“Hands down, my greatest achievement has been inciting interest in the decorative arts with interns and promoting their success.”
“Georgia’s Girlhood Embroidery: ‘Crowned with Glory and Immortality’” was the first comprehensive exhibition to focus on colonial and ante- bellum girlhood embroideries, and it highlighted the history of feminine education in the state. “Artful Instruments: Georgia Gunsmiths and Their Craft” emphasized rifles as works of art for the silversmithing, casting and woodworking involved, representing the highest level of craft in 19th-century Georgia. “Although I know little of textiles and rifles, my friends and contacts in the field supplied subject expertise as contribu- tors and guest curators. I am proud that I stepped aside from my focus to publish a record of contributions on materials largely untreated by the Georgia canon,” said Couch. While such work has been a defining factor of his success, Couch said his proudest accomplishment is his work with students. “Hands down, my greatest achievement has been inciting interest in the decorative arts with interns and promoting their success,” said Couch. “My students shadow me. If I write, they write. If I research, they research. If I design and implement, they design and implement. They go where I go, and I give them real work in real time. I just think that if my work here isn’t useful to them, then it isn’t useful at all because they are the future of this field.” Couch’s time at the Georgia Museum of Art has been a fulfilling experience, and he’s served many with his expertise and mentorship. He stresses that the relationship he’s developed with the Athens art community will not be abandoned in retirement. “I want to continue to participate in muse- um programs and the director has asked me to assist with special projects. I would like to remain connected and work on my scholarship,” he said. “Many of my closest friends are associated with the Georgia Museum of Art.” Reflecting on the future of the decorative arts at the museum, he hopes to leave the next curator with the greatest possible flexibility, but his primary wish is for the program to remain universal while not abandoning its com- mitment to regional material. One area he desires to receive more attention is 20th-century studio craft. “It deserves work that it hasn’t fully had yet. We’ve gone a long way, but it remains underrepresented in our collection. I hope to see studio craft as a regular inclusion in the program,” said Couch. He added: “I also hope to see contemporary decorative arts and crafts added to the program and parallel the other divisions within the museum.” An example of this interest has been Couch’s creation of a strong collection of modern and contemporary objects in wood. He closed by saying, “I owe so much to so many people for our successes with the Green Center. Bill Eiland’s support for our program was essential; DAAC, (helmed by Linda Chesnut) supporters and Green family have been awesome; friends and colleagues throughout this field; donors and lenders. And I owe a huge debt of gratitude to the museum team who makes our program possible.”
Opposite page: Dale Couch.
This page, top to bottom: Joseph Litts, Couch, Lacy Middlebrooks Camp and Perri Lee Roberts; DAAC chair Linda Chesnut and Couch; Couch and Betsy Davison.
Anna Morelock Intern, Department of Communications
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