandt (American, b. 1982), “Gibbons Lake WY 4,” 2013. C-print soaked in Gibbons Lake water, 72 x 105 inches. Georgia Museum of Art, University of Georgia; The John and Sara Shlesinger Collection. GMOA 2019.367.

Coco Schoenberg (American, b. France, 1939), basket-form vessel, ca. 1995. Ceramic. Georgia Museum of Art, University of Georgia; Gift of Paul W. Richelson. GMOA 2018.295.

Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection June 11, 2022 – July 3, 2023

In 2012, Larry and Brenda Thompson gave 100 works of art by African American artists to the Georgia Museum of Art, mirroring the original donation of 100 American paintings by museum founder Alfred Heber Holbrook.

In addition, they endowed a curatorial position to steward this collection to help fulfill the museum’s vision of an inclusive canon of American art. This exhibition is part of a permanent installation of work donated by the Thompsons. It includes works from the 2011 traveling exhibition “Tradition Redefined,” which preceded the gift, as well as subsequent works added in recent years that have not been on view in other galleries. These works celebrate the expansion of the museum’s permanent collection through this trans- formative gift of works by African American artists.

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

Vertis Hayes (American, 1911 – 2000), “Juke Joint,” 1946. Oil on canvas, 28 × 36 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2012.126. Joseph Delaney (American, 1904 – 1991),“Woman in Striped Dress,” 1964. Oil on board, 36 × 27 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2011.585.

David Clyde Driskell (American, 1931 – 2020), “Masks,” 1988. Tempera and encaustic on paper, 19 × 25 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2012.121.

exhibitions

Call and Response Through August 7, 2022

Carrie Mae Weems: The Usual Suspects Through August 7, 2022

Organized by the Louisiana State University Museum of Art and curated by Courtney Taylor, “Carrie Mae Weems: The Usual Suspects” includes recent photographic and video works by the renowned artist questioning stereotypes that associate Black bodies with criminality.

Images from Weems’ series “All the Boys” and “The Usual Suspects” implicate these stereotypes in the deaths of Black men and women at the hands of police and confront the viewer with the fact of judicial inaction. Blocks of color obscuring faces point to the constructed nature of our notions of race and how these imagined concepts obscure humanity — here with very real and deadly outcomes. “People of a Darker Hue,” a meditative compilation of video, found footage, narration and performance, commemorates these deaths. Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relation- ships, cultural identity, sexism, class, political systems and the consequences of power. Determined as ever to enter the pic- ture — both literally and metaphorically — she has sustained an ongoing dialogue within contemporary discourse for over 30 years. During this time Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation and video.

As a visual response to “Carrie Mae Weems: The Usual Suspects,” this selection of works from the museum’s permanent collection considers the intersection of race and representation in the works of other African American artists.

Some works invite the viewer to interrogate myths and ste- reotypes about Black identity while others acknowledge other narratives about personal and collective aspects of power. Included are works by Sheila Pree Bright, Elizabeth Catlett, Michael Ray Charles and Kevin Cole.

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

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

Sheila Pree Bright (American, b. 1967), “Donovan,” from the “Young American Series,” 2007. Chromogenic print, 39 1/2 × 29 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of the Larry D. and Brenda A Thompson Collection of African American Art. GMOA 2016.123.

Carrie Mae Weems (American, b. 1953), “All the Boys (Blocked 3),” 2016. Archival pigment and silkscreened panel mounted on gesso board, 32 3/8 × 27 3/8 inches (each). Courtesy of Jack Shainman Gallery.

Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker Through September 4, 2022

Jane Manus, Undaunted August 20, 2022 — February 12, 2023

American modernism in the visual arts has garnered sustained interest among scholars and general audiences in recent years, though typically with a focus on modernist painting.

Jane Manus has been making bold abstract sculptural statements throughout an extraordinarily productive five-decade career.

This exhibition seeks to expand that narrow emphasis, high- lighting an array of techniques and a range of artists who ex- plored modernism’s myriad forms through paper-based media. “Graphic Eloquence” consists of approximately 150 works by 70 artists selected from a single private collection, many of which are promised gifts to the museum. Artists working in modernist modes shared challenges regardless of loca- tion, and the exhibition brings out these commonalities as it focuses on regional centers that embraced and supported modernist trends. Many of the works in the exhibition employ lesser-known artistic media, from casein and cellocut to pas- tel and pochoir. Unlike more exclusive accounts of modernist painting, the story of modernist works on paper provides a broader, more democratic view of American modernism that highlights the contributions of many lesser-known artists to this important 20th-century history. A substantial catalogue published by the museum accompanies the exhibition and is available in the Museum Shop.

