AUTUMN 2024
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table of CONTENTS
From the Director p.3
Exhibitions p.4
New Acquisitions: Edmund de Waal p.10
So Fresh and So Clean, Clean: Museum Galleries and Lobby Get a Refresh p.12
Italian Art without Airfare p.14
p. 12
The Art of Giving p.16
Museum Notes p.18
In the Shop p.19
Hours Tuesday and Wednesday: 10 a.m. – 5 p.m. Thursday: 10 a.m. – 9 p.m. Friday and Saturday: 10 a.m. – 5 p.m. Sunday: 1 – 5 p.m. Closed Mondays. Museum Shop closes 15 minutes prior. Free tickets required.
706.542.4662
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Department of Publications Hillary Brown and Jessica Luton
Design Noelle Shuck
Publications Intern Isabel Davis
Front cover: Richard Prince (American, b. 1949), untitled (Milton Berle), 2021. Inkjet on canvas, 100 × 46 1/4 inches. Courtesy Richard Prince. Back cover: Richard Prince (American, b. 1949), untitled (Milton Berle), 2021. I nkjet on canvas, 100 × 46 1/4 inches. Courtesy Richard Prince. 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 administra- tions 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/. 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.
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from the DIRECTOR
DIRECTOR’S Leadership Council
B. Heyward Allen Jr. Lacy Middlebrooks Camp Andrew Littlejohn D. Hamilton Magill III, chair-elect David W. Matheny Isobel Parker Mills Carl W. Mullis III William R. Newton Christopher R. Peterson, chair
As I write this, the fall semester has not yet started at UGA, but the museum team is eagerly anticipating the start of the new academic year on campus.
This year will mark my second as director of the Georgia Museum of Art, and as I reflect on my time at the museum, I feel tremendous gratitude.
R. Lee Robinson John Shlesinger Sara Shlesinger Brenda A. Thompson Carol V. Winthrop
Last year included many wonderful firsts. I participated in UGA’s re - nowned new faculty tour, which crisscrossed the state and showcased the university’s deep engagement with diverse communities across Georgia; enjoyed openings of several new exhibitions at the museum; and even attended my first Georgia football game and tailgate! I was also privileged to welcome many of you to our joyous 75th anniversary party, and last spring I had the honor of delivering remarks at the Lamar Dodd School of Art graduation ceremony. Most of all though, month after month, I was deeply humbled to hear words of welcome, support, encouragement and even suggestions for improvement from hundreds of the fantastic students, faculty and community members who visited the museum during the year. Whether they were visiting the museum for study and research, to experience greater well-being and a sense of wonder, or simply spending time engaging with friends and family in our beautiful galleries, I have enjoyed my conversations with our patrons. Thank you so much for all you do for the Georgia Museum of Art. While a new academic year is, of course, always exciting for students, we hope the year ahead is especially exciting. I am delighted to announce that, for the first time in the museum’s history, thanks to generous support from Bill and Anne Newton, the Benevity Fund and the Parents Leadership Council, all UGA student internships are now paid opportu - nities. These internships provide students with valuable educational and professional development experience in a diverse range of departments, including curatorial, education, exhibitions and communications. We couldn’t be more grateful to our supporters or happier for our students. We are also working hard to make all visitor experiences at the museum more rewarding than ever before. We have made a variety of improve- ments recently. You will read elsewhere in this issue about some of the work we undertook this summer to update our galleries and bring new art to the lobby. And thanks to generous financial support from the Provost’s Office, we have been completely upgrading the technology in our auditorium, which will include a three-camera system with stream- ing video capability, a new screen and a much-improved sound system that connects to assisted-listening devices. The next time you attend a lecture, program or class in the auditorium, let us know what you think of the improved quality. We are excited to hear your feedback. Thank you for your continued support. We hope to see you again soon at the museum.
Friends ADVISORY BOARD
Ligia Alexander Kathleen Belknap Greta Covington Cornelya Dorbin Susanna Drennen Kira Epstein Bree Hayes, chair Tiffany Hines Christina G. LaFontaine
Shanell McGoy Sherrie Olejnik Sarah Peterson, past chair Anita Pratt Mary Prickett Lauren Schlesinger, chair-elect Julia Slatcher Marilyn Wolf-Ragatz, docent president Amy Wraga
Ex-Officio David Odo Chris Peterson
Front and back cover and image at top left: Sol LeWitt (American, 1928 – 2007), “Wall Drawing #869, Copied Lines” (detail), 1998. Marker or crayon, dimensions variable. First drawn by Jeffrey Issac and others at Villa Vilcampana, Treia, Italy, July 1998. © 2024 The LeWitt Estate / Artists Rights Society (ARS), New York. Courtesy Paula Cooper Gallery, New York.
David Odo, Director
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Nathan Mabry (American, born 1978), “The Nostalgia of the Infinite (Le Taureau),” 2015. Steel, cast bronze and paint, 81 × 96 × 60 inches. Georgia Museum of Art, University of Georgia; The John and Sara Shlesinger Collection. GMOA 2019.431.
