SUMMER 2024
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table of CONTENTS
From the Director p.3
Exhibitions p.4
Gallery Spotlight: Tokie Rome-Taylor p. 10
The Art of Giving: Museum Honors Curtis Patterson and Marie T. Cochran p.12
In the Shop p.14
Museum Notes p.15
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
Department of Publications Hillary Brown and Jessica Luton
p. 10
Design Noelle Shuck
Publications Intern Isabel Davis
p. 7
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. 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/.
(top) Installation photograph by Jason Thrasher of works by Tokie Rome-Taylor in the museum’s H. Randolph Holder Gallery.
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. (bottom) Joel Sternfeld (American, born 1944), “Stephane Dion, Minister of the Environment, Canada, from the When it Changed series,” 2005. Pigment print, 33 × 55 inches. Georgia Museum of Art, University of Georgia; Gift of an anonymous donor. GMOA 2024.10.
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from the DIRECTOR
I have been thinking a lot about artists’ studies this year.
A study is a preparatory drawing, sketch, painting, model or other work made to explore ideas and tech- niques for an eventual “finished” work of art. When I look closely at an artist’s study, I feel as though I am getting a privileged look into their artistic process. The Georgia Museum of Art collection includes many beau- tiful and fascinating studies, often considered works of art in their own right, that we continue to find both instructive and inspiring. Among them are the nearly two dozen Elaine de Kooning studies for her Bacchus series, an ode to the Roman god. The series is notable because it is her first use of acrylic paint. A close look at the studies produced for the series pulls the curtain back on how the concept for the series and her tech- nique evolved for the final works. Studies are not unique to artists, of course; we un- derstand that study is critical to success in all fields of human endeavor. Here at the University of Georgia and the Georgia Museum of Art, we undertake study to improve and expand our research, teaching and service. With this in mind, the museum is embarking on an extended period of self-study. We want to learn more about who we are now and who you — students, schol- ars, artists and community members — want to help us to become in the future. With the help of the American Alliance of Museums, the non-profit organization that represents and accredits American museums, we will be assessing our mission, priorities and practices. We will also be working with a research firm to gather infor - mation through surveys and individual and small group conversations to review our current work and ask what we can do better in the future. For this process to be effective, we need your help. You may receive a request from us to participate in a survey or focus group. If you are able, we would greatly appre- ciate your participation. In the meantime, we always welcome your comments and queries and love seeing you in the museum!
David Odo, Director
Elaine de Kooning (American, 1918 – 1989), three untitled studies for the “Bacchus” series, 1977. Ink and ink wash on paper, each approx. 10 5/8 × 8 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Edward and Donna Lambert. GMOA 2023.222, 227 and 217 (top to bottom).
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exhibitions
Mind the Gap: Selections from the Permanent Collection
September 21 – December 1, 2024
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.
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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 passing 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.
top left Eugène Boudin (French, 1824 – 1898), “Le Bassin d’Eure au Havre,” 1893. Oil, 28 5/8 × 19 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Charlie and Teresa Friedlander in honor of his parents Jacqueline S. and Matt Friedlander. GMOA 2020.115. top right Franciska Clausen (Dutch, 1899 – 1986), “Composition,” 1930. Pencil and watercolor on paper, 7 7/8 × 5 7/8 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Daura Foundation. GMOA 2024.34. bottom right Eldzier Cortor (American, 1916 – 2015), “Sepia Odalisque I,” 1998. Aquatint on paper, 19 3/4 × 13 3/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by bequest of Paul W. Richelson. GMOA 2022.6.
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.
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exhibitions
Waffle House Vistas August 24, 2024 – May 25, 2025
“Waffle House does not care how much you are worth, what you look like, where you are from, what your political beliefs are or where you’ve been so long as you respect the unwritten rules of Waffle House: Be kind, be respectful and don’t overstay when others are waiting for a table.”
