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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.
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