Facet Autumn 2020

AUTUMN 2020

CONTENTS

board of ADVISORS

Exhibitions p.4

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 Devereux C. Burch * Robert E. Burton ** Debra C. Callaway ** Shannon I. Candler *

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

Remembering C.L. Morehead p.10

The Art of Giving p.11

Superheroes Make Art at Coile Middle School p.12

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 *

New Acquisitions p.14

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

Museum Notes p.16

Dudley R. Stevens Carolyn Tanner ** Anne Wall Thomas *** Brenda A. Thompson, immediate past chair William E. Torres C. Noel Wadsworth * Carol V. Winthrop Gregory Ann Woodruff

In the Shop p.16

Gifts p.16

on the cover: Thomas E. Warren, American Chair Company, Troy, New York, centripetal spring arm chair, ca. 1850. Cast iron, wood, sheet metal, gauffrage velvet show cover, faux rosewood graining. Courtesy of the Thomas H. & Diane DeMell Jacobsen Ph.D Foundation.

Ex-Officio Lacy Middlebrooks Camp Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner Marisa Pagnattaro

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

* 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 repository 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 information or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-administered programs; or employment. Inquiries or complaints should be directed to the Equal Opportunity Office 119 Holmes-Hunter Academic Building, University of Georgia, Athens, GA 30602. Telephone 706-542-7912 (V/TDD). Fax 706-542-2822. https://eoo.uga.edu/

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from the DIRECTOR

Usually when I write this column for the newsletter, I have knowledge of what is planned for the two months or so ahead of its distribution.

This time, I am at a loss. I’m in the dark about our future as I write during a full, staggering, discombobulating pandemic, so anxious that I can’t predict our fall season at the museum. We have exhibitions planned, we have protocols for visitation in place, and we have a supportive group of friends, patrons and university administrators. Of that I am sure, but I find us, at least temporarily, in an age of uncertainty, trepidation and fear, but equally of challenge and even optimism that the end will come. Public life beginning in February 2020 changed us all. As I have said before, for many of us — for all of us at the museum — we did not “pivot.” We “swerved” into a new reality, not a new normal, since it all seems so abnormal: the masks, the sequestration, the physical distancing (how I missed hugs) and the pervading, dehumanizing sense of alienation. During the same period, the marginalized and the powerless said “enough,” and we witnessed or joined a social revolution with roots in centuries of dehumanization and racism. We are different people now — all of us altered, reshaped by the brutal murder of George Floyd. The general public heard, many of them for the first time, the language we already were speaking in museums, with a vocabulary drawn from theory but now more readily apparent as practice: decolonization, the “other,” “defund” and terms of political “art” that some see as cant and others as doctrine. But more than jargon, these words rapidly become slogans, weaponized against centuries of injustice, oppression and inequities. Thus, our nation endured a collision of social revolt and a public health nightmare. For the museum and its staff, we also, whether participant or onlooker, realized that what we really saw and felt was an un- stoppable, incontrovertible, transition to truths too long hidden or ignored. Those days of anxiety for me personally became a source of strength after watching staff members not only adjust but also thrive. They rapidly learned new technologies, and we shall forever more have footholds in the virtual as well as the analog world. Our educators developed entirely new programs that drew audiences we have never had before. They also carried art to school children (and their parents), to the elderly and to anyone who wanted an hour of yoga or mindfulness or the solace of art. Only a few weeks after we closed in March, we had a robust virtual presence. All of us learned to live in a new universe, a place that I call the land of Zoom. We attended meetings where attendees wore their pajamas, some held dogs or babies, others “failed to mute” and we learned too much about their domestic lives. And I found a new epitaph for my tombstone: “Internet Service Temporarily Suspended.”

Several months later, we continue to adjust our exhibition schedule, to brainstorm new means of programming, to cleanse our temple of the many vestiges of a colonial past — a process begun by our founder and first director and continued by suc- cessors like the visionary Bill Paul and their staffs. This muse- um has from its beginnings collected and shown the art of Black people, of women, of gay people and of brown people, but our interpretations of their works too often referred to a canon that is constantly disputed and has certainly had an abundant share of spokesmen — white men with a Eurocentric focus. We have a way to go in our own transition to a post–COVID-19 world. As I just illustrated, we are a little too complacent in our reliance on traditional tenets of art history and criticism and of museum practice. Our strategic plan calls for emphasis on diversity (D), equity (E), inclusion (I) and accessibility (A) — and even if we are concerned that DEIA has become an overworked, clichéd acronym, we can and will translate it into action. The museum truly belongs to everyone and we shall learn how to listen, how to share our knowledge and how to marry the visual arts with the humanities. This museum has from its beginnings collected and shown the art of Black people, of women, of gay people and of brown people, but our interpretations of their works too often referred to a canon that is constantly disputed and has certainly had an abundant share of spokesmen — white men with a Eurocentric focus. I have always believed that real change is easier at grassroots museums that have tiny staffs and very limited resources. So many of them do outstanding work because they must be ex- perimental, imaginative, creative and original; they are usually closer to their primary communities as well. So, I am proud to quote my colleague Dana Marie Lemmer, at the Wiregrass Mu- seum in Dothan, Alabama, when she remarks, “I am reminded that times of change are opportunities for growth. And we have a unique opportunity to channel our own imaginations as we ask you to do each time you visit us, to rethink the role of mu- seums, and to support positive social change.” When you read this column, I hope you will imagine your- self alongside me in the galleries at the museum, weeping at the beauty of Rubens’ “Crucifixion,” transfixed by Carl Holty’s studies of color or moved by the gentle nostalgia of Radcliffe Bailey’s homage to family, to community, to humanity.