Mind the Gap: Selections from the Permanent Collection Through December 1 exhibitions
This exhibition serves as both a reminder and an invitation to explore spaces between tradition and innovation in art. Just as passengers are urged to mind the gap between the train door and the platform edge, we encourage visitors to this exhibition to navigate the spaces between historical and contemporary narratives, various media and different interpretations of art.
Each work in this exhibition represents a snapshot of human experience preserved for future generations. Each connects us to the past while pointing toward the future. As we journey through each gallery, we are reminded that museums are not just places in which to store the past but living reflections of an evolving cultural landscape. Acquisitions from the past five years have often filled major gaps in the collection in ideas, materials and techniques. They have also added depth and diversity to the museum’s holdings. These works chart the evolution of materials and techniques in sculpture in the 20th and 21st century. They show changes in landscape painting and portraiture over the past two centuries. Each work invites us to contemplate time pass- ing and the changing currents of art and social history. Passengers must be careful when navigating a gap, and we must approach these artworks with care and consideration. We must be mindful of the spaces between us and the stories they tell. The exhibition invites you to bridge the past and the present, embracing the elements of human creativity that unite us across time and space.
Curators: Nelda Damiano, Pierre Daura Curator of European Art; Shawnya L. Harris, deputy director of curatorial and academic affairs and Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art; Kathryn Hill, associate curator of modern and contemporary art; Callan Steinmann, head of education and curator of academic and public programs.
Zio Ziegler (American, b. 1988), “Hundred Thousand Year Figure,” 2023. Oil and acrylic on canvas, 80 5/16 × 50 1/8 inches. Georgia Museum of Art, University of Georgia; Museum
purchase with funds provided by Richard Adjmi. GMOA 2023.1105.
Jeannine Cook (British-American, b. Kenya 1944), “Pensando en Miró II,” 2016. Silverpoint and applied Plike paper on paper, 11 × 15 1/8 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2023.235.
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In Dialogue: On Wonder and Witnessing at Tallulah Falls Through January 12
A Perfect Model: Prints after Anthony van Dyck’s Portraits Through December 1
This exhibition focuses on George Cooke’s “Tallulah Falls,” a pivotal example of early southern U.S. painting, by considering the notion of natural wonder and the dynamics of witnessing the natural world.
Nineteenth-century tourist destinations in North America, such as the cascades at Tallulah Falls in northeast Georgia and Niagara Falls in northwest New York, stood as emblems of the nation’s unblemished and powerful wilderness. American writers and painters like Cooke, Thomas Addison Richards and Henry R. Jackson believed that their visions of American nature were a patriotic project. They sought to associate the U.S. landscape with a sublime present and future in contrast to the picturesque past of the European Old World. In doing so, these early American painters sought to lay claim to the landscape for the white settlers and forcibly erase the histories of the Indigenous nations who stewarded the lands and waters. The exhibition places Cooke’s and Richards’ landscapes along - side contemporary photographs of Tallulah Gorge by Caitlin Peterson and illuminates the contradictions involved in marking off natural wonders and the paradoxes of witnessing nature. Through these visual conversations, 19th-century southern art is seen in new contexts, including in relation to Indigenous and environmental histories of the region. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversa - tions around works of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with objects by influential peers, related sketches and studies or objects from other periods.
In late 2005, Montreal hosted the United Nations Climate Change Conference.
Anthony van Dyck (Flemish, 1599 – 1641) was one of the most successful artists of his generation, especially admired for his evocative portraits.
Curator: Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum
Van Dyck undertook the ambitious project of creating a series of prints depicting famous scholars, military men, nobles and artists. His prints were widely copied by his contemporaries and were often altered and reprinted over the centuries. This exhi- bition presents prints that attest to Van Dyck’s lasting impact as printmaker and portraitist.
Curator: Nelda Damiano, Pierre Daura Curator of European Art
Thomas Addison Richards (American, 1820 - 1900), “Cascade of Toccoa, Georgia,” n.d. Graphite on wove paper, 4 3/8 × 4 3/8 inches. Georgia Museum of Art, University of Georgia; Gift of the William Nathaniel Banks Foundation. GMOA 1974.3212. Pieter de Bailliu the Elder (Flemish, 1613 – after 1660), after Anthony van Dyck, “Lucy Percy, Countess of Carlyle,” 1640 – 55. Engraving, 10 × 7 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of Alfred H. Holbrook. GMOA 1966.1512.
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exhibitions
Saint Petersburg as Franz Liszt Saw It Through December 1
This exhibition is organized in conjunction with the American Liszt Society Festival at the University of Georgia’s Hugh Hodgson School of Music October 13 – 16. The event celebrates the legacy of the Hungarian composer and pianist Franz Liszt (1811 – 1886). This year’s edition of the festival focuses on the idea of the “composer-pianist” and highlights Liszt’s visits to Russia in the 1840s. Our exhibition features works on paper from the Georgia Museum of Art’s permanent collection showing Russia at the time of the great musician’s visit. Large lithographic prints feature cityscapes of St. Petersburg, while small hand-colored ones picture genre scenes and different occupations: coachmen, porters, water carriers, innkeep- ers, street peddlers. All these prints were issued by the same publisher, Giuseppe Daziaro (1796 – 1865). Daziaro held shops in St. Petersburg, Moscow, Paris and Warsaw. He also collaborated with the French printer Lemercier à Paris. Within their sweeping vistas, the large cityscapes contain figures and scenes that find close parallels in the small prints.
