Facet Winter 2022

WINTER 2022

table of CONTENTS

From the Director p.3

Exhibitions p.4

The Art of Giving p.10

Charles Pinckney p.11

New Acquisitions p.12

Museum Notes p.14

Gifts p.14

In the Shop p.15

Attributed to Pier Francesco Foschi (1502 – 1567) (copy after Andrea del Sarto), head of a woman. Red chalk, 250 × 290 millimeters (9 13/16 × 11 7/16 inches). Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, 6420 F.

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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 timed tickets required.

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706.542.4662 Fax: 706.542.1051

Front cover: Pier Francesco Foschi (1502 – 1567), “Portrait of a Lady,” ca. 1550. Oil on panel, 101 × 79 centimeters (39.8 × 31 inches). Museo Nacional Thyssen-Bornemisza, Madrid, 145 (1935.16). Back cover: Pier Francesco Foschi (1502 – 1567), “Portrait of a Young Man Weaving a Wreath of Flowers,” ca. 1540. Oil on panel, 99 × 75.5 centimeters (39 × 29 3/4 inches). Purchased with funds from the Herbert I. and Elsa Bamberger Michael Fund, Permanent Collection, Utah Museum of Fine Arts, University of Utah, UMFA1981.047.

Department of Publications Interns

Hillary Brown and Isabel Walston

Wallace Kelly

Design

Noelle Shuck

from the DIRECTOR

board of ADVISORS

Recently, Hillary Brown, our head of communications department and editor of our publications, gave me a copy of the checklist of the very first exhibition at the Georgia Museum of Art that opened on Novem - ber 8, 1948, 73 years ago. Although our founder’s gift of 100 American paintings to the people of Georgia through the state’s flagship uni - versity had come a couple of years earlier, we count this exhibition as the opening of the Georgia Museum of Art to the public, and thus our anniversary as November, in two years to be a 75th celebration of all we and those who came before us — Millie Dearing, Bill Paul, Carol Winthrop, Richard Schneiderman and so many others — prepared for, although perhaps none of us knew at the time we envisioned the future of the museum what it would mean: a splendid, quite large stand-alone building; a collection approaching 18,000 objects; an almost full corps of ambitious and well-prepared curators; a remarkable support staff; devoted patrons as represented by our Friends, our Board of Advisors and our Decorative Arts Advisory Committee; a certificate-granting museum studies program; and our docents, student interns and donors. We are also at a turning point yet again in our history, experiencing once again the need for a radical look at how we relate to, cultivate and expand our audiences and how we engage them in life-long learning through the visual and liberal arts. In 1948, the museum occupied a brave new world all its own, an aca- demic addition committed then as now to the pedagogical mission of the university that, post-war, was also in a process of renewal. That is why I want to return to that first exhibition and its checklist. Paintings for this inaugural event came from sister institutions across the nation, significantly, among them, Black Mountain College. From there, Josef Albers sent works of pure abstraction and represented the fast-growing trend away from regional subjects to non-objective paint- ing. One such regionalist work was Lamar Dodd’s “View of Athens,” but the growing interest in any of the modernisms that preceded or coincided with the roller-coaster advent of abstract expressionism were evident in such other works as Preston Dickinson’s “Cubistic Interior,” even in the charmingly named painting “We Bought a Fish” by art ed- ucator and artist Mary Leath Thomas, whose husband, Howard Thomas, already experimenting with cubism and abstraction in the mid-1930s, contributed three works, perhaps reflecting his new interests in divi - sionism and a kind of constructivism that depended on planar flatten - ing. And, of course, one of the signature works of magic realism, Paul Cadmus’s “Playground,” though not in that first exhibition, joined our collection in relatively short order. We are in a similar time right now, especially with the exciting new focus on contemporary art, thanks to the gift from John and Sara Shlesinger, and on photography. But the transformation goes deeper to programming, a new strategic plan, development of new metrics to judge our performance and a commitment to the changes that ensure that we continue to be not just open to all but to be welcoming. In other words, given our history of outreach to all Georgians, our reliance on research for interpretation and our embrace of salutary change, we have never stood frozen on pedestals: we reserve them for our art.

