FACET
Table of Contents
Director’s Leadership Council B. Heyward Allen Jr. Lacy Middlebrooks Camp Todd Emily Andrew F. Littlejohn D. Hamilton Magill III, chair David W. Matheny Isobel Parker Mills Carl W. Mullis III William R. Newton Christopher R. Peterson, past chair R. Lee Robinson, chair-elect John L. Shlesinger Sara D. Shlesinger Brenda A. Thompson Carol V. Winthrop Friends Advisory Council Greta Covington Cornelya Dorbin Susanna Drennen Bree Hayes, past chair Tiffany Hines Courtney Khail Christina LaFontaine, chair-elect
03 From the Director 04 On View 18
Share More Art: Rebranding the Georgia Museum of Art
22 Jane and Harry Willson Sculpture Garden Reopens After Renovations 26 Tech Upgrades in the Auditorium 28 Student Guide Program Offers Fresh Perspectives on Museum’s Collection 30 Taking the Show on 32 Acquisition Highlights 36 Elegant Salute Raises Approximately $250,000 for Student Programs 40 Museum Notes 41 In the Shop 42 Calendar the Road “Seams to Be” Travels Across Georgia
Howard Gardiner Cushing (American, 1869 –1916), “Gertrude Vanderbilt Whitney in Bakst Costume with Fleurs du Mal,” 1911–12. Oil on canvas, 104 1/4 × 63 inches. Private collection. Front cover Luigi Lucioni (American, born Italy, 1900 – 1988), “Ethel Waters” (detail), 1939. Oil on canvas, 32 × 25 inches. Collection of the Huntsville Museum of Art, Huntsville, AL. Luigi Lucioni Acquisition Fund: Cynthia and Rey Almodovar, Mr. and Mrs. Frank Williams, Sara and Robert Arthur, Bobby Bradley and Charley Burruss, Lynn and Stuart Embury, Lockheed Martin, In Memory of Audrey Rones, The Oscar Maxwell Fund, Dianne and James Reynolds, Tristenne and Paul Robin, In Honor of Jean Wessel Templeton, Mr. and Mrs. David Smith, Jean Wessel Templeton, the Boeing Company. Back cover Natashia Troubetskoia (Russian, active ca. 1932), “Anaïs Nin” (detail), ca. 1932. Oil on canvas, 76 × 43 1/2 inches. National Portrait Gallery, Smithsonian Institution. NPG.2003.3. Editorial Hillary Brown and Jessica Smith Design Noelle Shuck Publications Interns Isabel Davis and Jessica Doane
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. Shanell McGoy Sherrie Olejnik Mary Prickett Lauren Schlesinger, chair Julia Slatcher Mary Anna Terrell Marilyn Wolf-Ragatz Amy Wraga
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 administrationsof educational policies, programs or activities; its admissions 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.
FROM tHE DIRECTOR
Welcome to the new Facet! Longtime readers will notice that this issue has a completely redesigned look. This is thanks to a months-long collaboration with Pentagram, a world-renowned, multi-disciplinary design studio, which created a new brand for the Georgia Museum, including a bespoke typeface and a beautiful palette of colors for our graphic design and new merchandise. We think you will like our new style! As a university museum, teaching the next generation to love and appreciate art and design is always top of mind. Pentagram understands this mission and took it to heart in their collaborations with UGA students during the design process, which included conducting surveys and interviews with student stakeholders. They also worked with a marketing class in the Terry College of Business to evaluate results, discuss brand guidelines and develop strategies and tools for the museum to implement the new brand as we plan for deeper and richer audience engagement in the months and years ahead. We are also thankful that Pentagram hosted several Maymester graphic design classes in New York City. As the state museum of art, providing the people of Georgia with access to meaningful and enjoyable experiences in our galleries and at our public programs has always been our goal. Pentagram created the new designs with this in mind, and we are hopeful that our new look and feel will serve to encourage you to visit us for more art, more exploration.
Finally, I want to take this opportunity to thank everyone who worked on this project. At the museum, Hillary Brown and Michael Lachowski from the department of communications were instrumental in bringing this project to fruition. They and graphic designer Noelle Shuck have spent a busy summer redoing our marketing materials, gallery maps and more. At Pentagram, I especially want to acknowledge Eddie Opara, partner in the New York office, and his amazing global team of incredible designers. Opara’s previous clients include the Mellon Foundation, Calendly, lululemon athletica, Samsung, SFMOMA, Cooper Hewitt, Smithsonian Design Museum, the Menil Foundation and Morgan Stanley. We are thrilled to be in such prestigious company and delighted to share the results with you. And in the spirit of sharing, we look forward to bringing Eddie to campus in the fall to meet with students and to discuss Pentagram’s design process in a public forum with all of you. David Odo Director
Brilliant Exiles: American Women in Paris, 1900 – 1939 July 19_______November 2, 2025 on view
During the first four decades of the 20th century, American women made crucial contributions to the vibrant creative milieu of Paris. Drawn by a strong desire for independence, they crossed the Atlantic to pursue personal and professional ambitions in a city viewed as the epicenter of modernity. “Brilliant Exiles: American Women in Paris, 1900 – 1939” features approximately 65 portraits of remarkable women (including Josephine Baker, Isadora Duncan, Zelda Fitzgerald, Loïs Mailou Jones, Edna St. Vincent Millay, Anaïs Nin, Gertrude Stein, Ethel Waters and Anna May Wong) in a variety of mediums and highlights the dynamic role of portraiture in articulating the refashioned sense of self and the new conceptions of modern female identity that resulted from the interventions of American women in Parisian life. It recaptures the experiences of these unorthodox women who found in Paris the freedom to blaze new trails in a variety of fields, including art, literature, design, publishing, music, fashion, journalism, theater and dance. This exhibition has been organized by the National Portrait Gallery and received federal support from the Smithsonian American Women’s History Initiative Pool, administered by the Smithsonian American Women’s History Museum. Curator: Robyn Asleson, curator of prints and drawings, National Portrait Gallery, Smithsonian Institution (in- house curator: Nelda Damiano, Pierre Daura Curator of European Art, Georgia Museum of Art)
Louise Heron Blair (American, 1905 – 1972), “Self- portrait,” 1929. Oil on board, 23 1/2 × 18 5/8 inches. Georgia Museum of Art, University of Georgia; Gift of Martha Randolph Daura. 2013.203. Michel Gyarmathy (Hungarian, 1908 – 1996), “Josephine Baker est aux Folies Bergère,” 1936. Lithograph, 124 × 45 5/8 inches. Private collection.