WilliamU. Eiland Director

exhibitions

The Art of Seating: 200 Years of American Design October 17, 2020 – January 3, 2021

This exhibition, organized by the Museum of Contemporary Art, Jacksonville and the Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation, presents a survey of exceptional American chair design from the early 19th century to the present day.

The chair is experienced not only as a functional item, but as sculp- tural in view — the chair as art. Each of the approximately 40 chairs in the exhibition was chosen for their beauty and historical context with important social, economic, political and cultural influences. Selections from the Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation are joined by contemporary designs offering a stylis- tic journey in furniture with show-stoppers by John Henry Belter, George Hunzinger, Herter Brothers, Stickley Brothers, Frank Lloyd Wright, Charles and Ray Eames, Isamu Noguchi and Frank Gehry among others. “The Art of Seating” is organized by the Museum of Contemporary Art, Jacksonville, in collaboration with the Thomas H. and Diane De- Mell Jacobsen Ph.D. Foundation and is toured by International Arts & Artists, Washington, D.C.

Curator: Ben Thompson, curator, Museum of Contemporary Art, Jacksonville

Harry Bertoia (1915 – 1978) and Knoll Associates, New York, large diamond lounge chair, ca. 1952. Kenneth Smythe, Synergistic Synthesis XVII sub b1 chair, 2003. Both courtesy of the Thomas H. & Diane DeMell Jacobsen Ph.D Foundation.

The Seated Child: Early Children’s Chairs from Georgia Collections October 17, 2020 – January 3, 2021

This exhibition will present about two dozen children’s chairs as well as a doll’s chair and adult chairs for comparison of scale and style.

Not all of these chairs were made in Georgia, but all are in Geor- gia collections. Most of the chairs are handmade in the tradition of turned chairs; some are the products of proto-industrial shops called variety works. Most of them also retain their life histories of paint and wear from being used as a support while children were learning to walk.

Curator: Dale L. Couch, curator of decorative arts

Alfred or Jesse Pierce (active south Georgia), child’s armchair with rockers, ca. 1880 – 1920. Unidentified woods and orange paint with hide seating. Collection of Mr. and Mrs. Fred Mercier.

exhibitions

Contemporary Japanese Ceramics from the Horvitz Collection

Hurricane Katrina and Its Aftermath in the Art of Rolland Golden August 22 – October 18, 2020

September 5, 2020 – September 21, 2021

cutlines

Japan has had a thriving ceramic culture for over 15,000 years, often focused on utilitarian (or practical) objects.

As the 15th anniversary of Hurricane Katrina approaches, this exhibition presents works Rolland Golden created in its aftermath.

The storm resulted in the deaths of over 1,000 people and left survivors without access to basic necessities for months. These paintings and drawings, some of the last work Golden made, document the devastation of the storm and focus on the traumatic experiences of New Orleanians. Golden was a New Orleans native and longtime resident of the area. His career began in the 1950s, when he enrolled in the McCrady art school after four years in the navy. Golden developed his own style of painting, which includes detailed pre-

paratory drawings, an example of which is in this exhibition. In his early years as an artist, Golden painted scenes of the French Quarter and southern landscapes. He was an adept watercolorist. In his mature style, he used expressive, bold colors, of- ten blending large areas of color into each other without borders. In the aftermath of Katrina, Golden used his talent for geometric abstraction and what he termed “borderline surrealism” to translate pain- ful experiences into visual poetry.

In 1948, the avant-garde ceramic group Sodeisha (“Crawling through Mud Associa- tion”) challenged the tradition of functional pottery. Instead, its members advocated for the creation of sculptural ceramic objects. They preferred form over function. The So- deisha artists were not well known outside the country until the 1980s. Nonetheless, their vision of creative explorations using clay determined the future. Today, Japan boasts one of the most robust contemporary ceramic scenes in the world. This exhibi- tion presents Japanese pottery and porce- lain created by three generations of master ceramic artists. Made with both ancient and modern materials and methods, their works are exceptionally diverse. They share the outstanding craftsmanship and sophis- ticated design characteristic of Japanese contemporary ceramics. All works in the exhibition come from the collection of Carol and Jeffrey Horvitz. Guest Curator: Perri Lee Roberts, professor emeritus of art history, University of Miami

Curator: William U. Eiland, director

Rolland Golden, “Early Spring Rain Near the Levee.” Watercolor, 28 x 42 inches. On loan fromMrs. Rolland Golden Rolland Golden, “Searching For an Up-ramp.” Watercolor, 20 x 29 inches. On loan fromMrs. Rolland Golden.

Seto Hiroshi (Japanese, 1941 – 1994), vessel, ca. 1985. Stoneware with striped silver glaze. Collection of Carol and Jeffrey Horvitz.