Curator: Asen Kirin, Parker Curator of Russian Art
Vasilii Fedorovich Timm/Georg Wilhelm Timm (Baltic-German, 1820 - 1895), “Alms Seekers,” 1844. Watercolor on lithograph. Promised gift of Marina Belosselsky-Belozersky Kasarda.
Rudol’f Kazimirovich Zukovskii /Zukowski (Polish, 1818 – 1886), “Three Porters Admiring a Miniature Portrait in Front of a Tea Room,” ca. 1840. Watercolor on lithograph, 8 3/4 × 6 7/8 inches. Promised gift of Marina Belosselsky- Belozersky Kasarda.
Unidentified artist, possibly Henrich Ditler Mitreuter (Danish, 1818 - 1844 [?]), “Winter Troika,” ca. 1840. Watercolor on lithograph, 8 1/8 × 10 7/16 inches. Promised gift of Marina Belosselsky-Belozersky Kasarda.
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Joel Sternfeld: When It Changed
The Artist as Witness
Through December 1
Through December 1
Humanity’s impact on the natural landscape is undeniable even when human figures are not immediately visible.
In late 2005, Montreal hosted the United Nations Climate Change Conference.
Government ministers, scientists, leaders of nongovern- mental organizations and journalists gathered for this annual meeting of countries participating in the Kyoto Protocol, a policy aimed at reducing the emission of greenhouse gasses. American photographer Joel Sternfeld gained access to the conference using newspaper credentials. He hoped to answer a question for himself: “I wanted to know if climate change was real.” What he found was worse than what he expected. “In the opinion of nearly all the par - ticipants, not only was climate change occurring, it was also about to reach a tipping point and become irrevers- ible.” Using a telephoto lens from close-up, Sternfeld trained his camera on a range of participants to create an “archive of humanity” amid what was then a largely invisible ecological crisis. “I tried to take photographs of delegates at the moment when the horror of what they were hearing was visible on their faces. At stake, after all, is the continuation of Earth as a planet fit for us to live on.” Sternfeld published “When It Changed,” a book of these images, in 2007. It outlines alarming scientific discov - eries, the actions and inactions of governments and cor- porations and increasingly extreme weather events. This exhibition presents the photographs from that book. At this watershed moment in global environmental history, and in the face of an ever-unfurling stream of evidence, Sternfeld is emphatic: we cannot say that we did not know that our world had changed.
This selection of works from the museum’s permanent collection serves as a visual response to the exhibition “Joel Sternfeld: When It Changed.” Artists including Arthur Tress, Robert von Sternberg and Diane Farris illustrate how human enterprise has reshaped the natural landscape. Some works trace the entanglement of human life and environmental change. Others catalogue the environment’s natural processes of self-preservation and renewal. Sternfeld’s photographs focus on the people and diplomatic powers that have shaped the global response to climate change. The artists and works in this companion installation recenter the impacted landscapes and surreal scenes of our changing environments.
Curator: Kathryn Hill, associate curator of contemporary art, and Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum
Curator: Kathryn Hill, associate curator of contemporary art, with assistance by Mary Alice Smith (UGA ’24)
Jason Thrasher (American, b. 1970), “Murmur Trestle,” 2013, printed 2024. Photographic ink on paper. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Elizabeth Firestone Graham Foundation. GMOA 2024.115. Arturo Soto (Mexican, b. 1981), untitled, from “All Lovely Things Will Have an Ending,” 2006. Color photograph, 26 × 36 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2022.28.
Joel Sternfeld (American, b. 1944), “Latsoucabé Fall, Director of Planning and Equipment, Senelec Energy, Senegal,” from the “When It Changed” series, 2005 (negatives), printed 2021. Pigment print, 33 × 55 inches. Georgia Museum of Art, University of Georgia; Gift of an anonymous donor. GMOA 2024.12.
new acquisitions
EDMUND DE WAAL’S “LETTERS TO AMHERST, II”
Edmund de Waal (British, b. 1969), “Letters to Amherst, II,” 2023. Porcelain, gold, alabaster, aluminum, glass, 19 15/16 × 35 7/16 × 7 5/16 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Elizabeth Firestone Graham Foundation. GMOA 2024.133. © Edmund de Waal. Photo: Rob McKeever. Courtesy Gagosian.
Over more than five decades since, De Waal has honed his craft in a medi - tative, thoughtful way, investigating subtle shades of black and white. The Georgia Museum of Art recently became the first museum in the United States to acquire his work. De Waal’s “Letters to Amherst II,” is now on display just outside the exhibition “Mind the Gap: Selections from the Permanent Collection.” De Waal is at least as well known for his writing as for his ceramics. His 2010 memoir, “The Hare with Amber Eyes: A Hidden Inheritance,” became an unexpected best seller. The book tells the story of the Ephrussi, a wealthy
Edmund de Waal used a potter’s wheel for the first time when he was only five years old.