— Micah Cash
Micah Cash, “Store #1912: Mobile, Alabama.” Image provided by artist.
Micah Cash, “Store #1449: Calvert City, Kentucky.” Image provided by artist.
Emerging from Micah Cash’s photography series and photo book of the same name, this exhibition fo- cuses on the built and natural environments as seen through the windows of Waffle House restaurants. Captured from locations across the southeastern United States, these images contemplate the phys- ical and social environments and commerce that surround each location of the southern cultural icon. The natural landscapes beyond the windowpanes are as diverse as the perspectives and stories of each guest at the tables. Yet the similarities of the restaurants’ interiors echo across states and time zones. The images look out from the restaurant’s iconic booths, past the signature midcentury pen- dant lamps, and make viewers newly conscious of buildings so commonplace they often go unseen.
Each guest, waiting for their hashbrowns, becomes witness to the intertwined narratives of economic stability, transience and politics. The familiar, well- worn interiors make us think about what we have in common. Yet the differ - ences in environment call to mind the different ways we experience structures built and felt. This exhibition will premiere a newly commissioned time-based media com- ponent of the series. This video realizes Cash’s directive to “look up” through prolonged footage of views and sounds from three Waffle Houses. The video and its soundscape disrupt the nostalgia of the still photographs, which the audience animates with actual or imagined memories of a Waffle House meal. Instead, they emphasize a long, time-based vision of the surrounding landscape and architecture.
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The Artist as Witness September 21 – December 1, 2024
Joel Sternfeld: When It Changed September 21 – December 1, 2024
Humanity’s impact on the natural landscape is undeniable even when human figures are not immediately visible.
This selection of works from the museum’s permanent collec- tion 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 entangle- ment 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 dip- lomatic 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 modern and contemporary art, with assistance by Mary Alice Smith (UGA ’24)
In late 2005, Montreal hosted the United Nations Climate Change Conference.
Government ministers, scientists, leaders of nongovernmental organizations and journalists gathered for this annual meeting of countries participating in the Kyoto Protocol, a policy aimed at reducing the emission of greenhouse gases. 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 participants, not only was climate change occurring, it was also about to reach a tipping point and become irreversible.” 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 invis - ible 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 discoveries, the actions and inactions of governments and corporations and increasingly extreme weather events. This exhibition presents the photo- graphs from that book. At this watershed moment in global en- vironmental 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.
Curator: Kathryn Hill, associate curator of modern and contemporary art, and Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum
Arthur Tress (American, born 1940), “This Vegetation Has Died from the Sulfuric Slag..., Vicco, KY,” 1968. Double-weight fiber-based gelatin silver print on paper, 9 3/4 × 7 3/4 inches. Georgia Museum of Art, University of Georgia; Gift of J. Patrick and Patricia A. Kennedy. GMOA 2020.2074.
Joel Sternfeld (American, born 1944), “Yoahiaki Nishimura, Senior Staff, Central Research Institute of Electric Power Industry, Japan,” from the “When it Changed” series, 2005. Pigment print, 33 × 55 inches. Georgia Museum of Art, University of Georgia; Gift of an anonymous donor. GMOA 2024.13.
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exhibitions
In Dialogue: On Wonder and Witnessing at Tallulah Falls Sepember 7, 2024 – January 12, 2025
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 em - blems of the nation’s unblemished and powerful wilder- ness. 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 alongside contemporary photographs of Tallulah Gorge by Caitlin Peterson to illuminate 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, includ- ing in relation to Indigenous and environmental histories of the region. “In Dialogue” is a series of installations in which the Geor - gia Museum of Art’s curators create focused, innovative conversations 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.
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George Cooke (American, 1793 – 1849), “Tallulah Falls,” 1841. Oil on canvas, 35 1/4 × 28 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Mrs. William Lorenzo Moss. GMOA 1959.646.