This exhibition consists of five of her sculptures, ranging in height from 6 feet to 24 feet, all made of welded aluminum and on display in the Jane and Harry Willson Sculpture Garden. Manus’ vocabulary is reminiscent of geometric sculptors such as Mark di Suvero, Tony Smith, and Joel Shapiro, but her interpretations feel lighter on their feet. Her work was on display at the Georgia Museum of Art in 1996 as part of the celebrations surrounding the opening of the University of Georgia’s Performing and Visual Arts Complex, and her wall sculpture greets visitors to the museum, but these works are all more recent. A selection of maquettes shows the artist’s process and enables the viewer to grasp the entirety of her work in a way that can be difficult at full scale.

Curator: Jeffrey Richmond-Moll, curator of American art

Curators: Annelies Mondi, deputy director, and William U. Eiland, director

Werner Drewes (American, b. Germany, 1899 – 1985), “Black Curve on Yellow Horizontally Connected,” 1938. Color woodcut, ed. 2/1-XX, 5 3/4 × 8 inches. Promised gift of Michael T. Ricker. Permission of Karen E.D. Seibert of the Werner Drewes Estate, DrewesFineArt.com.

Jane Manus, “Bravo,” 2015. Welded and painted aluminum, 72 × 48 × 24 inches. Collection of the artist.

the art of giving BLACK HISTORY AWARDS CELEBRATION RETURNS

early 1990s, Georgia State University in Atlanta recruited her as professor of African anthropology and founding director of African American Student Services and Programs, thereby sup- porting the retention, progression and graduation of hundreds of multicultural students. Sadly, Dr. Derby died the week of the awards ceremony, and Lois A. Richardson, president of the Atlanta (GA) Chapter of the Links, accepted it on her behalf, talking about the many people with whom Dr. Derby would have wanted to share the award, including her husband, Bob Banks, whose “love and support allowed her to soar to unimaginable heights.” Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, then present- ed the 2022 Larry D. and Brenda A. Thompson Award to Lou Stovall, preceded by a short video on his career that she created with Nathan Fleeson, a UGA religion doctoral student and her curatorial intern. She also thanked Stovall and his family for donating works of art to the museum’s collection. The Thompson Award honors African American artists who have made significant but often lesser-known contributions to the visual arts tradition and have roots in or major connec- tions to the state of Georgia. Stovall, a nationally renowned printmaker, was born in Athens, Georgia, although he grew up in Springfield, Massachusetts, and had not visited his birth - place in decades. He graduated from Howard University and, in 1968, opened a printmaking studio, the Workshop, Inc., where he innovated techniques in silkscreen printing. The thriving studio, which still exists, became the site for Stovall’s work for community poster printmaking and, later, collaborative projects with artists such as Jacob Lawrence, Josef Albers and Sam Gilliam. His work was on view in the exhibition “Lou Stovall: Of Land and Origins,” which attendees were able to experience in the museum’s galleries. Stovall talked about his many collaborations over the years and read some of his poetry, including “The Greening of the Art- ist,” which includes the lines “The ability to make something possible / is perhaps the greatest gift of all.” Brenda Thompson then spoke about the importance of printmaking to her and her husband’s collection and how Stovall’s prints resemble paintings. Deputy director Annelies Mondi then concluded the ceremonies, stepping in for director William U. Eiland, whose flight was delayed. She emphasized that the proceeds from the evening, which totaled more than $19,000, benefit the muse - um’s Endowment for the Study of African American Art, Artists and History and discussed the importance of creativity and learning and how the museum is a crucial part of the universi- ty’s overall mission. We thank all who contributed or attended and look forward to next year’s event.

Larry and Brenda Thompson with University of Georgia President Jere W. Morehead.

After a year off in 2021, we were so delighted to return to our annual Black History Awards Celebration. Held April 1 at the museum, the event was limited to sponsors but filmed for those who were unable to attend.