Frances Cranmer Greenman (American, 1890 – 1981), “Self-Portrait,” 1923. Oil on canvas, 49 1/2 × 34 3/4 inches. The Minneapolis Institute of Art, Gift of Mrs. Patrick Butler. 76.6.1.
Faculty Perspectives: Susan Rosenbaum Wednesday, October 8, 2 p.m.
“Midnight in Paris” Thursday, August 28, 7 p.m.
Related Events Toddler Tuesday: Brilliant Faces Tuesday, August 12, 10 a.m. 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. Seats are limited; email gmoa-tours@ uga.edu to register. Lecture: Robyn Asleson, “Daring to be Modern: American Women in Paris, 1900 – 1939” Thursday, August 21, 5:30 p.m. In early-20th-century Paris, many talented, independent-minded American women found the freedom to carry out transformative cultural work and to transform themselves in the process. This lecture recaptures the experiences of some of the unorthodox women who crossed the Atlantic to blaze new trails in a variety of fields and who helped to shape the world we live in today. Teen Studio: Slay in Overlay Thursday, August 21, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio- based workshop. Explore the galleries and make your own work of art inspired by what you see. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. Seats are limited; RSVP on our website or email gmoa- tours@uga.edu to register. Community Open House and Friends Appreciation Month Kick-off Saturday, August 23, 10 a.m. – 4 p.m. Join us to kick off Friends Appreciation Month and celebrate our fall semester special exhibitions, including “Brilliant Exiles: American Women in Paris, 1900 – 1939” and “Conservation in the Galleries: Joan Mitchell’s ‘Close.’” Please register for free at bit.ly/open- house-fall-25. Family Day: Brilliant Exiles Saturday, August 23, 10 a.m. – noon Ooh la la! Travel to Paris for Family Day this month as we highlight “Brilliant Exiles,” an exhibition that features portraits of trailblazing American women who visited Paris in the early 1900s. Enjoy hands-on Art Cart activities and create a take-home art project inspired by the show. Family Day is sponsored by Heyward Allen Cadillac-GMC-Toyota. 1920s Fashion-Inspired Figure Drawing Open Studio Thursday, August 28, 6 – 8 p.m. Sketch from a costumed model in this free life- drawing workshop open to all levels. Drawing supplies will be provided, but you are welcome to bring your own materials too. Seats are limited; email gmoa-tours@uga.edu to register.
This Oscar-winning film centers on Gil Pender (Owen Wilson), a Hollywood screenwriter and aspiring novelist. While on a trip to Paris with his fiancée (Rachel McAdams), he begins exploring the city alone at night. On one of these evening strolls, he encounters a group of strange — yet familiar — revelers, who sweep him along, apparently back in time, for a night with some of the Jazz Age’s icons of art and literature. 2011, PG-13, 94 min. Gallery Talk: American Expat Fashion in Paris Wednesday, September 10, 2 p.m. Join Noel Corbin, doctoral student in fashion history and culture at UGA, for this gallery talk on fashion in Paris from 1900 to 1939. Studio Workshop: Portraiture Thursday, September 18, September 25 and October 2, 6 – 8 p.m. Join teaching artist Kristen Ashley MacCarthy for a series of three studio-based painting classes. Inspired by the exhibition “Brilliant Exiles,” the workshop will focus on techniques for making portraits using aqua oils. The workshop is open to artists of all levels and experience, from enthusiastic beginners to more seasoned practitioners. $45 covers all three classes and includes all materials ($35 Friend + Annual Fund Members at the reciprocal level and above). Register and pay online. “Brilliant Exiles” en Français: French Language Tour Wednesday, September 24, 2 p.m . Led by museum docents Bénédicte and Frank Milward. Homeschool Day: In Her Element Friday, September 26, 10 a.m. – noon Join us for a special homeschool day at the museum to celebrate women in the arts. This event will highlight “Brilliant Exiles,” an exhibition showcasing portraits of American women in 1920s Paris; “asinnajaq: Three Thousand,” a video installation by an Inuk visual artist; “Conservation in the Galleries,” which offers a behind-the-scenes look at the conservation process of Joan Mitchell’s painting “Close”; and the colorful work of fiber artist Rachel Hayes in the Jane and Harry Willson Sculpture Garden. Families can learn more about these inspiring artists by completing fun Art Cart activities, watching a demonstration and creating their own art in the Michael and Mary Erlanger Studio Classroom. Individuals and groups welcome. For more information email gmoa-tours@ uga.edu.