Power and Piety in 17th-Century Spanish Art

November 14, 2020 – November 28, 2021

This exhibition is part of a continued collaboration between the Georgia Museum of Art and Bob Jones University Museum& Gallery in Greenville, South Carolina.

The exhibition provides visitors with the opportunity to see works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others. Viewers will be immersed in a selection of paintings that up- hold the tenants of Catholic Counter-Reformation Art illustra- tive of the struggle between the Catholic church and the rise of the Protestant Reformation in Europe, which dominated the art scene in 17th-century Spain. Curators: Nelda Damiano, Pierre Daura Curator of European Art, and Julia Kilgore, Pierre Daura Curatorial Research Assistant Bartolomé Esteban Murillo, “The Martyrdom of St. Andrew,” ca. after 1682. Oil on canvas. José Antolínez, “St. Michael the Archangel Overcoming Satan,” ca. 1655 – 75. Oil on canvas. Both collection of Bob Jones University Museum & Gallery.

exhibitions

Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt November 5, 2020 – September 26, 2021

Lions and antelope, 6th or 7th century CE. Limestone relief fragment; architectural element. 12 x 29 1/4 x 2 1/8 inches. Possibly from El Minya. The Nadeler Collection. Dionysus, 4th–5th century CE. Limestone, polychromy; sculptural fragment. 8 x 7 1/2 x 6 inches. The Nadeler Collection.

This extraordinary assembly of objects dating from the 3rd to the 8th century CE belongs to Emanuel and Anna Nadler of New York City and Palm Beach.

Coptic art was made by and for native Egyptians, Greeks and Romans who favored both classical pagan and Christian themes. Among the objects on display are a marble Co- rinthian capital with crosses and eagles from the Monastery of St. Menas; two sections of large tapestries used as wall hangings in churches or homes; small textile fragments that original- ly embellished tunics used in burials; works of

sculpture derived from funerary sites; and minia- ture bone carvings that were embedded into piec- es of furniture, bridal caskets and small chests for storing jewelry and other precious items. “Modernism Foretold” draws attention to the his- tory of the collection and to changing perceptions of late antique art from Egypt. Curator: Asen Kirin, Parker Curator of Russian Art and professor, Lamar Dodd School of Art, University of Georgia

Carl Holty (American, b. Germany, 1900 – 1973), untitled, 1948. Acrylic on canvas, 5 7/8 x 7 3/8 inches. Georgia Museum of Art, University of Georgia; Gift of Annie Laurie Dodd. GMOA 2012.876.

Carl Holty: Romantic Modernist August 29, 2020 – January 17, 2021

This exhibition of paintings and drawings reflects Holty’s personal pursuit of modern art theory, much of which focused on color as one of his essential building blocks. Through the years, we see the artist first use color as a structural matrix and later as pure atmospheric ground. His personal writings and recurring visual themes of bathers, nature, horses and riders reveal an artist driven by a romantic ideal, an attitude perhaps reflective of an earlier time. Still, at its core, Holty’s work is truly evocative of 20th-century American modernism.

Guest Curator: Marilyn Laufer, former director, Jule Collins Smith Museum of Fine Art, Auburn University

Sarah Cameron Sunde: 36.5 / A Durational Performance with the Sea September 19, 2020 – January 17, 2021

In Dialogue: Cecilia Beaux’s “Twilight Confidences” February 28, 2020 – January 31, 2021

Cecilia Beaux’s “Twilight Confidences” was the artist’s first major exercise in plein-air painting, which she produced during a summer in the French seaside village of Concarneau. Here, it appears alongside three studies for the picture in various media and techniques (all on loan from the Pennsylvania Academy of the Fine Arts), in order to show the rigorous yet experimental process Beaux followed in producing it. This series of exhibitions within the permanent collection brings 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.

“36.5 / A Durational Performance with the Sea” is a series of nine site-specific participatory performances and video works by the interdisciplinary artist Sarah Cameron Sunde, spanning six continents and eight years (2013 – present).

At each site, Sunde stands in ocean water for a full tidal cycle (12 to 13 hours) as the water rises up to her chin, then recedes to her feet; the local community participates in all aspects of the work. The entire performance is filmed in real time, turned into a durational video work of the same length and shown as a multi-channel video installation that premieres on location within a week of the performance. This exhibition will feature a cycle of four multi-channel videos, one from each location where Sunde has performed since 2015: the Netherlands, Bangladesh, Brazil and Kenya. “36.5” generates personal, local and global conversations about deep time and sea-level rise. It is a radical call to reconsider our rela- tionship with water as individuals, as communities and as a species. For more information about the project, visit www.36pt5.org.

Curator: Jeffrey Richmond-Moll, curator of American art

Sarah Cameron Sunde, “36.5 / North Sea,” The Netherlands, 2015. Photograph by Florian Braakman.

Cecilia Beaux (American, 1855 – 1942), study for “Twilight Confidences,” 1888. Oil on cardboard (grisaille). Courtesy of the Pennsylvania Academy of the Fine Arts, Gift of Henry Sandwith Drinker, 1950.17.15.

Drama and Devotion in Baroque Rome Closing November 8, 2020

Rome has long been a key destination for artists.