Curator: Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum
A Perfect Model: Prints after Anthony van Dyck’s Portraits June 8 – December 1, 2024
Anthony van Dyck (Flemish, 1599 – 1641) was one of the most successful artists of his generation, especially admired for his evocative portraits.
He undertook the ambitious project of creating a series of prints depicting famous scholars, military men, nobles and artists. Van Dyck’s prints were widely copied by his contemporaries and were often altered and reprinted over the centuries. This exhibition presents prints that attest to Van Dyck’s lasting impact as printmaker and portraitist.
Curator: Nelda Damiano, Pierre Daura Curator of European Art
Paulus Pontius (Flemish, 1603 – 1658) after Anthony van Dyck (Flemish, 1599 - 1641), “Don Diego Gusman,” n.d. Engraving on paper, 9 1/2 × 7 3/4 inches.Georgia Museum of Art, University of Georgia; Gift of Alfred H. Holbrook. GMOA 1967.1714.
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Saint Petersburg as Franz Liszt Saw It August 10 – December 1, 2024
This exhibition is organized in conjunction with the Liszt Festival at the University of Georgia’s Hugh Hodgson School of Music.
The festival, which will be held in October 2024, celebrates the legacy of the Hungarian composer and pianist Franz/Ferenc Liszt (1811 - 1886). This year’s edition of the festival 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 show cityscapes of St. Petersburg, while small hand-colored ones pic- ture genre scenes and different occupations: coach - men, porters, water carriers, innkeepers, 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.
Ferdinand Victor Perrot (French, 1808 – 1841), Imprimeries Lemercier (French, 1803 – 1901) and Daziaro Publishing House (Russian, 1827 – 1918), “Our Lady of Vladimir Church,” ca. 1850. Lithograph, 14 13/16 × 20 5/16 inches (sheet). Promised gift from the Parker Collection.
Curator: Asen Kirin, Parker Curator of Russian Art
Kei Ito: Staring at the Face of the Sun THROUGH July 14, 2024
Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection THROUGH july 7, 2024
Power and Piety in 17th- Century Spanish art THROUGH july 28, 2024
DON’T MISS
TOKIE ROME-TAYLOR
gallery spotlight
Instead of the chronological arrangement of works we’re used to encounter- ing, this gallery now features three works by Atlanta-based contemporary artist Tokie Rome-Taylor in dialogue with colonial portraits. Rome-Taylor explores identity and representation in her work, through pho- tography and mixed-media assemblage. Her choice of children as her sub- jects speaks to a sense of belonging in society and how it begins in childhood. Historical representations of people of color often show them as stereotypical, subjugated and inferior. Rome-Taylor’s images reexamine history and tradition by countering these inaccurate portrayals.
When you walk into the museum’s H. Randolph Holder Gallery these days, you’ll see an unexpected combination of artworks.
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Her most recent work incorporates family heirlooms to evoke connections and memories. She also uses fine fabrics, rich materials and the kind of layered directional lighting we see in Renaissance paintings, which generally depicted people of color. By elevating her subjects, she combats the erasure and omission of Black bodies. Rome-Taylor first takes carefully posed photos of her subjects before she manipulates the results digitally, making her images look more like paintings. Sometimes she also uses her images as digital negatives to create cyanotypes, as in the skirt of “Conjure Woman.” The clothing her figures wear features beading, embroidery, gold leaf and wax, inspired by decorative materials used in traditional West African culture. As Rome-Taylor’s works reassert a Black presence in the history of the American portrait tradition, they make us look anew at the other works in this gallery, includ- ing “Portrait of a Lady in a Blue Dress” (1763) by John Singleton Copley, on loan from the Terra Foundation for American Art until 2026. This loan came with four other paintings and grant funding to center marginalized and underrepresented perspectives in American art by pairing these paintings with works from our collection. The blue dress in Rome-Taylor’s “An so I stepped forward and discovered” and the blue dress in Copley’s portrait speak to each other, making us contemplate who is often pic- tured in most portraits and who is not.