University of Georgia president Jere Morehead welcomed ev- eryone to the ceremony, thanking Larry and Brenda Thompson in particular for their support of African American art at the university and the museum. Event chair Freda Scott Giles then led the audience in the first verse of “Lift Every Voice and Sing.” Shanna Jackson Sheats, president of the Athens (GA) Chapter of the Links, Incorporated, announced that the recipient of the 2022 Lillian C. Lynch Citation was Dr. Doris Derby. This award honors an African American leader who has made a signifi - cant contribution to black cultural education and service and is named in honor of a charter member of the Athens (GA) Chapter of the Links. Dr. Derby was born in New York City, where she painted and studied dance. She earned a bachelor’s degree from Hunter College and began teaching elementary school in New York. In the spring of 1963, she joined her fellow Student Nonviolent Coordinating Committee (SNCC) members in organizing and participating in the 1963 March on Washington for jobs and freedom. She worked as a SNCC Field Secretary and educator in Mississippi, helped develop an adult literacy program at Tou- galoo College and participated in Black voter registration drives. She also co-founded the Free Southern Theater and developed her photography and documentary filmmaking skills. In the

sponsors

$10,000 – PRESENTING SPONSOR Anonymous

$5,000 Lacy Middlebrooks Camp & Tom Camp

$2,500 Blasingame, Burch, Garrard & Ashley, P.C. Kathy B. Prescott & H. Grady Thrasher III $1,000 Lucy & Buddy Allen Jr. Mae & Louis A. Castenell Jr. Janet & Alex Patterson Shanell L. McGoy & Terry M. Powers Jr. Roman Arts Consulting, LLC Kendell & Tony Turner UGA Office of the President UGA School of Law

$500 Anonymous The Athens (GA) Chapter of the Links, Incorporated Sige Burden Jr. Teresa & Charlie Friedlander Freda Scott Giles Mary and Jeffrey Goodwin Bree & Richard Hayes Lillian Kincey & Steve C. Jones Brenda & Ham Magill Jacki Macker & Cash Morris Libby & Van Morris Sherrie & Stephen Olejnik Sylvia Hilliard Pannell & Clifton W. Pannell Monica & Sylvester Parker Jinx & Gordhan Patel Sarah & Chris Peterson Deborah Gonzalez & Robert A. Scott Shenara & Alonzo Sexton Mary Lillie Watson & Ray Watson

event partners

cutlines

The Athens Printing Company Barrons Rental Center Guide2Athens Perryander Studio

committee

Lacy Middlebrooks Camp Deborah Gonzalez Jeffrey Goodwin Bree Hayes Sage Kincaid

Freda Scott Giles, chair Monica W. Parker, Links liaison

(top to bottom) Members of the Links, Incorporated.

Shanell McGoy Sarah Peterson Shenara Sexton

Lou Stovall (center, seated) with Larry Thompson, Kevin Cole, Bob Banks, Brenda Thompson, Shawnya Harris, Annelies Mondi and Jere Morehead. Lou Stovall (center, seated) with his family.

Ligia Alexander Linda Bigelow Sige Burden Jr.

ACQUISITIONS

KYRA MARKHAM

Bobby C. Martin (Muscogee [Creek], b. 1957), “Emigrant Indians #1,” 2018. Five-color screenprint on Crane Lettra paper, 20 × 20 inches. Georgia Museum of Art, University of Georgia; Museum purchase. GMOA 2021.260. idealized Black female figures, with elongated bodies, dark brown skin and masklike faces, are at once a celebration of African culture and a comment on its enduring presence. He would repeat these themes throughout his career. This late aquatint represents one example in a series of erotic scenes that echo the Turkish bath scenes and opulent interiors found in “odalisque” paint- ings of 19th-century European art. ELDZIER CORTOR e ldzier Cortor was a Chicago-based painter and master printmaker. He studied at the Art Institute of Chicago and, during the 1930s, worked as an easel painter for the Works Progress Administration. He later helped establish Chicago’s Southside Communi- ty Art Center. Cortor is best remembered for his idyllic depictions of Black women inspired by his study of the Gullah community inhabiting the Sea Islands of South Carolina and Georgia. He received two fellowships during the 1940s to travel visit these areas and paint inhabitants of the islands whose culture closely mirrored customs found in West Africa. Cortor was particularly enamored with capturing the female figure and once stated: “the Black woman represents the Black race.” His