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

Curator: Nelda Damiano, Pierre Daura Curator of European Art

Trophime Bigot (b. Arles, 1579; d. Avignon, 1650), “St. Sebastian Tended to by St. Irene,” n.d. Oil on canvas, 50 1/8 x 64 inches. Museum&Gallery at Bob Jones University Greenville, SC.

remembering C.L. MOREHEAD

Mrs. M. Smith "Smitty" Griffith and C.L. Morehead Jr. at Elegant Salute X, in 2009. Photo by Zoomworks.

Coatus Lee Morehead,

known to all as “C.L.,” died on July 18, 2020. With his leaving us, a chapter in the Georgia Museum of Art’s history closed as another opened. A gentle man, a friend to all, C.L.’s generosity to the museum, to the State

well as institutions, and he was particularly proud of his “godchildren,” those students he helped with tuition, boarding and jobs and his longtime and faithful employees at Flowers, Inc., his shop in Athens. A wing at the museum is named in honor of C.L. It is a series of adjoining galleries where we feature temporary exhibitions — fittingly where we exhibit borrowed exhibitions or those we organize ourselves. C.L. was proud of this space, because he knew that generations of students as well as the general public would benefit for years from his kindnesses. Because of his friendship with and admiration for Lamar Dodd, the museum will receive, as a promised gift, a large collection of Dodd’s paintings and drawings. Thus, one of the university’s major donors married his name to one of the university’s most important visual artists, advocates and administrators. C.L. was a gentle man. His legacy as patron and friend is intertwined in the history of the museum, and for that, for his benevolent and ever-present philanthropy, his memory and his legacy are forever enshrined in these walls.

Botanical Garden and to the University of Georgia is well known. What is perhaps not so evident, because C.L. was reticent to discuss it and preferred a certain anonymity, was his assistance to students at UGA, especially those from central Georgia, specifically from Irwinton, Ocilla or

Ann Scoggins and C.L. Morehead Jr. at Elegant Salute X, in 2009. Photo by Zoomworks.

Fitzgerald, those places near to his heart and from whence he came to Athens, first as a college student and later as a successful businessman. He developed a devotion to the University of Georgia and especially to its football team, rarely missing a home game. He also loved flowers — all flowers — as well as art. Loyal to a fault, C.L. was also generous to individuals as

WilliamUnderwood Eiland, Director

the art OF GIVING

Thank you to all our major donors from July 1, 2019, to June 30, 2020. We cannot fulfill our mission without your help!

Sara B. Bradley Susan & Travis Burch Lynda & Mark Bush Patricia Deitz Helen & Howard Elkins Janet J. Miller & Robert N. Elkins Teresa & Charlie Friedlander Peggy & Denny Galis Barbara Guillaume Bree & Richard Hayes Jane & Bruce King Virginia & Joseph Knappenberger Shell &Wyck Knox Erika C. Lewis Elizabeth & Andrew Littlejohn Heather & Michael* Malcom Sue W. Mann Marilyn D. McNeely Parker & Kent Middleton Janice & David Miller Dan Minor Deborah & Dennis O’Kain Richard C. Owens Jacqueline &William Pierson Amburn &William Power Julie & Ira Roth Jan E. Roush Sarah P. &Walter Sams III Julia* & Robert Sanks Joyce & Henry Schwob Peggy Hoard Suddreth* D. Jack Sawyer Jr. &William Torres Mary Lillie & Ray Watson Mary M. & Norman J. Wood Gifts of Art T ed Kincaid & Steve Atkinson Margaret C. & Douglas A. Bailey Betty L. Beer Lynn & Richard Berkowitz

UGA Parents & Leaders Council Stevi &WilliamWansley $2,500 – $4,999 Anonymous June M. Ball Linda & Larry Beard Karen L. Benson Lynn & Richard Berkowitz Devereux & E. Davison Burch Cam Metals, Inc., D.B.A. The Brass and Silver Workshop Linda & David Chesnut Joan B. Cravey Lisa &William Douglas III Todd Emily Lee E. Epting Karen & James Fleece John M. Greene Judy & John Hill Brenda & D. Hamilton Magill III Material Culture & Arts Foundation Marjorie & Mark McConnell M. Elizabeth McGhee Sherrie & Stephen Olejnik Sheila & Randy Ott Sylvia Hillyard Pannell & Clifton W. Pannell Sarah & Chris Peterson The Richard H. Driehaus Foundation Lauren & Matthew Schlesinger Margaret R. Spalding Kendell & Tony Turner III Willson Center for Humanities & Arts

$10,000+ Anonymous Faye S. Chambers Elizabeth & John Crawford IV Daura Foundation Fraser-Parker Foundation Georgia Council for the Arts The Goizueta Foundation Harry T. Catchpole Estate* Carol & Jeffrey Horvitz George-Ann Knox Marilyn & John McMullan Isobel & James Mills National Endowment for the Arts Anne &William Newton Gloria Bryant Norris Virginia & Gordhan Patel Betsy & Lee Robinson Sara & John Shlesinger Dudley Stevens Brenda & Larry Thompson Kathy Prescott & H. Grady Thrasher III The Turner Family Foundation W. Newton Morris Charitable Foundation Carol & Robert Winthrop II $5,000 – $9,999 Anonymous Lucy & B. Heyward Allen Jr. Audrey Love Charitable Foundation Lacy Middlebrooks Camp & Thomas G. Camp Judith Ellis Georgia Humanities Council Susan & David Knox Becky & David Matheny Margaret A. Rolando Jewett & Alan Rothschild Jr.