Installation photographs by Jason Thrasher of works by Tokie Rome-Taylor in the museum’s H. Randolph Holder Gallery.
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Museum Honors Curtis Patterson and Marie T. Cochran THE ART OF GIVING
Cochran is an artist, educator and curator with a bachelor of fine arts degree in drawing and painting from the University of Georgia (’85) and a master of fine arts degree from the School of the Art Institute of Chicago (’92). Born and raised in Toccoa, Georgia, she is the founder of the Affrilachian Artist Project, which celebrates the intersection of cultures in Appalachia and nurtures a network of those committed to the sustainability of a diverse region. As Cochran accepted the award, she referred to it as “a full cir- cle moment” and reminisced on her early days as a 20-year-old first-generation college student at the Lamar Dodd School of Art. She referred to herself as the child of textile workers, the grandchild of sharecroppers and the great-great-grandchild of enslaved people and vowed to “honor the messy bittersweet contrast of my home region’s historic challenges and the courageous accomplishments of [Black and Indigenous people] there.” Shawnya Harris, the museum’s deputy director of curatorial and aca- demic affairs, presented the Larry D. and Brenda A. Thompson Award to artist Curtis Patterson. A short video on his career created with UGA student and curatorial intern Emma Grace Moore preceded the presentation of the award. The award honors African American artists who have made significant but often lesser-known contributions to the visual arts tradition and have roots in or major connections to the state of Georgia. Patterson was born in Shreveport, Louisiana, as one of five siblings. But his humble beginnings and struggles growing up during the seg- regation era did not derail his path toward expression through art. He studied art at Grambling State University and Georgia State University, in Atlanta, where he became the first African American to receive a master of visual arts in sculpture. He taught sculpture at the Atlanta College of Art for 29 years. In the 1970s, he began making commis- sioned large-scale public art and went on to produce several major works of art in prominent U.S. cities.
Held for more than a decade now, the museum’s Black Art and Culture Awards continue to inspire. This year’s event, on March 22, 2024, honored sculptor Curtis Patterson and educator Marie T. Cochran.
Event chair Shanell McGoy welcomed all in attendance and thanked attendees, sponsors, event committee members and VIPs in attendance including: Lamar Dodd School of Art director Joe Peragine, Vice Provost for Academic Affairs Jean - nette Taylor, Senior Vice President for Academic Affairs and Provost Jack Hu and President Jere W. Morehead. Before award presentations, UGA President Morehead took the stage, encouraging attendees to take time to explore the galleries after the formal presentation and thanking museum patrons Larry and Brenda Thompson for their generous and longstanding support. In particular, he praised the Thomp- sons’ willingness to share their love and joy of African Amer- ican artists’ works with everyone else “so that what has been meaningful to them can now be meaningful to others.” Monica Parker, representing the Athens Chapter of the Links, Inc., presented the Lillian C. Lynch Citation to Marie T. Cochran. The award honors an African American leader who has made a significant contribution to Black cultural educa - tion and service and is named for the late Ms. Lynch, a charter member of the Athens Links.
Larry and Brenda Thompson, Curtis Patterson, Shawnya Harris, President Jere W. Morehead and the museum’s director, David Odo.