Susan Rosenbaum, associate professor of English at the University of Georgia, will give a gallery talk in “Brilliant Exiles: American Women in Paris, 1900 – 1939.” Her talk will expand on the exhibition through the lens of her expertise in modern literature. Dr. Rosenbaum’s research focuses on American women writers and modernism in both literature and the visual arts. Student Night Thursday, October 9, 6:30 – 8:30 p.m. Our fall Student Night explores the theme of self-expression through fashion. Join us in celebrating our special exhibition “Brilliant Exiles: American Women in Paris, 1900 – 1939.” Be inspired by the incredible women and fashion in the exhibition and come dressed in your finest 1920s – 2020s outfits. We will have a fashion contest with prizes from the Museum Shop. Enjoy free food in the lobby, check out the galleries and try hands-on activities inspired by the exhibition. This program is presented with support from Anne & Bill Newton and Bill Parker. “Coco Before Chanel” Thursday, October 16, 7 p.m. From rags to riches to haute-couture. Starring Audrey Tautou, this biographical drama (which won an Academy Award for costume design) tells the incredible story of designer Coco Chanel’s rise from obscure beginnings to the heights of the fashion world. 2009, PG-13,110 min. Gallery Talk: Radical Women Artists Wednesday, October 22, 2 p.m. Join Callan Steinmann, head of education and curator of academic and public programs, for a tour that highlights the work of groundbreaking women artists in our permanent collection. In the Shop 1 “ Claris: The Chicest Mouse in Paris” by Megan Hess $19.99 2 Eiffel Tower model kit $7.50
Joan Mitchell (American, 1926 – 1992), “Close,” 1973. Oil on canvas board,110 1/4 × 142 inches. Georgia Museum of Art, University of Georgia; University purchase. 1974.3263.
Conservation in the Galleries: Joan Mitchell’s “Close” August 9 ______________November 2, 2025 Joan Mitchell’s large abstract painting “Close” has been a popular and important work in the museum’s collection for decades.
The museum’s temporary exhibition galleries will feature a viewable, open-access conservation lab during the run of the project. Shutts will be on hand to answer questions and chat as he works to restore loose and actively flaking paint, infill comparable paint and clean the surface of “Close.” Shutts has a master’s degree in art conservation. He and his business partner Michelle Savant have worked on conservation projects for many institutions, including the High Museum of Art, the National Parks Service, the National Portrait Gallery and the White House. “Close” will return to the permanent collection galleries once its conservation is complete. When to catch Larry Shutts at work: Tuesdays and Thursdays, 11 a.m. – noon and 2 – 4 p.m., between August 12 and Sept. 4 Curator: Kathryn Hill, associate curator of modern and contemporary art
Often on view in the permanent collection galleries, it has inspired generations of visitors with its visible brushstrokes, drips and layers of color. But all works of art age, and sometimes they need the care of a conservator, a specialist who can preserve or restore them. Conservation usually happens in a lab, but this fall, the museum will conserve “Close” in full view of the public. This unique educational project/exhibition, supported by a grant from the Joan Mitchell Foundation, will allow museum visitors to watch conservator Larry Shutts at work as he touches up and cleans “Close.” Shutts will be present at specific dates and times, but visitors can visit any time during the museum’s regular hours to learn about conservation and see his progress.
In the Shop
Related Events Community Open House and Friends Appreciation Month Kick-off Saturday, August 23, 10 a.m. – 4 p.m. Join us to kick off Friends Appreciation Month and celebrate our fall semester special exhibitions, including “Brilliant Exiles: American Women in Paris, 1900 – 1939” and “Conservation in the Galleries: Joan Mitchell’s ‘Close.’” Please register for free at bit.ly/open- house-fall-25. 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. Seats are limited; email gmoa-tours@ uga.edu to register. “Joan Mitchell: Portrait of an Abstract Painter” Thursday, September 11, 7 p.m. Toddler Tuesday: Big and Bold Tuesday, September 9, 10 a.m. This elegantly edited film weaves together interviews with Mitchell and other leading painters and critics with interpretive sequences representing earlier chapters in Mitchell’s life while letting her paintings dominate the film. Directed by Marion Cajori, it premiered in 1992, but in 2022 the Joan Mitchell Foundation funded a 4K digital film restoration. NR, 58 min. Family Day: Art in Action Saturday, September 20, 10 a.m. – noon Let creativity move you. Families can take a behind-the-scenes look at the conservation of Joan Mitchell’s monumental painting “Close” and explore the kaleidoscopic outdoor installation of fiber artist Rachel Hayes. Play gallery games and create a take-home art project inspired by color, texture and movement. Family Day is sponsored by Heyward Allen Cadillac-GMC-Toyota. Conservation Talk with Larry Shutts Thursday, September 25, 5:30 pm. Ever wondered what it’s like to be a professional art conservator? Join Atlanta- based conservator Larry Shutts for a talk about techniques, tools and approaches to conservation and restoration.
Homeschool Day: In Her Element Friday, September 26, 10 a.m. – noon Join us for a special homeschool day at the museum to celebrate women in the arts. Families can learn more about these inspiring artists by completing fun Art Cart activities, watching a demonstration and creating their own art in the Michael and Mary Erlanger Studio Classroom. Individuals and groups welcome. For more information email gmoa- tours@uga.edu. Teen Studio: Behind the Canvas Thursday, October 16, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio- based workshop. Explore the galleries and make your own work of art inspired by what you see. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. Seats are limited; RSVP on our website or email gmoa- tours@uga.edu to register. Gallery Talk: Radical Women Artists Wednesday, October 22, 2 p.m. Join Callan Steinmann, head of education and curator of academic and public programs, for a tour that highlights the work of groundbreaking women artists in our permanent collection. Studio Workshop: Techniques for Abstraction inspired by Joan Mitchell Saturday, October 25, 2 – 4:30 p.m. Create an abstract work on paper inspired by Joan Mitchell’s work and techniques, drawing from nature and landscapes in this workshop led by instructor Erin McIntosh. The workshop is open to artists of all levels and experience, from enthusiastic beginners to more seasoned practitioners. $10 fee covers all materials. Register and pay online. Artful Conversation Wednesday, November 12, 2 p.m. Artful Conversation programs are 30 minutes long, focus on just one work of art and provide opportunities for close looking, open-ended dialogue and discovery. Callan Steinmann, head of education and curator of academic and public programs, will lead this look at Joan Mitchell’s “Close.”