European Jewish banking dynasty who lost their for- tune during World War II when the Nazis confiscated their property. Inspired by and tracing the story of their collection of Japanese miniatures carved from wood or ivory, known as netsuke, it incorporates art history and literary references in equal parts. One could say the same of De Waal’s artwork, which he files under the category “making” on his website. “Letters to Amherst, II” is part of a group of six sculptures, each of which consists of a white-glazed rectangular alu- minum box divided in half horizontally by a shelf. In each of the two sections sit small, delicate white porcelain vessels and thin sheets of white porcelain inscribed with lines of poetry. Similar to Giorgio Morandi’s still-life paintings, the result feels repetitive at first and possibly too simple, but contemplation yields an appreciation of subtleties in construction, in glazing and in spacing. De Waal has said, of white, that it “is not a stripping back
to reveal, but a starting place. . . . A page, a wall, a handful of white clay, porcelain, a block of stone. It is the pull and push between the object and its shadow.” The “Letters to Amherst” series derives its title from poet Emily Dickinson, who spent her life in Amherst, Massachusetts. Dickinson was notoriously reclusive but corresponded at length with friends. Her poetry uses slant or imperfect rhymes, as well as frequent dashes, to break up words and lines. De Waal refers to her as “the poet of frac - ture.” She makes “spaces and connections between often very disparate feelings and emotions and images,” notes De Waal. In a similar way, his works use vessels and the spaces between them to make a sort of visual poem. The beauty of his objects, which often glow with gold and silver leaf, can seem removed from the world, but he says, “It’s possible to make things that are beautiful that also have guts to them.”
Scan this QR code to watch a video of the artist talking about this sculpture.
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so fresh and so clean, clean:
MUSEUM GALLERIES AND LOBBY GET A REFRESH
This summer, workers were busy in both the museum’s temporary exhibitions wing and its lobby, completing some long-deferred maintenance and making upgrades.
After the last slate of temporary shows closed, our director of exhibitions, Todd Rivers, sprang into action with assistance from the University of Georgia’s Facilities Management Division, which served as project manager, and Oconee Construction, which did much of the hands-on work. In six short weeks, they accomplished a lot, and their work has helped us be better prepared for future maintenance of the galleries.
Gallery renovations in progress and University of Georgia students and professional installers helping with wall drawings by Sol LeWitt in the lobby (above and facing page, top right image). © 2024 The LeWitt Estate / Artists Rights Society (ARS), New York. Courtesy Paula Cooper Gallery, New York.
First, workers removed the drywall in seven of the eight galleries in the wing. (The Alonzo and Vallye Dudley Gallery, which houses time-based media, has already been addressed). Some of the drywall dated back to when the building first opened on East Campus in 1996. Rivers pointed out that, given how frequently the museum changed out exhibitions in the past, some of those walls had hundreds of layers of paint on them. When there are that many layers of paint, new paint doesn’t adhere well to the wall anymore and past imperfections, however small, are often magnified. While we removed the old drywall and installed new drywall, we also made some changes that will make a job like this one much easier in the years ahead. Many of the galleries had crown molding, which was difficult to work around, both for drywall replacement and for painting. The galleries now feature Schluter strips that neatly mark the edge of the drywall and will make future gallery preparation more efficient. But we didn’t just address the walls. While those gal - leries were shut down, we also updated the lighting system in several of them so that we now have a single track-lighting system throughout the entire museum. Materials for the old lighting system from 1996 are no longer manufactured, and having a single system is, again, much more efficient. It also frees up some storage space because we no longer have to store materials for two different systems. Our improvements to the galleries included an update to motion sensors, which help our security team monitor the safety of art and visitors. There’s more! We also refinished the floors in all seven galleries, resurfacing the wood and replacing the carpet in the Alfred Heber Holbrook and Rachel Cosby Conway Galleries. We wanted to swap out the carpet for wood flooring, but the subflooring is at two different heights, a factor that would have complicated the project and required more time than we had available for renovations. Instead, we opted for a high-performance laminate, which will be easier to clean and more durable.
We also made some changes that increase gallery flex - ibility going forward. There have been many times in the past when we opted not to take on an exhibition that was otherwise a great fit merely because it was too small for our space and simply wouldn’t look good on display. Thus, we added a vented pocket door between the Virginia and Alfred Kennedy and Philip Henry Alston Jr. galleries that will allow us to close off spaces when they aren’t needed. We vented the existing pocket door between the Alston Gallery and the Lamar Dodd Gallery to maintain humidity and temperature levels when those doors are closed, and we hope to add pocket doors to the rest of the galleries in the future. As long as we were making some noise and shutting down some areas of the building, we also decided to refresh the lobby desk where visitors check in. It now has a clean new look, and the addition of two digital signs mounted behind the desk will provide our visitors with more information. These signs tell visitors about upcoming programs, current exhibitions and how to become a member of the Friends of the Georgia Museum of Art and highlight our loyal Annual Fund donors. We are also taking some steps to improve navigation for visitors to the museum, with the addition of better direc- tional signage and signs for the restrooms that are easier to see. Thanks to support from the Provost’s Office, we upgrad - ed almost everything in the auditorium, adding a new screen, new microphones and new tech that will make streaming and recording programs much easier and the results more professional. Finally, we installed two wall drawings created by artist Sol LeWitt in the lobby. LeWitt, who died in 2007, was a conceptual artist whose artwork sometimes consists of instructions for making the work. Thanks to generous support from the Elizabeth Firestone Graham Foundation, we borrowed the instructions from the LeWitt Collection and worked with master art install- ers from the LeWitt estate and students from UGA’s Lamar Dodd School of Art to carry out the execution. We are excited to have these forward-thinking contemporary works on view to welcome visitors and about the part- nership that led to these new creations.