Curtis Patterson and his family
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Members of the Links, Inc., with Marie T. Cochran and David Odo (fifth and sixth from left)
SPONSORS
Anita Pratt Gloria Ricks Taylor Lauren Schlesinger Brionna Wilder
Deborah Gonzalez Bree Hayes Elizabeth Katz Courtney Khail Monica W. Parker
Shanell McGoy (chair) Ligia Alexander Sige Burden Jr. Lacy Middlebrooks Camp Cornelya Dorbin
$10,000 – Presenting Sponsor Anonymous United Bank of Switzerland
$5,000 Lacy Middlebrooks Camp & Thomas G. Camp The Todd Emily Community Foundation
Patterson thanked the Thompsons for “all of the tireless hours they’ve spent going around the country and finding [artists] we might not have known if not for their efforts” and said he wished he could “clone both of them” due to their commitment to collecting art by African American artists as a way “to preserve our culture.” While an undergraduate at Grambling, he helped a professor build a crate for a painting destined for Hale Woodruff’s Atlanta University Annual Exhibition. It was an indelible experience that shaped his desire to come to Atlanta after he graduated, he said. There, he saw a mural of Woodruff’s that included the figure of Shango, a Yoruba spirit associated with lighting, thunder and power. Patterson has incorporated Shango and related symbolism into his own work for years as a means to make people who see his art aware of the relationships between antiquity and modernity, especially when it comes to older African art and its influence on contemporary art. Brenda Thompson also spoke about the event as a whole and her and Larry’s relation- ship to Patterson. Tina Dunkley, the former curator and director of the Clark Atlanta University Art Museum, was “relentless” in encouraging the Thompsons to buy Patter - son’s work, and Brenda remains thankful for that push, she said. She sees his work as not only beautiful but culturally rich, with Shango serving as a symbol of both ancestry and the beauty and elegance of African art. She encouraged attendees not to wait for a special event to visit the “jewel” that is the Georgia Museum of Art, but to visit regularly and find art that takes you to a special place.
$2,500 Shanell McGoy & Terry Powers Kathy B. Prescott & H. Grady Thrasher III
$1,000 Sige Burden Jr. Mae & Louis A. Castenell Jr. Bree & Richard Hayes Libby B. & C. Van Morris Monica & Sylvester Parker
Gloria Ricks Taylor UGA School of Law
UGA Office of the President UGA Office of the Provost UGA Willson Center for Humanities & Arts Mary M. Wood
$500 The Athens (GA) Chapter of the Links Incorporated Teresa & Charlie Friedlander Freda Scott Giles Lillian Kincey & Steve C. Jones Brenda & D. Hamilton Magill III Tatiana A. Mosbey Babe & Carl Mullis III Sylvia Hilliard Pannell & Clifton W. Pannell Jinx & Gordhan Patel Perryander Studio Sarah & Chris Peterson Deborah G. Gonzalez & Robert A. Scott Carla & Cleophus Thomas Marilyn A. Vickers Mary Lillie Watson & Ray Watson Brionna & Eric Wilder
We thank all who contributed to, sponsored or attended the event.
EVENT PARTNERS The Athens Printing Company Guide2Athens Perryander Studio
Attendees of the event
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“WAFFLE HOUSE VISTAS” THE BOOK $46
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in the SHOP
ENAMEL PINS $9.99 – $14.99
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MUSEUM COLLECTION PUZZLES FROM ATHENS’ VERY GOOD PUZZLE $26 CHICAGO COMB COMPANY COMBS $12
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MUSEUM notes
2024 TYSON THINK TANK FELLOWSHIP TO FOCUS ON EDMONIA LEWIS AND AMERICAN SCULPTURE
The Crystal Bridges Museum of American Art and the Tyson Scholars Program announced the continuation of the Tyson Think Tank, a short-term fellowship opportunity for scholars of American art. This year’s focus will be on 19th-century sculptor Edmonia Lewis (ca. 1844 – 1907) and the expanding field of American sculpture. The fellowship program will take place August 5 – 23, 2024, and will be led by Dr. Shawnya L. Harris (the Georgia Museum of Art’s deputy director of curatorial and academic affairs and Larry D. and Brenda A. Thompson curator of African American and African Diasporic Art) and Dr. Jeffrey Richmond-Moll (George Putnam Curator of American Art at the Peabody Essex Museum and former curator of American art at the Georgia Museum of Art). Harris and Richmond-Moll will serve as curators for an upcoming traveling exhibition focused on Lewis.
Kendall Rogers, museum programs assistant.