1 “Joan Mitchell Paints a Symphony” by Lisa Rogers, illustrated by Stacy Innerst $18.99 2 “Women Street Artists” by Alessandra Mattanza $39.95 3 “Women Artists A to Z” by Melanie LaBarge, illustrated by Caroline Corrigan $19.99
4 “50 Women Artists You
Should Know” by Christiane Weidemann $19.95
Looking Through a Sewn Sky: Rachel B. Hayes August 23, 2025________________July 30, 2027
Details of new works by Rachel B. Hayes.
Caught between sculpture, installation, painting and craft, Rachel Hayes’ work asks us to look in all directions.
Hayes explores new notions of the color field genre, craft and contemporary practices of landscape-based art. At first glance, her soft sculptures recall quilts and weavings or midcentury abstract paintings. But her works also engage with natural and built landscapes to create a different kind of experience. The color field canopies direct us to look skyward, to the horizon and to our feet, enveloping us with color and light. The artist invites us to move around, under and through the installation and the moving colors thrown by the changing light. In other words, the installation allows us to navigate and engage with the work in a full body experience. Hayes created this work specifically for the Georgia Museum of Art’s Jane and Harry Willson Sculpture Garden. Her expansive abstractions mirror those of the color field painters who filled canvases edge to edge with swaths of color transcending the limitations of the picture plane. Where those paintings invite us to look out through a portal, Hayes invites us to look up, down and around. In doing so, we see how the colors meet the sky, hues subtly changing as they respond to the light and interact with the passing of time. As Hayes expands the contemporary craft field and fiber arts through her installations, she’s relied heavily on the
Related Events Community Open House and Friends Appreciation Month Kick-off Saturday, August 23, 10 a.m. – 4 p.m. Join us to kick off Friends Appreciation Month and celebrate our fall semester special exhibitions, including “Brilliant Exiles: American Women in Paris, 1900 – 1939” and “Conservation in the Galleries: Joan Mitchell’s ‘Close.’” Please register for free at bit.ly/open- house-fall-25. Join us for an artist talk with the Tulsa-based artist on the opening day of her exhibition in the museum’s sculpture garden. Hayes will share more about her textile-based practice and how she merges painting, quilting, and the built and natural environments together in her site- specific installations. Garden Party Artist Talk: Rachel B. Hayes Saturday, August 23, 3 p.m. Saturday, August 23, 4:30 – 6:30 p.m. Celebrate the start of the semester and the opening of a new installation in our reimagined sculpture garden by artist Rachel B. Hayes. Join us in the sculpture garden for refreshing summer spritzes and light bites by Bar Bruno. $15 includes two drink tickets (free for Friend + Annual Fund Members). Register at bit.ly/ rachelhayes. Family Day: Art in Action Saturday, September 20, 10 a.m. – noon Let creativity move you. Families can take a behind-the-scenes look at the conservation of Joan Mitchell’s monumental painting “Close” and explore the kaleidoscopic outdoor installation of fiber artist Rachel Hayes. Play gallery games and create a take-home art project inspired by color, texture and movement. Family Day is sponsored by Heyward Allen Cadillac-GMC-Toyota. Homeschool Day: In Her Element Friday, September 26, 10 a.m. – noon Join us for a special homeschool day at the museum to celebrate women in the arts. Families can learn more about these inspiring artists by completing fun Art Cart activities, watching a demonstration and creating their own art in the Michael and Mary Erlanger Studio Classroom. Individuals and groups welcome. For more information email gmoa-tours@uga.edu.
Rachel B. Hayes at work in her studio.
museum’s collection as a point of reference in choosing colors, compositions and material for this project. Major highlights include Frank Lloyd Wright’s windows (on view in the Nalley South Gallery), Joan Mitchell’s “Close” (on view in a conservation lab this fall), Sam Gilliam’s “Patchwork/ Terry,” Rowena Bradley’s “Double-weave basket” and a number of quilts. Hayes is based out of Tulsa, Oklahoma, where the open prairies of the heartland stretch wide and vast. She received her bachelor of fine arts degree in fiber from the Kansas City Art Institute and her master of fine arts in painting from Virginia Commonwealth University. Often using fabric to create large-scale work, she is interested in inserting color and form into built and natural environments. Hayes has received the Joan Mitchell Award in Painting and Sculpture, the Augustus Saint-Gaudens Memorial Fellowship in Sculpture, the Virginia Museum of Fine Arts Professional Fellowship in Sculpture, a Virginia Commission for the Arts Fellowship in Sculpture and a Charlotte Street Fund Award. Curator: Kathryn Hill, associate curator of modern and contemporary art
In the Shop “Rothko: The Color Field Paintings” $40
asinnajaq: Three Thousand August 9, 2025___________June 28, 2026 asinnajaq is a filmmaker, video artist, photographer and curator. The artist was born in Inukjuak, Nunavik, a coastal village bordering the Innuksuak River in northwest Québec. Her films draw on her Inuit heritage and knowledge systems. They invite viewers to reconsider their ideas and preconceptions of Indigenous communities and histories. “Three Thousand” combines archival videos from the National Film Board of Canada (NFB) with animations, soundscapes and contemporary video footage. Historical cinematic representation of Inuit people is complicated. Video footage from the NFB archives shows only snippets of life taken from outside perspectives. These archival
documents blur the boundaries of truth, biases and reality. asinnajaq confronts these histories by reinterpreting and enlivening the archival footage with animations, video films and soundscapes by other Indigenous filmmakers and artists. Laughter, throat singing and sounds from the northern landscape merge with views of play, basket weaving, care and daily life. These scenes come together to tell a history that challenges colonial simplification of Inuit people. In this film, the artist also imagines a future created for and by Indigenous people, one filled with hope and care for one’s ancestors and future generations. Curator: Kathryn Hill, associate curator of modern and contemporary art
Does asinnajaq’s name sound familiar? You may recognize her from this painting by Kent Monkman that we purchased last year. Monkman first met asinnajaq when she received an award named after him for best experimental work for her film “Three Thousand” at the imagineNATIVE Film and Media Arts Festival in Toronto in 2017. The two got to know each other better in 2019 at the 58th Venice Biennale, which featured Monkman’s work and where asinnajaq co-curated an exhibition as part of the artists’ collective Isuma. Monkman’s painting of asinnajaq is part of “wâsê- acâhkosak” (“Shining Stars”), a series of portraits commemorating Indigenous friends, collaborators and heroes whom he admires for their creativity, leadership and resistance against colonial systems.