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ITALIAN ART WITHOUT AIRFARE
Didn’t make it to Europe this summer to soak in the art and culture? A visit to the Georgia Museum of Art’s reinstallation of its Samuel H. Kress Gallery is sure to transport you through time and place.
Unveiled at the beginning of the fall semester, the reinstallation resulted from the diligence of staff and one summer intern. Many of the works in the refreshed space came to the museum’s collection as gifts of the Samuel H. Kress Foundation in 1961. Its founder was an American retail magnate with a passion for both art and education. Born in 1863 in eastern Pennsylvania, he was a schoolteacher for several years before opening his first store in 1887. His empire of five-and-ten-cent general goods stores thrived in the early 20th century, including in Athens, where the store’s distinctive architecture can still be seen downtown at 153 Clayton Street. In 1929, he established the Samuel H. Kress Foun- dation to donate works by European artists from his considerable collection to American public museums, including paintings, sculptures and furniture. His aim was to share these powerful and historic works of art with everyday Americans, a goal shared by the Georgia Museum of Art. Katherine Rabogliatti, a doctoral student at the Uni - versity of Maryland who studies early modern Italian art with a focus on gender and identity, worked behind the scenes at the Georgia Museum of Art this summer as a Daura Center Graduate Intern. Rabog- liatti said she was looking for something that would enable her to exercise her academic knowledge in a practical environment, and she spent much of the summer working on the reinstallation of the Kress Collection under the direction of Nelda Damiano, the museum’s Pierre Daura Curator of European Art. Deeply committed to sharing her love of early mod- ern art with a broad audience, Rabogliatti said her experience writing the labels and wall text helped her refine her ability to speak to a variety of viewers about Italian Renaissance art and society. She also discovered the collaborative nature of curatorial work and staging an exhibition. She hopes that the new gallery “captures viewers’ attention and gives them a meaningful experience with the past.”
The new Samuel H. Kress Gallery
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Eleven paintings the museum received from the Kress Founda- tion are now on display in the gallery. These include works by artists such as Marco Basaiti (ca. 1470 – 1530), Ambrogio Bor- gognone (ca. 1460 – 1523) and Salvator Rosa (1615 – 1673). One piece, “Madonna and Child with Saints” by Simone dei Crocifissi, was recently restored at New York University’s Kress Program for Painting Conservation.
Alongside these works are several recent acquisitions of the same period and region, an oil-on-copper painting from the studio of woman artist Lavinia Fontana, fine maiolica pottery and crafted wood furniture as well as long-term loans of baroque paintings from the Parker Foundation.
Kelsey Schoenbaum, Communications Intern
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We thank the following donors for their contributions to the Georgia Museum of Art from July 1, 2023, to June 30, 2024.
THE ART OF GIVING
$10,000 & Above
$5,000 – $9,999
Richard Adjmi Anonymous The Elizabeth Firestone Graham Foundation The Fraser-Parker Foundation Georgia Council for the Arts Elizabeth M. & Roberto S. Goizueta The Goizueta Foundation Helen Frankenthaler Foundation Henri & Tomoye Takahashi Foundation Julie G. Jenkins George-Ann Knox Shell & Wyck Knox Jr. Anne & Paul Lings Isobel P. & James T. Mills Jr. C. L. Morehead Jr. Estate* Anne & William Newton Gloria Bryant Norris Amburn H. Power The Richard R. Hunt Charitable Trust Betsy & R. Lee Robinson Lucy M. Rowland Samuel H. Kress Foundation
Lucy & B. Heyward Allen Jr. LaTrelle F. Brewster Devereux & E. Davison Burch Lacy Middlebrooks Camp & Thomas G. Camp The Epting Family Foundation Fund Furthermore John M. Greene Bree A. & Richard L. Hayes Brenda & D. Hamilton Magill III Becky & David W. Matheny Marilyn & John F. McMullan Richard C. Owens Jr. Gail R. & Trellou J. Pond Margaret A. Rolando The Todd Emily Community Foundation United Bank of Switzerland, LLC Willson Center for Humanities & Arts
$2,500 – $4,999
Anonymous Linda C. & J. David Chesnut Material Culture & Arts Foundation Marian & Carl Mullis III Sherrie & Stephen Olejnik Sylvia Hillyard Pannell & Clifton W. Pannell Virginia B. & Gordhan L. Patel Joseph Perez Kathy Prescott & H. Grady Thrasher III Marilyn A. Vickers
June* & Ronald K. Shelp* Sara L. & John D. Shlesinger
Terra Foundation for American Art Brenda A. & Larry D. Thompson The Turner Family Foundation, Inc. UGA Parents Leadership Council W. Newton Morris Charitable Foundation Carol V. & Robert Winthrop II Gregory Ann & Richard Woodruff