Joseph P. Brady Rosemary Brady Kira Epstein & Benjamin Brainard Laura Chrisman Christiane H. Citron Daisy L. Craddock Susan R. Bailey & Ernest L. Dunn William U. Eiland Martha Simpson* &William T. Fitzgerald Jr.* Adelheid & Barry Gealt Susan Buekes & Stephen Goldfarb Elizabeth A. Johnson & Nathaniel Gozansky Judith F. Hernstadt Carol & Jeffrey Horvitz Jane & Jimmie* Johnson Sylvia Johnson Glen F. Kaufman* Heather & Scott Kleiner Kate & Peter Lamdin Kathy A. Lyon Patrick B. C. Mizelle Barbara D. Mott Carol A. & James S. Nathanson Deborah & Dennis O’Kain Ann B. Oliver Mary H. Pearse Ron Porter Joe Price

Bonnie M. Ramsey Michael T. Ricker Anne Scott June M. & Ronald K. Shelp David M. Sherman Janice C. Simon Noretta & Robert Taylor Demitra Thomloudis John A. Welsh III

$1,000 – $2,499 Anonymous

Valerie Aldridge Jeanne L. Berry

* deceased

superheroes make art AT COILE MIDDLE SCHOOL

Last October, the Georgia Museum of Art received Junior League of Athens Community Impact mini-grant funds to partner with the Athens, Georgia, Chapter of The Links, Incorporated, and Coile Middle School in creating enriching afterschool programming focused on photography.

cameras and digital cameras and each received a disposable black-and-white film camera, paid for with the Junior League funds. To learn how to use the camera, students went on a treasure hunt outside, taking photographs. They were allowed to keep the cameras and take photos through the end of the year. They also took superhero photographs of each other, having fun with the project. When the novel coronavirus outbreak occurred in March, the community reception scheduled for April was canceled, but the museum did manage to collect the disposable cameras, submit the film for processing and send digital prints of their work to students digitally. We look forward to continuing student programming like this in the future, especially with the help of such good community partners.

During the four-session program, the museum’s education department met with over 20 students to create three photography projects. At the educators’ first visit, in October 2019, students discussed the difference between a selfie and a portrait, reviewed portraits by artists of color and examined the idea of personal expression and visual literacy by closely looking at each work of art and using them as inspiration to take themed portraits of their classmates. Later in October, they learned about cyanotypes, one of the earliest forms of photography, as well as how color was first introduced to photography through hand-tinting. The session ended with an

age-appropriate critique of classmates’ work facilitated using the T.A.G. approach (Tell the artist something you like, Ask the artist a question, Give a positive suggestion). Each student “tagged” three works of art by writing their response on printed cards and then discussed their responses with the artist about their tinted cyanotypes. In November, students learned more about artists of color and how photography is used for different purposes. They also took pictures with Polaroid minis and interviewed each other for a portrait project. During the final visit in December, students learned about the difference between film

Later in October, they learned about cyanotypes, one of the earliest forms of photography, as well as how color was first introduced to photography through hand-tinting.

new ACQUISITIONS

PIERRE DAURA

The Georgia Museum of Art recently acquired two paintings by Pierre Daura (1896 – 1976) to complement its current collection of more than 600 works by the artist. The museum purchased these oils on canvas with funds generously provided by the Daura Foundation, which continues to be a steadfast supporter of the museum. Pierre Daura was born in Minorca and raised in Barcelona where he began his artistic education. At the start of World War I, he was living in Paris and working a variety of jobs while continuing to establish himself as an independent artist. These efforts were interrupted in 1917 as he had reached the age of 21 and was required to complete a compulsory 3-year military service. In 1920, at the age of 24, Daura resettled in Montmartre, a large hill in Paris’ 18th arrondissement, to resume his career as a painter. Created in the 1920s, these newly acquired paintings provide a better understanding of the artist’s early signature style and interest in scenes of local life and landscape. The paintings depict Cachan, a commune in the suburbs of Paris, and Cassis, a fishing port situated in the south of France. In both instances the artist aptly captures the quietude and pace of people’s daily experiences.

Created in the 1920s, these newly acquired paintings provide a better understanding of the artist’s early signature style and interest in scenes of local life and landscape.

(bottom) Pierre Daura (Catalan- American, 1896 – 1976), “Street in Chachan,” 1926, Oil on canvas, 19 13/16 × 25 11/16 inches. Georgia Museum of Art, University of Georgia; Purchase with funds provided by Martha R. Daura. GMOA 2020.45.

(top) Pierre Daura (Catalan- American, 1896 – 1976), “The Way to Cassis,” 1927, Oil on canvas, 21 1/4 × 25 9/16 inches. Georgia Museum of Art, University of Georgia; Purchase with funds provided by Martha R. Daura. GMOA 2020.46.