b orn Elaine Hyman, the artist Kyra Markham trained at the Art Institute of Chicago and, upon completing her studies in 1909, pursued a parallel career in theater and film, perform - ing in Hollywood movies, with the Chicago Little Theatre and later as part of the Provincetown Players. By the 1930s, Markham’s work as a printmaker and muralist gained momentum, and she exhibited litho- graphs in the social realist style to great critical and commercial ac- claim. Like her murals and later wartime paintings, these prints feature dynamic figural groupings and dramatic lighting that resonate with her theatrical background and convey the fanciful and grotesque aspects of Depression-era and wartime society. In 1946, Markham moved with her husband, the stage designer David Gaither, to a farm in Halifax, Vermont. Unlike the boosterism and pa- triotism of her works during World War II, “Winter Landscape” conveys a much more somber, quieter mood. The painting recalls her other pictures of the wintry landscape, barn buildings and gnarled trees that surrounded her Vermont home. Rather than a merely bucolic New En- gland scene under a bed of snow, “Winter Landscape” conveys a hazy dreamlike space, glowing in sunlight filtered through downy clouds. The twisting and towering tree, with blasted and barren limbs, appears glaringly backlit and dramatically cropped. Yet its wounded body still vibrates with life, standing like a lone sentinel in the bleak winter of the nuclear age.

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

Eldzier Cortor (American, 1916 – 2015), “Sepia Odalisque I,” 1998. Aquatint on paper, 19 3/4 × 13 3/4 inches (image). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by bequest of Paul W. Richelson. GMOA 2022.6.

Kyra Markham (American, 1891 – 1967), “Winter Landscape,” 1947. Oil on panel, 23 3/8 × 17 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of James Woods and sons, Bath, Ohio. GMOA 2021.147.

Jeffrey Richmond-Moll, curator of American art

beloved Deputy Director Annelies Mondi retires AFTER DECADES OF SERVICE

Annelies Mondi says that, in some ways, she came in the back door of the Georgia Museum of Art, but after 34+ years of service she’s made an undeniable impact.

She retired at the end of May after working in many different departments at the museum and with countless people across campus. Mondi, who has been our deputy director since 2004, first got involved with the museum when a friend suggested that she look into the docent program after she graduated from the Uni- versity of Georgia in 1984, with a degree in art history. Working to pay off her student loans, she cobbled together employment in the way that many 20-somethings who’ve fallen in love with Athens do. She worked as a commercial screen printer, in a frame shop, bussing tables at T-Bone’s Texas-Style Steakhouse on Baxter Street, selling books at Jackson Street Books and even painting the windshields of cars at dealerships with phrases like “4 x 4 Thunder Truck.” “What’s a docent?” Mondi asked, a question she’s probably an- swered a thousand times since then, but that connection turned out to be the beginning of a lifetime in the museum field. After talking to then-curator Donald Keyes, she agreed to help him conduct research on the itinerant 19th-century painter George Cooke, a project that became an award-winning exhibition in 1991. From there, she took a temporary part-time job in the museum’s education department, working on the School Art Symposium, a statewide competition for high school students. In 1988, interim director Carol Winthrop hired Mondi as a part-time preparator, working for Bruce Bowman to install exhibitions and move art, and her first full-time position at the

museum came a little later, as an assistant registrar to Martha Blakeslee. The museum had moved to a then-state-of-the- art DOS-based electronic database known as AIMS, and Mondi dove right in to cleaning it up. If you know her, you know that she reacts to a big, complex, daunting project by rolling up her sleeves immediately. She thinks about it first, of course, and she carefully gathers information and input from everyone involved who might have an opinion or something valuable to add, but she’s never been afraid to get her hands dirty, including literally. Mondi became associate registrar next, and then head registrar, overseeing the move of the collection in 1996 from the mu- seum’s old building on North Campus to its new digs on East Campus. In fact, she’s seen that happen three times, what with moving it out of the East Campus building for the expansion and remodeling that concluded in 2011 and then back in. She served as head of the Southeastern Registrars Association and got to know others in the field. She also spent time at the Albany Museum of Art in southwest Georgia, helping it achieve accredi- tation, and took a sabbatical to work at the Princeton University Art Museum. Both off-site experiences taught her much about how other museums operate, and she brought back what she learned to make her home museum a better place. In 2004, Mondi was named deputy director, only the second person ever to serve in that position, but she approached it with the same spirit of collaboration and persistence that she’s had her entire career. The Phase II campaign to expand the museum was well underway, and she attended meeting after meeting