Teresa & Charlie Friedlander Anne F. & Joseph C. Frierson Jr. Claiborne V. C. Glover III Kathryn E. & Henry D. Green Jr. Judy Hill Meika & Hamilton Hilsman Marilyn B. & Lowry W. Hunt Jr. Jane Compton Johnson Nancy & Leston Juneau Erika G. Lewis Shanell McGoy & Terry M. Powers Jr. Marilyn D. McNeely Parker & Kent R. Middleton Francis W. & Benedicte D. Milward H. Daniels Minor* Jackie & Anthony Montag Libby & Van Morris
National Society of Colonial Dames of America, Atlanta Town Committee Margaret & John R. Page Monica W. & Sylvester Parker Janet & Alex Patterson Sarah K. & Christopher R. Peterson Beverly & Edwards W. Phares Christopher Howard & Carey Pickard III Evelyn & Gregory P. Reece Margo N. Rosenbaum Jewett W. & Alan F. Rothschild Jr. Sarah P. & Walter A. Sams III Claire & Boone Smith III
$1,000 – $2,499
Athens Convention & Visitors Bureau Terry L. Barrett Linda Nicholson Beard
Jeanne L. Berry Rosemary Brady
Brunk Auctions, Inc. Susan & Travis Burch
Mary S. & William S. Burdell Jr. Teresa M. & Robert H. Carson Jr. Anne J. & Stephen K. Critchfield Elizabeth A. Davison Kathy K. & David N. Dorough Lisa & William W. Douglas III Janet J. Miller & Robert N. Elkins Beverley & Jeff Evans Karen & James B. Fleece
Margaret R. Spalding Kenneth H. Thomas Jr.
Stevi & William D. Wansley Mary Lillie & Ray Watson Mary M. Wood
*Deceased
Bronze Athens Printing Company Barron’s Rental Center Guide2Athens
Platinum
EVENT PARTNERS
ELEGANT SALUTE XVIII
Baroque and Beyond SATURDAY, FEBRUARY 1, 2025 Followed by the “Rock Me Amadeus” Dance Party.
Sponsor now
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in the SHOP
“IN TIME WE SHALL KNOW OURSELVES”, BY RAYMOND SMITH $49
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PHOTOGRAPHY BOOKS
“MUSE: MICKALENE THOMAS: PHOTOGRAPHS” $65 “MURMUR TRESTLE: PHOTOGRAPHS BY JASON THRASHER” $30
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MUSEUM notes
DEEPER ACADEMIC ENGAGEMENT
Funding from the Elizabeth Firestone Graham Foundation has enabled us to achieve a long-time goal and hire an associate curator of campus and academic engagement. Alexis Gorby started in the new position in mid-August, at the beginning of the UGA fall semester. She came to us from Oxford University, in England, where she is completing her doctoral degree in classical archeology. This new position at the museum is dedicated to teaching university course visits to the museum from all departments using the collections and will focus on increasing overall campus engagement.
NEW CURATORIAL ASSISTANT IN CONTEMPORARY ART
Parris Baker-Coley, deputy director of business operations.
Also thanks to funding from the Elizabeth Firestone Graham Foundation, the museum hired Ciel Rodriguez as curatorial assistant in contemporary art. Rodriguez will bring research, administrative and organizational support to our current and emerging curatorial projects in modern and contemporary art. She has a bachelor of fine arts degree from the School of the Art Institute of Chicago and a master of fine arts degree from the University of Georgia’s Lamar Dodd School of Art, focusing on interdisciplinary studio arts and museum studies. She previously worked as a museum preparator at the Michael C. Carlos Museum at Emory University; gallery assistant and art handler at the Athenaeum and Dodd Galleries; studio manager at the Lyndon House Arts Center; and graduate intern in curatorial and exhibition design and preparation departments at the Georgia Museum of Art.
MUSEUM BUSINESS OFFICE STAFF CHANGES
Lisa Conley, longtime Georgia Museum of Art business manag- er, retired August 1. During her tenure at the museum, she was instrumental in helping the museum move into the modern age, with a lot of work on the transition to OneSource by UGA business and finance. Following her departure, Parris Baker-Coley joined the museum staff as deputy director of business operations September 1. In this new role, Baker-Coley has taken over Conley’s responsibilities – supervising the business office, the Museum Shop, the securities and facilities team and IT – but the role has been expanded to encompass strategic planning and other big-picture items. Baker-Coley was most recently a business support leader at the University of Georgia’s College of Agricultural and Environmen - tal Sciences, where he oversaw all financial, business and human resources matters for the department of plant pathology and the department of horticulture, each of which spans three campuses (Athens, Griffin and Tifton). He has an undergraduate degree from the University of Florida in political science and a master’s degree in higher education administration from UGA.