Madison County, Georgia, area Chair, ca. 1800–20 Soft maple and/or birch and hickory rounds. 41 1/2 × 20 1/2 × 15 1/2 inches Georgia Museum of Art, University of Georgia; Gift of Bonnie Ramsey

“THE ARCHIBALD BULLOCH FAMILY”

In 1771, Henry Benbridge moved to Charleston, South Carolina, and became the city’s most fashionable portraitist after the death of Jeremiah Theus. “The Archibald Bulloch Family” is the first work by Benbridge to enter the museum’s permanent collection and now hangs alongside Theus’s “Portrait of John Habersham,” allowing the museum to feature the two leading portraitists of the 18th-century American South. As the largest extant canvas among Benbridge’s many portraits of the white southern elite, the painting features one of the most important families in early Georgia history. Archibald Bulloch, who would become governor and commander- in-chief of the revolutionary state of Georgia shortly after this picture was painted, stands with his wife and their three children, all of whom held important military and political positions in subsequent years. Recent research has revealed this painting’s relationship to another of Benbridge’s portraits, “Mary Bryan Morel and Her Children” (ca. 1774; Telfair Museums). In both, the matriarch of the family wears the same blue gown, and many of the children wear identical costume, indicating that Benbridge painted these two portraits at roughly the same time and suggesting that these prominent Savannah families sought to ally themselves — in commerce, politics or otherwise — through a striking visual gesture. This portrait also allows the museum to address the Bulloch families’ deep investment in the stability and prosperity of slavery in the British colony (and later the revolutionary state) of Georgia. After all, Bulloch’s aristocratic aspirations and material wealth in this portrait depended on the economy of slavery, which, as a politician on both local and national levels, he actively sought to preserve. Through this portrait, the museum also has an opportunity to highlight those families whom the institution of slavery — and its proponents like the Bullochs — made intentionally anonymous and largely invisible.

Henry Benbridge (American, 1743 – 1812) “The Archibald Bulloch Family,” ca. 1775. Oil on canvas. 89 × 67 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the William Underwood Eiland Endowment for Acquisitions made possible by M. Smith Griffith. GMOA 2020.1

GEORGIA DECORATIVE ARTS

This chair was found in the 20th century in a barn on the Whitworth home place in Madison County, Georgia, by the donor’s grandmother Charlotte Gurley Whitworth. The chair was always referred to as “Aunt Polly Tribble’s chair.” Aunt Polly (Mary “Polly” Hampton Tribble, 1811 – after 1888) was born to George (1772 – 1862) and Sarah Hampton (1773 – 1870). Although George was born in Kent County, Delaware, and Sarah in Maryland, they were married in Guildford, North Carolina, where their families migrated before George and Sarah moved to Madison County, Georgia. The chair has arc-shaped voids clipped from beneath its slats in a way very reminiscent of the more gracefully shaped 18th-century versions produced in the Delaware River Valley. The chair is a beautiful example of how Georgia hybridizes different style sources during the period of its settlement. It appeared in the exhibition “Material Georgia 1733 – 1900: Two Decades of Scholarship” at the museum, and we are pleased to add it to our permanent collection.

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All events except films are virtual. Check our website and social media channels for sign-up links and the most up-to- date information.

TOURS AND GALLERY TALKS

LECTURES

SPECIAL EVENTS

LIVESTREAMOF “SARAH CAMERON SUNDE: 36.5 / A DURATIONAL PERFORMANCE WITH THE SEA”

DIANE JACOBSEN, “THE ART OF SEATING: 200 YEARS OF AMERICAN DESIGN” Wednesday, October 21, 3 p.m.

ARTFUL CONVERSATION: CARL HOLTY Wednesday, October 14, 1 p.m.

In conjunction with the exhibition of the same name, the museum will offer visitors exclusive virtual access to this video installa- tion through four 24-hour livestream events. These livestreams will feature four of the locations around the world where Sunde per- formed “36.5.” Each livestream occurs shortly before the three-channel video at the museum shifts from one location to the next. The cyclical nature and extended duration of this virtual event mirrors the natural rhythms and slow timeframe that are central to Sunde’s work, as she stands in ocean water for a full tidal cycle. • Katwijk aan Zee, the Netherlands – Wednesday, October 14, starting at 9 a.m. • Bay of Bengal, Saint Martin’s Island, Bangladesh – Wednesday, November 18, starting at 9 a.m. • Bay of All Saints, Salvador, Brazil – Wednesday, December 16, starting at 9 a.m. • Bodo Inlet, Kwale, Kenya – Wednesday, January 13, starting at 9 a.m. THIRD THURSDAY Thursday, October 15, November 19 and December 17, 6 – 9 p.m. Eight of Athens’ established venues for visual art hold Third Thursday, an event devoted to art in the evening hours, on the third Thurs- day of every month. The Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@ Hotel Indigo-Athens, Ciné, the Classic Center, ATHICA and CCBC Gallery at Creature Com- forts Brewing Company will be open from 6 until 9 p.m. to showcase their visual-arts programming. Full schedules are posted at 3Thurs.org. You must reserve free timed tick- ets to visit the museum.