NEW MUSEUM PROGRAMS ASSISTANT POSITION
Kendall Rogers joined our team this spring. In the newly created position of museum programs assistant, she supports the education team with scheduling tours and class visits and provides program support as needed for on-site education programs and community events. She also serves as the point of contact for incoming requests for the education and curatorial departments; assists with the coordination of public programs; and provides general administrative support for calendar maintenance, budget records, program atten- dance and exhibition-related documents for the division of curatorial and academic affairs.
TITLE CHANGES
A recent reorganization of museum divisions has resulted in several title changes for staff in the division of collections and exhibitions. The division, recently formed by combining the registrars’ depart- ment and the department of design and preparation, now includes the following changes to staff titles:
• Todd Rivers: director of exhibitions • Elizabeth Marable: museum exhibition designer • Robert Russell: art handler II • Larry Forte: art handler I
Edmonia Lewis (American, c. 1844 – 1907), “Minnehaha”, 1868. Marble, 12 × 7 1/2 × 4 1/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art. GMOA 2016.251.
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CALENDAR CALENDAR CALENDAR FALL OPEN HOUSE Saturday, September 21, 10 a.m. – 5 p.m. Join us for a celebration of our fall special exhibitions, including “Mind the Gap: Selec- tions from the Permanent Collection,” “Joel Sternfeld: When It Changed,” “The Artist as Witness” and more! Stop by for Family Day from 10 to noon, enter to win door prizes throughout the day, and enjoy curator-led tours of “Mind the Gap” from 2 to 3. Check out our website calendar for a full schedule of events.
TOURS AND GALLERY TALKS
SPECIAL EVENTS
THIRD THURSDAY Thursday, July 18, August 15, September 19, 6 – 9 p.m. 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. MUSEUM MIX Thursday, July 18, 8 – 11 p.m. The museum’s thrice-annual late-night art party features a live DJ, free refreshments and galleries open until 11 p.m. FRIENDS ANNUAL MEETING AND FRIENDS APPRECIATION MONTH KICK-OFF Saturday, August 17, 9:30 a.m. – 1 p.m. Join us at the Friends Annual Meeting from 9:30 to 10:30 a.m., featuring the introduction of the 2024 – 25 Friends Advisory Board. Then stick around or drop in from 10:30 a.m. to 1 p.m. as we show our appreciation for our Friends with door prizes, art activities for the entire family, special shop discounts, refresh- ments, treats and much more! The event is free for all Friends, but advance registration is strongly recommended at https:// bit.ly/ friends-appreciation-24. AFTER HOURS AT THE MUSEUM: “JOEL STERNFELD: WHEN IT CHANGED” Friday, September 20, 5:30 – 7 p.m. (galleries until 7:30 p.m.) Friend + Annual Fund Members at the Recip- rocal level and above ($125) are invited to an exclusive preview of “Joel Sternfeld: When it Changed.” The event will feature light re- freshments and door prizes. Advance registra- tion is strongly recommended at https://bit.ly/ sternfeld-preview. Not yet a Friend + Annual Fund Member at the Reciprocal level or above? Visit jointhemuseum.com to join or up your membership today.
TOURS AT TWO Wednesday, July 10, August 7, September 25, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. SUNDAY SPOTLIGHT TOURS Sunday, July 21, August 18, September 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. CURATOR TALK: ASEN KIRIN Wednesday, August 28, 2 p.m. Parker Curator of Russian Art Asen Kirin will give a gallery talk in the exhibition “St. Petersburg as Franz Liszt Saw It,” presented with the Liszt Festival at the University of Georgia’s Hugh Hodgson School of Music in October 2024. CURATOR TALK: NELDA DAMIANO Wednesday, September 4, 2 p.m. Nelda Damiano, Pierre Daura Curator of Eu- ropean Art, will lead a tour of the exhibition “A Perfect Model: Prints after Anthony van Dyck’s Portraits,” which features prints that attest to Van Dyck’s lasting impact as print- maker and portraitist. ARTFUL CONVERSATION: DORR BOTHWELL Wednesday, September 11, 2 p.m. Artful Conversation programs are 30 min- utes long, focus on just one work of art and provide opportunities for close-looking, open-ended dialogue and discovery. Join Mal- lory Lind, associate curator of education, for a conversation about Dorr Bothwell’s painting “For National Defense.”