Kent Monkman (Fisher River Cree Nation, born 1965), “asinnajaq,” from the “ ᐋᐧᓭ ᐊᒑᐦᑯᐢᐊᐠ wâsê-acâhkosak (Shining Stars)” Portrait Series, 2020. Acrylic on canvas, 60 3/16 × 40 3/16 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Elizabeth Firestone Graham Foundation. 2024.132.
“Visually, the paintings evoke the stately style of Western art history portraiture to canonize Indigenous sitters into cultural memory. This series honours the resilience of my Indigenous heroes with exalted and immortalizing portraits that offer a constructive response to Canada’s monuments to colonial leaders. The portraits refute the colonial imperative of disappearing Indigenous people, and also reject the superficial form of immortalization offered by settler artists such as George Catlin, who sought to freeze ‘authentic’ specimens of Indigenous people in time capsule portraits. These paintings are love letters to my friends and collaborators and highlight their individuality, honouring their lives, leadership, and legacies.” — Kent Monkman
cutline
Now on View in the Permanent Collection
The Georgia Museum of Art’s Chinese art collection encompasses roughly 400 objects dating from the Neolithic period (7,000 – 1,700 BCE) to the Qing dynasty (1636 – 1912 CE). Chinese Funerary Ceramics
Many of these pieces are funerary objects, meaning they were buried with wealthy people. Alexis Gorby, the museum’s associate curator of academic and campus engagement, built on the work of art advisor Kendal Parker (AB ’98; MA ’01) to create a new installation in the Frances Y. Green and Harry & Caroline Gilham cases: “Buried Treasure: Funerary Ceramics from the Han and Tang Dynasties.” Mingqi, or “spirit goods,” are figurines and vessels created to help provide for the deceased in the afterlife. They became popular during the Han dynasty (206 BCE – 220 CE), and new glazing techniques were introduced during the Tang dynasty (618 – 907 CE). This installation explores the symbolism of various animals and patterns. It also highlights their extraordinarily well-preserved polychromy and glazing and provides a new look at rarely seen works from the collection.
Unidentified maker (Chinese), pottery Bactrian camel, ca. 618 – 907 CE. Ceramic, 12 × 18 × 6 3/4 inches. Georgia Museum of Art, University of Georgia; Gift of Mr. D. Jack Sawyer Jr. and Dr. William E. Torres. 2023.46.
Study Gallery August 16, 2025___________January 4, 2026 Launched in spring 2025, the museum’s study gallery program transforms the Dorothy Alexander Roush Gallery into an extension of the classroom. University of Georgia faculty from across disciplines select five to seven objects from the museum’s permanent collection to use as study tools for a specific class. These objects remain on view for the entire semester. Students can return to the gallery on their own time for deeper engagement with course content and the selected objects of art, while the general public can gain insight into what’s being taught on campus. This fall, the museum is once again inviting visitors to step inside a university classroom without leaving the gallery floor. Now entering its second semester, the program continues to bridge the gap between academic learning and public engagement. Alexis Gorby, associate curator of academic and campus engagement, marveled at the success of the program. “I loved seeing all the classes come to the museum and use the study gallery,” she said. “It was also nice to hear from the security team that the public was also going into the gallery and enjoyed seeing what the classes were studying. I’m especially excited to put out our small collection of ancient Greek and Roman art and give students the opportunity to experience these objects firsthand.” This fall, three professors are making use of the study gallery. Mark Abbe, associate professor of art history at the Lamar Dodd School of Art, will draw from the museum’s holdings of ancient Greek and Roman art for his large introductory survey class, ARHI 2300/ARHI 2311H: Introduction to Art History: Prehistoric to Renaissance. His specialization in Greek and Roman art guided the selection of objects that will serve as examples of the periods and cultures his students are focusing on. Danielle Raad, assistant professor in the department of history, is incorporating the study gallery into her course HIST 4024/6024: Topics in Museum Studies: Museum
Ethics. Her students will explore how museum practices intersect with broader questions of justice, history and identity. “Museums are complex institutions with collections and histories ranging from the troubling to the empowering,” Raad said. “This course explores the ethical considerations involved in collecting, conserving, displaying and interpreting artwork, material culture, human remains and historic sites to learn from the past and imagine a more ethical future.” Cecilia Herles, assistant director of UGA’s Institute of Women’s Studies, will also take advantage of the study gallery for her course WMST 4010W: Introduction to Feminist Theories. Works by Emma Amos, Faith Ringgold, Joan Snyder, May Stevens and others will serve as prompts to examine themes, frameworks and debates within theories of justice, liberatory practice and care. “Students will analyze philosophical and political issues related to social and environmental justice and the role of art and creativity in shaping understanding and community,” said Herles. “Students will be encouraged to develop a sense of voice and to strengthen their critical thinking skills to analyze different perspectives on notions of gender, race, class and the environment.” The study gallery program provides a unique opportunity for students to move beyond textbooks and lectures, engaging directly with original works of art in an academic setting. At the same time, it invites the community to witness how education comes to life through objects and to take part in that experience. With growing faculty interest and expanding possibilities, the program is shaping up to be a lasting and meaningful part of campus culture. Gorby notes, “I’m excited for the fall and many more semesters to come.” Nancy Ellison (American, born 1936), “Grace Jones, Mexico City,” printed 2022. Black and white photograph. Georgia Museum of Art, University of Georgia; Gift of the artist. 2023.199. Unidentified maker, enslaved person at or near Midway, Liberty County, Georgia (19th century), quilt, ca. 1830. Cotton, 90 1/2 × 93 inches. Georgia Museum of Art, University of Georgia; Gift of Lucy Minogue Rowland. 2018.367.