Join Diane DeMell Jacobsen, Ph.D., for a spe- cial virtual lecture presented in conjunction with the exhibition “The Art of Seating: 200 Years of American Design.” Dr. Jacobsen is a distinguished scholar, art collector and chair of the Thomas H. and Diane DeMell Jacobsen Ph.D. Foundation. The exhibition consists of selections from her major collection of American chairs. This lively talk will look at examples of exceptional American chair design from the early 19th century to the present, including pieces by John Henry Belter, George Hunzinger, Herter Brothers, Stickley Brothers, Frank Lloyd Wright, Charles and Ray Eames, Isamu Noguchi and Frank Gehry. WATER, IMMERSION, AND COMMUNITY IN SARAH CAMERON SUNDE’S “DURATIONAL Interdisciplinary artist Sarah Cameron Sunde’s immersive video works investigate the hu- man relationship with water, connecting her viewers with the natural landscape and with large scale environmental phenomena. For this program, Sunde will be joined by faculty from UGA and the University of Virginia for a conversation about art, environment and global community. Panelists include: Mi- chael Marshall, associate director of curricu- lum, director of the social ecology studio and professor of art, Lamar Dodd School of Art, UGA; Stephen Ramos, associate professor at the College of Environment and Design, UGA; Mandy Joye, Athletic Association Professor in Arts and Sciences in the Department of Marine Sciences, UGA; and Matthew Burtner, Elea- nor Shea Professor of Music (Composition & Computer Technologies), UVA. This program is cosponsored by the Willson Center for the Humanities and Arts. PERFORMANCEWITH THE SEA”: AN ONLINE ARTIST TALK AND PANEL DISCUSSION Thursday, November 19, 1 p.m.

Join Callan Steinmann, curator of education, for online close looking and conversation about Carl Holty’s painting “Two Women Bathing” (1948 – 50). Artful Conversation programs are 30 minutes long, focus on just one work of art and provide opportunities for open-ended dialogue and discovery. Space is limited. COFFEEWITH A CURATOR: NELDA DAMIANO AND JULIA KILGORE Wednesday, October 28, 1 p.m. Grab a coffee and join us via Zoom for a con- versation with Nelda Damiano, Pierre Daura Curator of European Art, and Julia Kilgore, our new Pierre Daura Curatorial Research Assis- tant. The two will chat about some favorite works of art from the European collections and share insights about their work at the museum. CURATOR TALK: “THE SEATED CHILD: EARLY CHILDREN’S CHAIRS FROMGEORGIA COLLECTIONS” Wednesday, November 4, 1 p.m. Join Dale Couch, curator of decorative arts, for a special talk via Zoom about the exhibition. ARTFUL CONVERSATION: ROMARE BEARDEN Wednesday, November 11, 1 p.m. Join Sage Kincaid, associate curator of educa- tion, in online close looking and conversation about Romare Bearden’s mixed media collage “Mecklenburg County, Lamp at Midnight.” Space is limited. ARTFUL CONVERSATION: PHILIP EVERGOOD Wednesday, December 9, 1 p.m. Join Callan Steinmann, curator of education, in online close looking and conversation about Philip Evergood’s painting “My Forebears Were Pioneers.” Space is limited.

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HOMESCHOOL VIRTUAL TOUR: BEHIND THE SCENES Friday, October 23, 11 – 11:45 a.m. The museum’s permanent collection contains paintings, prints, drawings, photographs, decorative arts and sculpture. With over 13,000 objects and many special exhibitions each year there’s a lot of work that goes on behind the scenes at Georgia’s official state art museum. Join us for this tour that takes you behind the scenes and learn more about what goes on inside and outside the art gal- leries. Space is limited; email sagekincaid@ uga.edu to make a reservation or to request another tour time for your homeschool group. FAMILY DAY: THE ART OF SEATING November 7, 2020 American chair design is functional as well as sculptural. Check out historic and contempo- rary examples of show-stopper chairs as art, and then design your own functional sculp- ture from home using a free art kit that can be picked up from the museum. TEEN STUDIO: “CARL HOLTY: ROMANTIC MODERNIST” Thursday, November 12, 5:30 – 7:30 p.m. Teens ages 13 – 18 are invited to this stu- dio-based Zoom workshop led by local artist and educator Kristen Bach. Holty’s abstract modern paintings capture nature and the world around us in vibrant color. Check out his exhibition and make your own colorful modern art. This program is free, but art supply kits are limited. Please email sagekincaid@uga.edu to register. FAMILY DAY: HOLIDAY TIDINGS December 12, 2020 Interdisciplinary artist Sarah Cameron Sun- de’s video and performance art spans six con- tinents and seven years (2013 – 2020). Learn about holiday traditions from around the globe, and then create a festive work of art for your own holiday celebrations from home using a free art kit that can be picked up from the museum.

YOUTH AND FAMILY PROGRAMS

ONLINE WORKSHOPS AND CLASSES

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

MORNINGMINDFULNESS Friday, October 9 and 23; November 6 and 20; December 4, 9:30 a.m. The Georgia Museum of Art invites you into the galleries via Zoom to participate in free guided mindfulness meditation sessions, held every other Friday. Sessions include a variety of instructor-led meditation, movement and mindfulness techniques. No experience necessary. YOGA IN THE GALLERIES Thursday, October 22; November 12; December 10, 6 p.m. Join us via Zoom for a free yoga class sur- rounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis.