with the Office of University Architects as they planned the expansion and renovation. She describes those meetings with fondness, saying “everyone just wanted a successful project and wanted to work for it.” Mondi over- saw every aspect of the renovated building, but the Jane and Harry Will- son Sculpture Garden was a particularly important place for her. She had gotten to know Mrs. Willson while in Albany, and the idea of the garden being reserved for woman sculptors was appealing to her. She also, as usual, enjoyed the logistics of planning out site placement for 3-D objects and working with shippers and riggers to move large, heavy, complicated works into the garden. Every time a new exhibition opened there, Mondi was in the thick of it, usually with a sun hat and a big smile as she talked to truck drivers and artists’ assistants. Dale Couch, the museum’s curator emeritus of decorative arts, pointed out that Mondi’s role in the exhibition “Crafting History: Textiles, Metals and Ceramics at the University of Georgia” (2018) as well as many other curatorial areas was crucial. He said, “Her connoisseurship in modern craft was a crucial tool to the decorative arts program since its inception and I constantly relied on it. Her contributions are foundational for much of our collection and understanding of 20th-century craft in Georgia.” The list of exhibitions on which Mondi has served as an uncredited curator or critical contributor is a lengthy one. Always eager to attack a large and thankless task, Mondi has been respon- sible for too many things to mention in her time here: every byzantine exhibition contract, so many international loans, penny pinching to make sure the budget could encompass ambitions beyond our means, knowing the name and priorities of every staff member, making time for students, preserving Athens art and history, nailing down recycling agreements with UGA’s Office of Sustainability.

We cannot possibly list everything, but her work is present in everything we do. Her name might not be on much, but her spirit is in all of it.

THE GREEN SYMPOSIUM is back

Entitled “Georgia in Our Times: Modern Design and Contempo- rary Lens,” the 11th symposium highlights the connection between the contemporary and the historical, with a focus on connections between modern design and social thought. Dale Couch, our now emeritus curator of decorative arts, agreed to help organize the sym- posium despite being retired for the second time. He writes, “Col- lecting decorative art as we know it is a 20th-century activity guided by 20th-century values and perceptions. Although many observers see collecting Georgia decorative art from an earlier period as nos- talgic, motivated by ‘colonial revivalist’ notions, it is also true that Americana as art was a modernist discovery. Traditional craft and design are expressions of our contemporary times, not relics.” Couch says that Georgia material studies have been hindered by an absence of diverse voices and that he believes it is innately benefi - cial to have the voices of scholars from different backgrounds at the table. This year’s slate of speakers reflects that concern, and they come from a wide variety of backgrounds. Torren Gatson , assistant professor in the department of history, University of North Carolina at Greensboro, will deliver the keynote speech, “The Power of Black Hands: Honoring Black Craftspeople of the Southern Landscape.” Gatson is a trained public historian and a scholar of 19th- and 20th century southern history with an empha- sis on the African American built environment. He guest edited the Museum of Early Southern Decorative Arts Journal’s special edition on African American material culture. In the public realm, he works with communities to build lasting public products that reflect the dynamic and difficult aspects of African American history. Alongside founder Tiffany Momon, he codirects the Black Craftspeople Digital Archive, which can be found online at https://blackcraftspeople.org/. After a few months’ delay due to COVID surges and health concerns, the 11th installment of the museum’s Henry D. Green Symposium of the Decorative Arts will be held August 5 and 6, 2022 at University of Georgia Center for Continuing Education & Hotel.

Ed Moulthrop (American, 1916 – 2003), bowl, 1983. Tulip poplar. Georgia Museum of Art, University of Georgia; Gift of Dr. Milton Mazo and Mr. Billy K. Poole. Restored by Philip Moulthrop 2021. GMOA 2006.106.

Ed Moulthrop (American, 1916 - 2003), “Donut,” 1988. Ash leaf maple. Georgia Museum of Art, University of Georgia; Gift of Jane and Arthur Mason. GMOA 2014.123.