The Boone and George-Ann Knox II Gallery now features a selection of paintings, prints and sculpture from the Larry D. and Brenda A. Thompson Collection of African American Art.
UGA students help reinstall Larry D. and Brenda A. Thompson Collection at the museum by Rachel Palmer, public relations intern
Over a decade ago, Larry D. and Brenda A. Thompson donated 100 works by African American artists, both well known and obscure, to the Georgia Museum of Art. The Thompson Collection has become a vital resource for visitors exploring African American art, and works from it are always on view in the permanent collection galleries. This January, Shawnya Harris, the museum’s Larry and Brenda Thompson Curator of African American and African Diasporic Art, worked with museum staff and two University of Georgia students to reinstall the Thompson Collection in the museum’s Boone and George-Ann Knox II Gallery. This gallery is now dedicated to 20th- century African American artists, offering visitors a permanent space to appreciate these works and for UGA classes to practice object study from original works of art in person.
Evangeline Juliet Montgomery (American, born 1930), “Red and Green Circles,” 2007. Acrylic on canvas, 24 × 30 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. 2011.595.
cutline
Works by Mildred Thompson and Radcliffe Bailey.
Harris aimed to revitalize the gallery by including works from a prior installation of African American artists as well as other pieces that have not been on view recently. She pointed out that the museum’s permanent collection has outgrown its available space in the galleries devoted to it and that a strictly chronological presentation may not always be the best fit, given that limited space. Harris also sought to feature more sculptures to provide the gallery with a vibrant and dynamic new appearance. From Charles Henry Alston’s carved granite sculpture “Head of a Woman” to Evangeline Juliet Montgomery’s abstract painting “Red and Green Circles,” the gallery represents a wide range of styles and approaches. Rooted in personal narratives and collective histories, these artworks reflect diverse perspectives on identity, memory, social issues and cultural heritage. Several Georgia artists are included, such as Amalia Amaki, Stefanie Jackson, Kevin E. Cole, Freddie Styles and Radcliffe Bailey. Harris collaborated extensively with curatorial intern Adam Miller (UGA ’25) on the new installation. Miller researched, wrote and edited labels for the gallery, providing a fresh perspective. He saw firsthand what reinstalling a collection entails and notes that his favorite part of the project was learning about the individual artists, most of whom were unfamiliar to him.
“I also gained experience using the Museum System [TMS, the museum’s collections database,] to manage information on the collection, which was great because I had never used it before,” said Miller. Exhibition design intern Winston Lovelace (UGA ’25) also had a behind-the-scenes role in the reinstallation of the Thompson Collection, working with exhibition designer Elizabeth Marable to create what he called “a natural flow and aesthetic.” Lovelace said, “The design team wanted to exhibit these works in an innovative way that truly enhances the viewing experience of the works in our collection.” He said the design goal was “to spark a conversation.” They took inspiration from the works on view to choose paint colors that would complement their color palette. They also designed a panoramic riser “to enhance the viewer’s perspective and highlight the solidarity of the figural sculptures.” “It was a fun experience being involved in this process and I am very excited to see the reception of the Thompson collection reinstallation,” Lovelace added.