B. Heyward Allen Jr. * Rinne Allen Amalia K. Amaki ** June M.Ball Linda N. Beard Karen L. Benson ** Richard E. Berkowitz Sally Bradley Jeanne L. Berry Devereux C. Burch * Robert E. Burton ** Debra C. Callaway ** Shannon I. Candler *

Ibby Mills David Mulkey

Carl. W. Mullis III * Betty R. Myrtle ** Gloria B. Norris *** Deborah L. O’Kain Randall S. Ott Gordhan L. Patel, immediate past chair Janet W. Patterson Christopher R. Peterson, chair–elect Kathy B. Prescott Margaret A. Rolando * Julie M. Roth Alan F. Rothschild * Jan E. Roush Bert Russo Sarah P. Sams ** D. Jack Sawyer Jr. * Henry C. Schwob ** Margaret R. Spalding Dudley R. Stevens Carolyn Tanner ** Anne Wall Thomas *** Brenda A. Thompson William E. Torres C. Noel Wadsworth * Carol V. Winthrop Gregory Ann Woodruff Ex-Officio Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner Marisa Pagnatarro Sarah Peterson

Faye S. Chambers Harvey J. Coleman Sharon Cooper James Cunningham Martha Randolph Daura *** Annie Laurie Dodd *** Sally Dorsey ** Howard F. Elkins Judith A. Ellis Todd Emily James B. Fleece Phoebe Forio *** John M. Greene ** Helen C. Griffith ** Barbara Guillaume Judith F. Hernstadt Marion E. Jarrell ** Jane Compton Johnson * George-Ann Knox * Shell H. Knox * Andrew Littlejohn D. Hamilton Magill David W. Matheny, chair Mark G. McConnell Marilyn M. McMullan Marilyn D. McNeely

* Lifetime member

** Emeritus member

*** Honorary member

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 repos- itory and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Georgia Council for the Arts also receives support from its partner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is ADA compliant; the M. Smith Griffith Auditorium is equipped for deaf and hard-of-hearing visitors. 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 informa- tion or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-admin- istered 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/

WilliamUnderwood Eiland, Director

Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence

January 28 – April 24, 2022

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This is the first exhibition dedicated to Pier Francesco Foschi (1502 – 1567), a highly prolific and fashionable Florentine painter whose career spanned nearly five decades.

Despite his success among the contemporary public, he fell into nearly complete obscurity after his death. The exhibition offers a timely and critical reevaluation of this versatile and innovative Renaissance master with exceptional works of art from world-re- nowned museums including the Gallerie degli Uffizi (Florence), the Museo Thyssen-Bornemisza (Madrid) and the Royal Collection Trust (London) that have never been presented in the United States. “Wealth and Beauty” will feature paintings and drawings by Foschi and his contemporaries, along with decorative arts objects that provide insight into the world of wealthy 16th-century Florentines. Born in Florence to a family of painters (his father was a member of Botticelli’s workshop), Foschi trained with Andrea del Sarto, one of the most influential artists of the Renaissance. He received com - missions from numerous prominent families of Florence, including the Medici, Pucci and Torrigiani. His assignments included small devotional images and large church altarpieces and frescoes, but he is best known today for his portraits. In his own lifetime he became one of the most sought-after portraitists in his city, cele- brated for his ability to convey the gravitas of his subjects and rep- resent the objects that connoted their social and economic status.

Pier Francesco Foschi (1502 – 1567), “Holy Family with the Young Saint John the Baptist,” ca. 1525–35. Mixed tempera on panel, 105 × 87 centimeters (41 5/16 × 34 1/4 inches), Galleria dell’Accademia di Firenze, Florence, 235 azzurro - 302 giallo. Italy, early 16th century, beads from a rosary. Gilt copper with champlevé enamel, 24.5 centimeters long (9 5/8 inches). ClevelandMuseum of Art, Cleveland Ohio, Purchase from the J. H. Wade Fund, 1952.277. Pier Francesco Foschi (1502 – 1567), “Portrait of Bartolomeo Compagni,” 1549. Oil on panel, 102.9 × 82.6 centimeters (40 1/2 × 32 1/2 inches). Cummer Museum of Art &Gardens, Jacksonville, Florida. Purchased with funds from the Cummer Council. AP.1984.3.1

Curator: Nelda Damiano, Pierre Daura Curator of European Art

Sponsors: The Gladys Krieble Delmas Foundation, the Goizueta Foundation, the Samuel H. Kress Foundation, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Pier Francesco Foschi (1502 – 1567), “Madonna and Child with the Young Saint John the Baptist,” ca. 1528 – 30. Oil on panel, 113 × 83.5 centimeters (44 1/2 × 32 7/8 inches). Galleria Nazionale della Liguria a Palazzo Spinola, Genova, Inv. GNL 32/1967.

exhibitions

Lou Stovall: Of Land and Origins February 19 – May 29, 2022

This exhibition features selected works by celebrated American master printmaker Lou Stovall, the 2022 recipient of the museum’s Larry D. and Brenda A. Thompson Award.