PATRICIA MILLER SELECTED FOR UGA WOMEN’S LEADERSHIP
Patricia Miller, deputy director of collections and exhibitions and head registrar, was named to the 2024 – 25 Women’s Leadership Fellows program at the University of Georgia. The Women’s Leadership Fellows will meet throughout the year with key administrators to discuss the organization and functions of higher education as well as current issues and challenges. At each of the sessions, fellows have a chance to interact with one another and discuss approaches to prob- lem solving in higher-education administration.
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CALENDAR * Program is free but registration is required; email gmoa-tours@uga.edu to reserve a spot.
CALENDAR CALENDAR CALENDAR IN CONVERSATION: JASON THRASHER AND CAITLIN PETERSON Thursday, October 24, 5:30 p.m. Join Athens photographer Jason Thrasher and Chicago-based photographer Caitlin Peterson for a conversation in conjunction with the exhibition “Joel Sternfeld: When It Changed” and the museum’s coda exhibition “The Artist as Witness.” Thrasher and Peterson will discuss their approaches to photographing landscapes and offer insights into photogra - phy’s role as a documentary process and an activator of new perspectives of our changing environments. +LECTURE: DR. JONI ACUFF Thursday, November 14, 5:30 p.m. In her talk “Activating an Antiracist Art Pedagogy in the Museum,” Acuff will discuss the ways museums can take on pedagogy, specifically an antiracist art pedagogy, to sup - port their dynamic and diverse communities with care and awareness. Acuff is professor and chair of the department of arts adminis- tration, education and policy at the Ohio State University. STUDY BREAK AT THE MUSEUM Wednesday, December 4, 10 a.m. – 5 p.m. Need a break from studying for final exams? Students are invited to stop by the museum on Reading Day to participate in one of our art and wellness programs or take a pause and enjoy some art in the galleries at their own pace. This program is presented in partner- ship with UGA’s Office of Student Care and Outreach and sponsored by the UGA Parents Leadership Council. See the museum website for a full schedule of events.
+ Part of UGA's 2024 Spotlight on the Arts Visit arts.uga.edu for a full list of programs across campus.
+FACULTY PERSPECTIVES: CHRIS HOCKING AND ASEN KIRIN Wednesday, November 6, 2 p.m. Chris Hocking, associate professor of art, and Asen Kirin, Parker Curator of Russian Art and professor of art history, will present a special gallery program focused on lithographs on view in the exhibition “Saint Petersburg as Franz Liszt Saw It.” Hocking and Kirin will expand on techniques and themes from the exhibition through the lens of their areas of expertise in painting and printmaking and Russian art history. The gallery conversation will be accompanied by a printmaking demon- stration on the museum’s first floor. +STUDENT SPOTLIGHT TOUR: TALLULAH SANDERS Wednesday, November 13, 2 p.m. Education intern Tallulah Sanders (’25) will give a gallery talk focused on objects on loan to the museum from the Terra Foundation of American Art. Student Spotlight tours offer a chance to learn about student research and discover more about the collection from a student’s point of view.
TOURS AND GALLERY TALKS
+TOURS AT TWO Wednesday, October 2; November 20; December 4, 11, 18, 2 p.m.
These drop-in public tours feature highlights of the permanent collection and are led by museum docents. ARTFUL CONVERSATION: MINNA CITRON Wednesday, October 9, 2 p.m. Artful Conversation programs are 30 minutes long, focus on just one or two works of art and provide opportunities for close-look- ing, open-ended dialogue and discovery. Join Callan Steinmann, head of education and curator of academic and public programs, for a conversation about works by American artist Minna Citron on view in the exhibition “Mind the Gap.” +SUNDAY AFTERNOON TOURS Sunday, October 13, November 17, December 15, 3 p.m. Stop by for a Sunday afternoon tour featuring highlights of the permanent collection and current special exhibitions, led by museum docents. FACULTY PERSPECTIVES: DR. NELL ANDREW Wednesday, October 16, 2 p.m. Nell Andrew, professor of art history at the University of Georgia, will give a gallery talk focused on two new works by conceptual artist Sol Lewitt on view in the museum’s lobby. Her talk will expand on the exhibition through the lens of her expertise in modern- ism and abstraction in visual art. Dr. Andrew teaches courses in modern art, the historical avant-garde, dance history and early film, and is co-director of the Interdisciplinary Mod- ernism/s Workshop, a faculty research cluster sponsored by the University of Georgia’s Will- son Center for Humanities and Arts. GALLERY GUIDE TOUR: RUSSIAN ART Wednesday, October 30, 2 p.m. Gallery guide Phillip Bond has a passion for Russian art and has spent a lot of time learning about it while he helps visitors to the museum. Come join him for a special tour of Russian objects in the museum’s collection, including some not currently on view in the galleries.
SPECIAL EVENTS
+THIRD THURSDAY Thursday, October 17, November 21, December 19, 6 – 9 p.m.