Share more art Rebranding the Georgia Museum of Art
In August of last year, the Georgia Museum of Art began working with Pentagram to create a new brand for a new era. This process followed on the heels of celebrating the museum’s 75 years open to the public. We had spent time looking at our past. Now it was time to look to and shape our future. Pentagram is a well-known, multidisciplinary, independently owned design studio, founded in London in 1972 but with offices all over the world. It has designed graphics and identity, strategy and positioning, products and packaging, exhibitions and installations, websites and digital experiences, advertising and communications, data visualizations and typefaces, sound and motion. The firm is unusual in that it is run by 23 partners, each of whom is a practicing designer. Partner Eddie Opara, who will speak at the museum this fall, managed the team that worked with the museum, meeting regularly with Hillary Brown and Michael Lachowski in the museum’s department of communications as well as with director David Odo. A brand isn’t just a logo, and it’s not something that changes what an organization is. It’s an expression of an organization’s core identity and values that extends to tone of voice and messaging as well as logo, typography, color and many finer points of design. To understand the museum, Pentagram’s team began by gathering information. They interviewed stakeholders throughout the museum and the university, including students, and visited to see how we fit into campus. They evaluated all our current materials. And then they spent some time thinking deeply. The result was a brand idea focused on learning and exploration, encouraging visitors to slow down and engage. Visitor surveys and the interviews Pentagram conducted showed certain concepts bubbling up over and over: inspiration, wellbeing, discovery, curiosity. These ideas worked well with our well-established parent brand at the University of Georgia, which focuses on sincerity and commitment. The result was a brandline called “_____ More Art.” A brandline is a phrase or sentence like “Just Do It” for Nike or “You’re in good hands” for Allstate. Another recurring idea in surveys was the fact that the Georgia Museum had so much more to offer than visitors thought before they came here for the first time. University museums vary a lot in size, and we had “more art” than they anticipated. Pentagram’s idea was to take that phrase and add different verbs in front of it, depending on the concept: “Enjoy More Art,” “See More Art,” “Support More Art,” “Shop More Art” and so on. Sincere, committed and yet sparking curiosity, it felt just right, and you’ll be seeing it many places as we roll out new materials.
GEORGIA FACET ABCDEFGHIJKLMOPQRSTUVWXYZ 0123456789 !@#$%&*[](){} Display
ATHEN (1785* – PRES O’KEEF CREAT
A – Z 19 45 ABSTRACTION ART NOUVEAU BAROQUE CUBISM EXPRESSIONISM FAUVISM IMPRESSIONISM MINIMALISM MODERNISM ROMANTICISM
SURREALISM SYMBOLISM
Although the logo isn’t the cornerstone of branding, it may be the most visible part of the process, and Pentagram’s designers dug into the research their team had done to create a new one for us. Opara is a very type-focused designer, and the team ended up creating a custom typeface just for the museum that also makes up the new logo. Known as Georgia Facet, it combines multifaceted exterior angles with soft, rounded interiors on each form, visually communicating the breadth of experiences people have at the museum and the variety of our offerings. The all-important G at the beginning of our name coincidentally echoes some legacy materials from the university, calling it to mind subtly. You’ll see Georgia Facet not just in the logo but in headers throughout our materials, including in this newsletter. Our new body copy typeface is Aktiv Grotesk, a versatile, functional, elegant sans-serif typeface that supports more than 1300 languages. It’s what you’re reading right now, and you’ll see it on our labels in the galleries, also designed by Pentagram, as we phase it in. Pentagram also created a new color palette for the museum, perhaps the clearest way to tie us more strongly to the University of Georgia as a whole.
We said, “don’t make it orange” many, many times, and although they’re not familiar with the intense rivalries of SEC football, they listened. Instead, you’ll find plenty of UGA’s Bulldog Red, Arch Black and Chapel Bell White as well as its Glory Glory, an intense, energetic red from its secondary color palette. There are other colors, too, with yellow and fuchsia available to provide a distinguishing pop. You’ll find examples of the new branding and color palette in the Museum Shop, where we’re now selling new logo items that we think you’ll love. Georgia Museum staff spent the summer implementing the new brand standards on everything from gallery maps to exterior and interior signage, T-shirts, letterhead, business cards, tablecloths, print materials and much more. They also dove into a website redesign with Lifted Logic, a firm out of Kansas City, Missouri, that remains in process as we send this issue of Facet to print. We believe that the new look and the process of thinking through who we are have set us on a solid footing as we move toward our next milestone anniversary, with our eyes always on the goal of a world with More Art.
Jane and Harry Willson Sculpture Garden Reopens After Renovations
Since opening in 2011, the Jane and Harry Willson Sculpture Garden at the Georgia Museum of Art has been dedicated to showcasing sculptures by women artists.
In a field historically dominated by men, this important distinction helps close the gender gap by raising the profiles of underrepresented contemporary artists. After a two-month renovation, the sculpture garden officially reopened in May, with fresh landscaping and a new approach to programming. Under the guidance of Ruppert Landscape, the sculpture garden received several improvements in both beautification and functionality. Ruppert removed the thick bamboo growing along the garden’s back wall and replaced it with a row of green columnar juniper trees that will add softness to the concrete backdrop while eliminating the previous issue of fallen leaves clogging the garden’s fountain feature. They replaced an invasive species of liriope, a grasslike ground cover, with a native variety and added a patch of flowering catmint for a pop of color. They gave all the garden’s trees a trim to make them shapelier and added a growth inhibitor to the tall brick wall so that the lush vines climbing on it are encouraged to reach up but not out. Ruppert also repaired the garden’s irrigation system, added a fresh layer of slate chips to pathways and replaced the pine straw in the garden beds with mulch, a more durable material that’s less susceptible to move with the wind.
New juniper trees, catmint and lantana add lush pops of color to the Jane and Harry Willson Sculpture Garden.
“When we opened the new wing in 2011, the garden was intended for rotating exhibition space,” says Todd Rivers, the museum’s director of exhibitions, who supervised the project. “We would have an exhibition and acquire one of the pieces, and it would stay in its location. Then we would have another exhibition, and we would acquire a piece from it.” Eventually, as the museum acquired more and more sculptures, the collection began to compete for space originally intended for temporary installations. Most recently, the sculpture garden featured three distinct works purchased over the years. “Terra Verte #1,” by Scottish environmental artist Patricia Leighton, is a stainless-steel “growing cube” that encases delicate, living sedum plants as it combines geometric structures and organic forms. “Tide,” by Icelandic sculptor Steinunn Thorarinsdottir, is an androgynous, life-sized cast-iron human figure with a glass band inlay across its left arm. “Andreas,” by American sculptor Jane Manus, is a tall, abstract work of welded aluminum painted bright blue. The three sculptures were deinstalled and moved into storage until the museum can find new locations for their installation. Soon after, Athens-based objects and sculpture conservator Amy Jones Abbe returned to the museum for an annual assessment of outdoor artworks. Abbe was recently highlighted in the New York Times for her extensive restoration of the famed “Iron Horse,” a 2-ton abstract modern sculpture by Abbott Pattison that’s been returned to its former glory after enduring exposure and multiple incidents of vandalism over the last 70 years. In addition to the three sculptures recently removed from the garden,
Ruppert Landscape replaced an invasive species of liriope with a native variety.