Other speakers include:

Bill Markert , independent scholar, “A Retired Woodwork- er’s Journey: A 21st-Century Craftsman and American Period Furniture” Matt Moulthrop and Philip Moulthrop , craftsmen and artists, “History of the Artistic Woodturning Movement and the Moulthrop Family”

Joseph P. Brady , independent scholar and vice president, Appraisers Association of Georgia, “William Spratling: The ‘Cellini of Taxco’” Ashley Callahan , independent scholar and former curator of decorative arts at the Georgia Museum of Art, “Georgia’s 20th-Century Tufted Textiles” Stephen C. Compton , independent scholar, “‘I learn a little something everywhere I go!’ Hilton Pottery, Kennedy Pottery, and Smithfield Art Pottery: What Georgia’s Bill Gordy Learned, and What He Left Behind, While Making Pot- tery in North Carolina from 1932 to 1935” Stephen J. Goldfarb and Nicholas Langhart , independent scholars, “An Architect in the Garden: A Preliminary Exam- ination of the Garden Design Drawings by Thornton Marye”

Abraham Tesser , independent scholar, “Studio Furniture: An Odyssey”

John Daniel Tilford , curator of collections, Oglethorpe University Museum of Art, “Mattie Lou O’Kelley: The Long Journey to Success”

Frankie Vagnone , president, Twisted Preservation Cultural Consulting, “One-Night Stand: Burying the Lead - Pasaquan”

William Dunn Wansley , independent scholar, “Cobbham’s Augusta Desk”

Jason Wech , instructor of furniture design, University of Georgia, “If this chair could talk: Stories told by iconic furniture”

The full schedule and registration information are available at georgiamuseum.org/greensymposium.

MUSEUM NOTES

staff notes

awards The exhibition and catalogue “Emma Amos: Color Odyssey” continued to rack up awards, receiving SECAC’s Award for Outstanding Exhibition and Catalogue of Contemporary Materials. SECAC also presented the award for Outstanding Exhibition and Catalogue of Historical Materials to our exhibition “ Extra Ordinary: Magic, Mystery and Imagination in American Realism.” Both awards recognize curators who exceed expectations in the design, publication and/or community engagement of an exhibition. SECAC (formerly the Southeastern College Art Conference) is a non- profit organization that promotes the study and practice of the visual arts in higher education on a national basis. The Georgia Association of Museums (GAM) also selected “Emma Amos: Color Odyssey” for one of its exhibition awards and presented its curator, Shawnya Harris , the museum’s Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, with the Museum Professional of the Year award. GAM is a private, non-profit statewide organization dedicated to encouraging growth and improving professional practices of museums and non-profit galleries throughout the state.

The Georgia Museum of Art received the following gifts between January 1 and March 31, 2022. gifts

Chelsea Spencer, Parker Research Assistant.

In honor of Lynn & Richard Berkowitz on their 50th wedding anniversary by Carole & Mark Cohen, Debra and Martin Darvick, Susan & Leonard Gardberg, Joanne &

In memory of Mike King by Jean and Red Petrovs

Gabriella Victorio left her position as Parker Research Assistant at the end of June. Stepping into her shoes is Chelsey Spencer , who begins work August 17. Spencer is an art history master’s student studying Russian art with Asen Kirin, Parker Curator of Russian Art. She received her bachelor’s degree in art history and psychology at Salem College, North Carolina, where she wrote her senior thesis on Russian architecture under Peter the Great and Catherine the Great. She hopes to use her language skills to assist with and learn more about the Russian collection at our museum.

In memory of Nancy Lukasiewicz by William Underwood Eiland

Richard Hochman, Barbara & Jerome Montana and Phillipa Montag

In memory of Edward Neal by Betty Alice Fowler

In memory of Rowland Radford by Kathleen & Andrew Babb, Mary Ellen & Marcus Cook III, William Underwood Eiland, Marguerite and Francis Hallman Jr., Barbara F. Martin, Clare & Michael Oshaugh- nessey, Nancy See, Early & Bill Smith, Leila Taratus and Camille Yow In memory of Mary Bondurant Warren by Theresa Flynn & Douglas Hellmann

In honor of William Underwood Eiland by Lynn & Tim Callahan

In honor of Todd Emily & Brandon Reinhart by Becky & David Matheny

Isabel Walston , assistant editor, left her position at the museum to work for Tif Sigfrids, a contemporary art gallery in Athens and New York.

In honor of Bettijo Trawick by Dudley Stevens

As you know from earlier in the issue, deputy director Anneies Mondi retired at the end of May. Emily Hogrefe-Ribeiro , assistant curator of education, left the museum June 1 for a position in the education department of the Dallas Museum of Art. And Amy Miller , shop manager, has left the museum after 15 years to become the outreach and event coordinator for UGA’s Torrance Center for Creativity and Talent Development.

In memory of Mary Erlanger by William Underwood Eiland

In memory of Frances Y. & Henry D. Green Jr. by Julie G. Jenkins

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Some of the many folks across and beyond campus who appreciate Annelies Mondi showed up to honor her on the occasion of her retirement.