. FAMILY DAY: ROMANTIC MODERNIST Saturday, October 10, 2020

Carl Holty used color as the building blocks for his vibrant paintings. Check out some of his modern and abstract works of art, and then make your own colorful masterpiece from home using a free art kit that can be picked up from the museum. GALLERY GUMSHOES Join us for a different scavenger hunt–style art investigation each month. Put on your detective hat and get to work looking closely to discover clues at the museum (don’t forget to reserve your free tickets ahead of time) or online. After your search, complete an Art at Home activity based on the themes and tech- niques you uncover. • Wednesday, October 14: Outdoor sculpture • Wednesday, November 11: Coptic art in “Modernism Foretold” • Wednesday, December 16: form and function in “The Art of Seating: 200 Years of American Design” TODDLER TUESDAY Tuesday, October 20 Enjoy looking at art and storytime in the galleries online, and then complete an Art an Home activity just for the little ones. This free program is designed for families with children ages 18 months to 3 years. • Tuesday, October 20: Color Explosion (the abstract paintings of Carl Holty) • Tuesday, November 17: Have a Seat (children’s chairs) • Tuesday, December 22: Holiday Celebration

FILMS

FILMS IN THE FLOWER GARDEN: OUTDOORMOVIE SERIES Thursdays October 1, 15 and 29, 7 p.m. State Botanical Garden of Georgia Bring your own blanket and refreshments, and join us for a series of outdoor film screenings at the Botanical Garden this Oc- tober. Each movie will be paired with a short film selection from the Brown Media Archive Collection at the Special Collections Libraries. This program is presented in collaboration with the State Botanical Garden of Georgia and Special Collections Libraries, and is spon- sored by the UGA Parents Leadership Council.

museum notes

gifts

The Georgia Museum of Art received the following gifts between April 1 and June 30, 2020.

Staff Notes Yvonne Ceelen , an events manager at the museum, has left to move back to her home in the Netherlands but hopes to visit in the future. Candice Lawrence , assistant editor and hand at the helm of Facet for the past year, has also left the museum for a position at the University of Georgia Press while she completes her master’s degree at the University of Georgia. Gabriella Victorio has joined the museum as Parker Research Assistant. Victorio is the museum’s first Parker Foundation Fellowship recipient and previously served as a curatorial intern under Asen Kirin, the museum’s Parker Curator of Russian Art. Victorio says she is “enthusiastic about seeing the new acquisitions selected by Dr. Kirin and how they connect to our existing works in the collection.” Facet Has a New Look You may have noticed, if you’re a longtime subscriber, that this issue of Facet has a new look. The previous design launched in 2011, with the opening of the museum’s new wing, almost 10 years ago, and it was time to revisit it, much as we loved the oversized format. We surveyed many of you to find out what you liked and didn’t like about the previous format, the types of articles we include and more, and then we talked. And talked. And talked. We think you’ll find the new format a little more usable although as fun and design-forward as ever. You said you wanted more articles on works from the collection. You got it. You wanted a slightly smaller trim size. We did that, too. We aligned the look more strongly with UGA’s brand guide- lines, with fonts and colors that draw from the strong brand of our parent organization. And we thought about some creative solutions. The cover wrap protects the outside of the magazine, it serves as a table of contents and it allows us to do a pull- out calendar of events in an affordable way. We think the new format is more flexible (better for small and large articles alike) and more readable while still being driven first and foremost by art.

In honor of Anna Dyer by Lynn & Tim Callahan In honor of William Underwood Eiland by Frances & Emory Thomas In memory of Bernadette Allard by William Underwood Eiland In memory of Harvey Cabaniss by William Underwood Eiland, Margie & Cole Kelly, and Heather Malcom In memory of Jacqueline Friedlander by William Underwood Eiland In memory of Richard Timberlake by Robert G. Bretscher, Marguerite & Charlies Burch Sr., and William Underwood Eiland In memory of Jimmie Johnson by William Underwood Eiland and Cecelia & David Warner In memory of Mike Malcom by Lynn & Richard Berkowitz, Marilyn & John McMullan, and Jinx & Gordhan Patel In memory of Michael Murphy by William Underwood Eiland

In memory of Julia Sanks by Cecelia & David Warner In memory of Marti Schimmel by Betty Alice Fowler In memory of Lee Stone by William Underwood Eiland

in the shop

“The Art of Seating” celebrates two centuries of great American design. The Museum Shop joins in the celebration by offering an array of items featuring the work of many of the artisans included in the exhibition, such as Frank Lloyd Wright, Charles and Ray Eames and Frank Gehry. You’ll find gifts to educate and delight young and old alike, from full-color books to jewelry to accessories for you and your home. Every purchase made in our Museum Shop benefits the Georgia Museum of Art.

In the Galleries Two large paintings by Margaret Morrison — “Keramikos” (pictured above) and “Atomic No. 47” — are on display in the museum’s M. Smith Griffith Grand Hall and on the Patsy Dudley Pate Balcony until January 17, 2021. Morrison is associate professor of art and area chair for drawing and painting at UGA’s Lamar Dodd School of Art. She received her master of fine arts from the University of Utah in 1988 and has exhibited in museums and institutions around the world. She has been represented by Woodward Gallery since 1995 and her work can be found in many public and private collections.

Frank Lloyd Wright–inspired earrings

$40

100% silk tie by Adrian Olabuenaga

$60

“Chair: 500 Designs that Matter”

$24.95

“D is for Design” board book

$12.99

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