New tables and chairs welcome visitors to study, eat lunch or gather with friends in the garden.
Abbe cleaned and assessed the museum’s other outdoor works, such as Andrew T. Crawford’s massive screw “Split” on East Campus Road and Beverly Pepper’s gravity-defying “Ascension” on the Performing and Visual Arts Complex quad. “The idea was that we wanted this garden to get back to its roots of being a rotating space,” says Rivers. “The best way to do that is to identify spaces where sculptures can go.” Part of the renovation process involved finding a balance that supports the garden’s multiple roles, reserving the first level for special events such as weddings and allocating the second and third levels for sculpture. Ruppert removed four large concrete pads originally poured to support the installation of various sculptures. In their absence, Rivers and his team have identified the three best zones for future works. When these zones are not occupied by sculpture, they will feature colorful seasonal flowers. The museum also purchased tables and chairs to encourage visitors to study, eat lunch or gather with friends. “We would love to have this be a place where people come and hang out,” says Rivers. “We’re trying to reimagine it to align with Director David Odo’s goals of increasing our student engagement and student involvement in all areas of the museum, and this area is one of them.” In August, the sculpture garden will return to its original vision of hosting temporary exhibitions with new works by Rachel Hayes, a textile artist based in Tulsa, Oklahoma, whose vibrant, large- scale installations aim to insert color and form into both built and natural environments. Informed by traditional fiber art processes and approaches to abstract painting, her body of work blurs the boundaries among craft, sculpture, architecture and land art. Subtly interacting with their surrounding landscapes, her installations rustle in the breeze and cast colorful, shifting shadows onto the ground.
Tech Upgrades in the Auditorium
Upgrades to the M. Smith Griffith Auditorium will make the museum’s diverse programming better than ever.
Built in 1996, the M. Smith Griffith Auditorium at the Georgia Museum of Art hosts lectures, meetings, conferences, film screenings, chorales and other performances throughout the year.
“The auditorium now supports both recording and livestreaming of events, making it possible to reach broader audiences and provide remote access to our programming,” says Walker. “Additionally, we’ve added accessibility features, such as the Listen application, to ensure better audio for all attendees, including those with hearing impairments. These upgrades mean that both presenters and audience members will enjoy clearer visuals, improved sound and a more engaging and inclusive event experience.” Previously, the museum offered ListenIR assistive- listening headsets that use line-of-sight infrared technology, meaning any obstruction to the beam can cause audio drop out or interference. It now offers ListenRF, which transmits sound over radio frequency directly to the listener’s headset, as well as ListenWiFi, which allows listeners to use Wi-Fi to stream audio to their smart devices.
Although the space is flexible and available for rentals by university classes, student groups and community organizations, it also needed some updating. Earlier this year, the museum upgraded the technology in the auditorium, opening new opportunities to use the space creatively. “By removing outdated, legacy equipment and streamlining our processes, we aimed to create a more reliable and flexible environment for both current and future programming needs,” says Josh Walker, director of information technology at the museum. With sound and audio quality in mind, the museum purchased a new screen and speakers as well as a Blackmagic ATEM Mini switcher, a live production tool that allows users to switch between multiple video inputs, mix audio and incorporate visual media or effects in real-time. Athens-based technology firm TSAV installed three new motorized pan-tilt-zoom (PTZ) cameras, capable of panning horizontally and vertically with 20x zoom, to capture high-definition footage of both the stage and audience. TSAV also placed three beamforming microphones on the ceiling, which “beam” the focus at the most prominent sound source while suppressing atmospheric noise. This means that a speaker can walk and talk around the stage untethered, and questions or comments from audience members can be easily amplified. “With these technological improvements, the museum can now record and edit a wide variety of content, including training videos, symposia and lectures, with much greater ease and professionalism,” says Walker. “The ability to livestream events opens up new possibilities for hybrid or fully virtual programming, allowing us to connect with audiences beyond the museum’s walls. The new screen and enhanced sound system also support a wider range of events, from educational presentations to community gatherings, and make the space more versatile for uses such as recording staff training videos.” Resembling a handheld broadcasting studio, the Blackmagic ATEM Mini allows users to create their own live multi-camera video productions. Operators can pan, zoom and switch between cameras or incorporate content such as images, slideshow presentations or films from other inputs. These productions can be streamed live to a virtual audience or recorded to distribute later. This technology, in combination with the auditorium’s other upgrades, greatly enhances the museum’s video teleconferencing capabilities.
Curious to see and hear the upgrades for yourself? The museum will host film screenings of: “Midnight in Paris” on August 28 “Coco Before Chanel” on October 16
“Joan Mitchell: Portrait of an Abstract Painter,” scheduled for September 11, offers a fascinating look into the life of Mitchell, whose painting “Close” will receive extensive conservation work in an open-access lab that begins August 12. All films begin at 7 p.m. and are free to attend.
Interested in renting the upgraded auditorium for your event?
Nonprofits, including University of Georgia organizations and departments, receive discounts. Contact us for more information.
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44Made with FlippingBook Ebook Creator