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* Program is free but registration is required; email gmoa-tours@uga.edu to reserve a spot.

CURATOR TALK: “INFINITY ON THE HORIZON” Wednesday, September 28, 2 p.m.

contribute to urgent conversations around our changing climate. In this talk, Leachman will discuss her longleaf abstractions as they relate to the history of the southeastern landscape, as well as her larger project, which examines forested and deforested sites on protected and unprotected lands in all 50 states. STUDENT NIGHT Thursday, September 29, 6:30 – 8:30 p.m. Join the Georgia Museum of Art Student Asso- ciation for a night of music, fun and themed activities to celebrate the latest exhibitions, including “Infinity on the Horizon” and “Kristin Leachman: Longleaf Lines.” Student Night is generously sponsored by the UGA Parents Leadership Council. 90 CARLTON: AUTUMN RECEPTION Friday, October 21, 6:30 – 8:30 p.m. Save the date and plan to join the Friends of the Georgia Museum of Art for a reception featuring the exhibition “Reckonings and Reconstructions: Southern Photography from the Do Good Fund.” Light refreshments, door prizes and more. Friends of the Museum $15 per person Friend + Annual Fund Members (Supporter level) $10 per person Friend + Annual Fund Members (Reciprocal level and above) complimentary Not yet a Friend? Visit jointhemuseum.com to join today.

TOURS AND GALLERY TALKS

Join Kathryn Hill, curatorial assistant in con- temporary art and curator of “Infinity on the Horizon,” for a gallery talk in the exhibition.

Keep an eye on our website/social media channels for the most up-to-date information. TOUR AT TWO Wednesday, July 13, 20 and 27; August 3 and 10; and September 7 and 14, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. SUNDAY SPOTLIGHT TOURS Sunday, July 17, August 14 and September 18, 3 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 17, 2 p.m. Works by Rocio Rodriguez with Callan Steinmann, curator of education • Wednesday, September 21, 2 p.m. Jane Manus sculpture with Sage Kincaid, associate curator of education

SPECIAL EVENTS

MUSEUM MIX Thursday, July 14 and September 15, 8 – 11 p.m. The museum’s thrice-annual late-night art party features a live deejay, free refreshments and galleries open until 11 p.m.

THIRD THURSDAY Thursday, July 21, August 18 and September 15, 6 – 9 p.m.

Athens’ established venues for visual art hold Third Thursday, an event devoted to art in the evening hours, on the third Thursday of every month from 6 until 9 p.m. to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org.

ARTIST TALK: JENNIFER SIREY September 13 or 14, time TBD

Jennifer Sirey’s living sculptures juxtapose the visceral and the architectural. By build- ing geometric and rigid structures to house bacteria “mothers,” Sirey collaborates with the materials she meticulously cares for. Each sculpture grows and lives within acrylic tanks, testing the boundaries of containment and presenting the bacteria as both a world of its own and an “immortal body.” In this artist talk, Sirey will discuss her larger body of work, particularly as it relates to one of her sculp- tures on view in the exhibition “Infinity on the Horizon.” ARTIST TALK: KRISTIN LEACHMAN Thursday, September 22, 5:30 p.m. Kristin Leachman launched the “Fifty Forests” project in 2010 in her adopted home state of California, examining the self-organiz- ing patterns in trees. In 2020, Leachman began the second series in the project when she traveled to an old-growth longleaf pine forest in southwest Georgia. Her research and reflections on Georgia’s longleaf forests burst forth in her paintings. They evoke the bril- liant biodiversity of this ecosystem, capture the complexities of forest conservation and

FACULTY PERSPECTIVES: JANICE SIMON Wednesday, August 24, 2 p.m.

YOUTH AND FAMILY PROGRAMS

Dr. Janice Simon is the Josiah Meigs Distin- guished Teaching Professor of Art History at the Lamar Dodd School of Art. In this gallery talk, Dr. Simon will share her perspectives on the exhibition “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker” through the lens of her expertise in American art and modernism.

Family Day is sponsored by Lucy and Buddy Allen and the Friends of the Georgia Museum of Art. * TODDLER TUESDAY Enjoy looking at art and storytime together in the galleries, 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. • Tuesday, July 12, 10 a.m.: Sink or Float • Tuesday, August 9, 10 a.m.: Mud Pies • Tuesday, September 6, 10 a.m.: Forest Finds

ARTIST TALK: CHARLES PINCKNEY Wednesday, August 31, 3 p.m.