YOUTH AND FAMILY PROGRAMS
Athens’ established venues for visual art hold this event devoted to art in the evening hours on the third Thursday of every month to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org. ARTIST TALK: TOKIE ROME-TAYLOR Thursday, October 17, 5:30 p.m. Photo-based artist Tokie Rome-Taylor focuses on questions that stem from ethnographic and historical research. Her work is inspired by the material, spiritual and familial culture of descents of southern African Americans. Children, family heirlooms and the real or imagined histories of these children’s families and their ancestors collide to spark conversa- tion around material culture and familial and cultural traditions of African Americans in the South. This program is presented in conjunc- tion with an installation of Rome-Taylor’s work currently on view in the museum’s permanent collection galleries.
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 program is designed for families with children ages 18 months to 3+ years. • Tuesday, October 8, 10 a.m. Boo Bash • Tuesday, November 5, 10 a.m. Leaves and Trees • Tuesday, December 10, 10 a.m. Snow Day
FAMILY DAY: A PERFECT MODEL Saturday, October 19, 10 a.m. – noon Explore the exhibition “A Perfect Model: Prints After Anthony van Dyck’s Portraits” with interactive gallery games and crafts, then create your own print inspired by the show. For those who cannot attend in person, Family Day To-Go Kits will be available for pick-up starting at 1 p.m. Saturday through the end of day Sunday, while supplies last. *TEEN STUDIO: MYSTERY MASQUERADE Thursday, October 24, 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. Join us for a museum mystery in the galleries. Teens will create their own masks and then play a “whodunit” game by solving clues hidden within works of art. Costumes are encouraged. This program is free and includes a pizza dinner from De- Palma’s Italian Cafe.
the drypoint process for intricate image- making. $45 per person. Open to adults 18+ of all skill levels. Reserve your spot by pur- chasing your ticket at bit.ly/drypoint-class. *CREATIVE AGING SEATED YOGA Friday, November 1, 10:30 – 11:30 a.m. Join us in the galleries for gentle seated yoga led by Raquel Durden. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are wel- come. Creative Aging programs are geared to ages 55+.
WORKSHOPS AND CLASSES
*DRAWING IN THE GALLERIES: TIMELESS PORTRAITS Sunday, October 6, 2 – 4 p.m.
Experience the pleasure of drawing in the ex- hibition “Mind the Gap” with teaching artist Joel Rosenberg. Discover how each portrait captures a moment in time. Materials are pro- vided, but you may bring your own sketch- book. Please note: only pencils are allowed in the galleries. +MORNING MINDFULNESS Friday, October 11, November 15, December 20, 9:30 – 10 a.m. Come rest and recharge in the galleries surrounded by inspiring art. Experienced mindfulness instructors lead guided medita- tions, gentle movements, and slow-looking techniques. This program is free, stools are provided and no experience or special attire is needed. For more information email gmoa- tours@uga.edu. +YOGA IN THE GALLERIES Thursday, October 17, November 21, December 19, 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 free and open to both beginner and expe- rienced yogis. Sanitized mats are provided. Space is limited and spots are available on a first-come, first-served basis; tickets are available at the lobby desk starting at 5:15 p.m. *CREATIVE AGING ART WORKSHOP Friday, October 18, 10 – 11:30 a.m. Lifelong learning through the arts offers opportunities to practice creativity and create community. Join teaching artist Toni Carlucci in the galleries to look at and talk about art in the permanent collection, then come to the studio classroom to make art and new friends. All levels are welcome. Creative Aging programs are geared to ages 55+. PRINTMAKING WITH KIT RUTTER Sunday, October 20, Saturday, October 26, and Sunday, October 27, 1 – 4 p.m. Dive into printmaking with artist Kit Rutter in this three-part workshop held in conjunc- tion with the exhibition “A Perfect Model: Prints after Anthony van Dyck’s Portraits.” Participants will begin by exploring mono- types and pressure prints, gaining familiarity with the press and working with nontoxic, water-based inks to create imagery. The workshop will then introduce more advanced techniques, including the use of Plexiglas and CLASS: INTRODUCTION TO DRYPOINT INTAGLIO
CLOSED
November 28 – 29 December 23 – 25 December 30 – January 1
+FAMILY DAY: COMING HOME Saturday, November 9, 10 a.m. – noon
VIEW CALENDAR ONLINE
We’re partnering with the National Endow- ment for the Arts Big Read for our Spotlight on the Arts Family Day. Little Characters Theater Troupe will perform scenes from the featured book “Show Way” by Jacqueline Woodson. The event will also include inter- active art cart activities, a quilting demon- stration by local artist Beatrice Brown and a take-home art project. The first 50 guests will receive a free copy of “Show Way.” For those who cannot attend in person, Family Day To- Go Kits will be available for pick-up starting at 1 p.m. Saturday through the end of day Sunday, while supplies last. NEA Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest.
FAMILY DAY: LET IT SNOW Saturday, December 7, 10 a.m. – noon
Winter is here. Even though it doesn’t often snow in Georgia, we’re celebrating the change in season with festive holiday activities and a snow-inspired art project. For those who cannot attend in person, Family Day To-Go Kits will be available for pick-up starting at 1 p.m. Saturday through the end of day Sunday, while supplies last. BACKPACK TOURS 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.
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