ARTIST TALK: MICAH CASH Thursday, September 26, 5:30 p.m.
Featured artist Micah Cash will share about his artistic process, recent photobook and newly commissioned video work for the museum’s “Waffle House Vistas” exhibition. STUDENT NIGHT: WAFFLE HOUSE PARTY Thursday, September 26, 6 – 8 p.m. Join us for a back-to-school celebration fea- turing the museum’s fall special exhibitions, including “Waffle House Vistas.” Artist Micah Cash will give a talk about his work at 5:30 p.m. Stick around for a reception with waffles catered by Waffle House, enjoy the galleries and try out hands-on activities inspired by our latest exhibitions. Hosted by the Georgia Museum of Art Student Association with gen- erous support from the UGA Parents Leader- ship Council.
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SMARTPHONE PHOTOGRAPHY WORKSHOP Saturday, August 24, 2 – 4 p.m. Join us for an immersive workshop tailored to elevate your mobile photography skills with the inspiring backdrop of the exhibition “Waffle House Vistas” by photographer Micah Cash. Led by teaching artist Kristen Bach, this workshop will delve into techniques for capturing captivating images using just your smartphone. Whether you’re a novice or a seasoned photographer, this hands-on experience promises to ignite your creativity and deepen your appreciation for the art of photography. Seats are limited; email gmoa-tours@uga. edu to register. MORNING MINDFULNESS Friday, August 23 and September 13, 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. CREATIVE AGING SEATED YOGA Thursday, September 12, 10:30 a.m. Join us in the galleries for gentle seated yoga led by Nicole Bechill. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are welcome. Creative Aging programs are geared to ages 55+. Seats are limited; email gmoa- tours@uga.edu to register.
FAMILY DAY: MIND THE GAP Saturday, September 21, 10 a.m. – noon Join us for the opening of the exhibition “Mind the Gap: Selections from the Permanent Collection.” Check out new works of art in the museum’s permanent collection with gallery games and a take-home 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 ac- tivities, 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.
YOUTH AND FAMILY PROGRAMS
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 activ- ity just for the little ones. This program is designed for families with children ages 18 months to 3+ years. Seats are limited; email gmoa-tours@uga.edu to register. • Tuesday, July 16, 10 a.m. Shapeshifting • Tuesday, August 13, 10 a.m. Terrific Textures • Tuesday, September 10, 10 a.m. Primary Colors FAMILY DAY: PORTRAIT PARTY Saturday, July 20, 10 a.m. – noon Just like the people they portray, all portraits are unique. Portraits feature many different styles, materials and poses. Explore the art of portraiture with interactive gallery activities, and paint your own portrait to take home. 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.
WORKSHOPS AND CLASSES
YOGA IN THE GALLERIES Thursday, July 18, August 15, September 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 Tuesday, August 20, 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 pro- grams are geared to ages 55+. Seats are limit- ed; email gmoa-tours@uga.edu to register.
FAMILY DAY: LINE AND COLOR Saturday, August 17, 10 a.m. – noon
Learn about the elements of art with fun Art Cart games and crafts, then create your own work of art using line, shape and color. 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: A PERFECT MODEL Thursday, August 22, 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. Explore the galleries and make your own work of art inspired by the exhibition “A Perfect Model: Prints after Anthony van Dyck’s Portraits.” This program is free and includes a pizza dinner from De- Palma’s Italian Cafe. Seats are limited; email gmoa-tours@uga.edu to register.
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