Athens artist Charles Pinckney has been working as a metalsmith for more than 50 years, crafting jewelry and small sculptures out of metal, found objects, stones, bone and wood. In this gallery talk, Pinckney will share insights about his work currently on view in the special display “Charles Pinckney: Person- al Adornment.”

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FAMILY DAY: UNTAMED CERAMICS Saturday, July 23, 10 a.m. – noon

BACKPACK TOURS

* ART + WELLNESS STUDIO Sunday, September 10, 2 – 4 p.m.

Check out a Backpack Tour of the Permanent Collection at the front desk. Available in both English and Spanish, they include gallery activities, art supplies and looking prompts that can be completed at your own pace. These self-guided tours are free and perfect for a family visit. Recommended for ages 5 – 14.

Check out local artist Ron Myers’ animal- painted pottery, view a pottery demonstration and make your own “untamed” pottery in the Michael and Mary Erlanger Studio Classroom. Free Family Day art kits are also available for pick-up starting at 10 a.m. Saturday through the end of day Sunday while supplies last.

Looking at, making and talking about art can offer a welcome respite. Studies show the therapeutic benefits of art can increase our sense of well-being and connection. Join art therapist Meg Abbot as we explore art and create something wonderful together.

STUDIO WORKSHOP: ABSTRACT LANDSCAPES Thursday, September 8, 15 and 22, 6:30 – 8:30 p.m.

* TEEN STUDIO: MAGNIFIED Thursday, July 28, 5:30 – 8 p.m.

Teens ages 13 – 18 are invited to this stu- dio-based workshop led by local artist and educator Kristen Bach. Visit the exhibition “Kristin Leachman: Longleaf Lines” and then create nature art inspired by the parts that make up the whole. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. FAMILY DAY: GEOMETRIC SCULPTURE Saturday, August 27, 10 a.m. – noon Explore colorful outdoor sculpture by Jane Manus, add to a collaborative public sculpture and make your own bold sculpture in the Mi- chael and Mary Erlanger Studio Classroom to take home. Kits available for pick-up starting at 10 a.m. Saturday through the end of day Sunday while supplies last. FAMILY DAY: ABSTRACT LANDSCAPES Saturday, September 17, 10 a.m. – noon Artists express nature and landscapes in a variety of ways in the exhibition “Infinity on the Horizon.” Join us to look at art, have fun in the galleries with Art Carts and make your own landscape-inspired abstract work of art. Free Family Day art kits are also available for pick-up starting at 10 a.m. Saturday through the end of day Sunday while supplies last. * TEEN STUDIO: SCULPTURAL FORMS Thursday, September 29, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this stu- dio-based workshop led by local artist and educator Kristen Bach. Visit the outdoor sculpture exhibition by Jane Manus and then create your own minimalism-inspired colorful sculpture. This program is free and includes a pizza dinner from DePalma’s Italian Cafe.

WORKSHOPS AND CLASSES

Join artist and educator Erin McIntosh for a three-part series of studio-based courses that will explore abstraction and landscape in wa- tercolor, gouache and collage. This workshop is open to artists of all levels and experience, from enthusiastic beginners to more seasoned practitioners. Participants will explore basic techniques of color mixing in watercolor and gouache, construct abstracted landscapes in collage, and paint en plein air. Sessions will draw inspiration from the museum’s collec- tion and special exhibitions, including “Infin - ity on the Horizon.” $15 materials fee covers all necessary supplies. Registration is required; email gmoa-tours@uga.edu to sign up. .

* MORNING MINDFULNESS Friday, August 26 and September 9 and 23, 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 tech- niques. No experience necessary.

* CREATIVE AGING SEATED YOGA Thursday, July 7, 10:30 a.m.

Join us in the galleries for gentle seated yoga. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are welcome.

* YOGA IN THE GALLERIES Thursday, July 21, August 18 and September 15, 6 p.m.

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 open to both beginner and experienced yogis. Sanitized mats are provided. This program is available both in-person and via Zoom.

* DRAWING IN THE GALLERIES Sunday, August 21, 2 – 4 p.m.

Experience the pleasure of drawing in the museum’s galleries. This workshop is led by teaching artist Phil Jasen and provides draw- ing instruction, art supplies and enough space to spread out.

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