Included in the exhibition are several silkscreens from Stovall’s 1974 series “Of the Land,” a body of prints that form the basis of an upcoming book on Stovall’s art and poetry forthcoming from Georgetown University Press in 2022. The publication is edited by his son, Will Stovall. Born in Athens, Georgia, in 1937 but raised in Springfield, Massa - chusetts, Stovall matriculated at the Rhode Island School of Design before attending Howard University, where he studied under important artists such as James A. Porter, James Lesesne Wells and David Driskell. Stovall graduated from Howard in 1965 and in 1968 opened a printmaking studio, The Workshop, Inc. The studio, located adjacent to his residence in the Cleveland Park neighbor- hood of Washington, D.C., has been in operation since the early 1970s. His designs and work in community poster printmaking were transformative in the visual culture of both art and politics in the 1960s and 1970s, attracting artists and collaborators for later printmaking projects. Over the decades, Stovall has successfully worked with notable American artists such as Sam Gilliam, Josef Albers, Jacob Lawrence, Alexander Calder and Robert Mangold. Although Stovall’s projects with artistic collaborators are well known, his vision and craft as a draftsman, colorist and printmak- er have been largely overlooked until recent years. Recent survey exhibitions at the Columbus Museum (Columbus, Georgia) and an upcoming one at the Kreeger Museum (Washington, D.C.) are only beginning to shed light on Stovall’s importance. Stovall has garnered various awards over the decades, including the Printmaker of Distinction Award at the Southern Graphics Conference, Washington, D.C. (2005); commissions from the White House, American Red Cross, Amnesty International and National Endowment for the Arts (NEA); and several grants from the NEA. His work can be found in collections including the Smithsonian American Museum, National Gallery of Art and the Phillips Col- lection (Washington, D.C.); the Ringling Museum of Art (Sarasota, Florida) and the Columbus Museum. He lives in Washington, D.C. with his wife, artist Di Bagley Stovall, a Columbus, Georgia, native.

Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art

Lou Stovall, “and Summer’s Spirit Holds Love’s Stay,” 1974. Silkscreen, 26 x 26 inches. Lou Stovall, “the Bounty thus is Falling,” 1974. Silkscreen, 26 x 26 inches. Lou and Di Stovall doing a demonstration for students, 1971.

Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker March 5 – September 4, 2022

American modernism in the visual arts has garnered sustained interest among scholars and general audiences in recent years, though typically with a focus on modernist painting.

This exhibition seeks to expand that narrow em- phasis, highlighting an array of techniques and a range of artists who explored modernism’s myriad forms through paper-based media. “Graphic Eloquence” consists of approximately 150 works by 70 artists selected from a single private collection, many of which are promised gifts to the museum. Artists working in modernist modes shared challenges regardless of location, and the exhibition brings out these commonalities as it focuses on regional centers that embraced and supported modernist trends. The exhibition will examine the impact of influential associations and artist groups, including Atelier 17, American Abstract Artists and the short-lived Vanguard. The exhibition considers the role of museums and contemporary critics in shaping the fledg - ling approaches to modernist abstraction among American artists and cites inspiration for these works in a wealth of sources, ranging from music to movies, literature, popular publications, theater, art history and philosophy. Many of the works in the exhibition also employ lesser-known artistic media, some of them new technical discoveries and others reimaginings of old approaches, from casein and cellocut to pastel and pochoir. Unlike more exclusive accounts of modernist painting, the story of modernist works on paper provides a broader, more democratic view of American mod- ernism that highlights the contributions of many lesser-known artists to this important 20th-cen- tury history. A substantial catalogue published by the museum will accompany the exhibition.

Theodore Roszak, “Rodeo,” ca. 1945–47. Ink and watercolor on paper, 11 7/8 x 17 15/16 inches. Collection of Michael T. Ricker. Emilio Amero, “Vistiéndose (The Dressing),” 1935 (This impression dated 1949). Lithograph, ed. 19/25, 12 1/4 x 9 15/16 inches. Collection of Michael T. Ricker. Werner Drewes, “Black Curve on Yellow Horizontally Connected,” 1938. Color woodcut, 5 3/4 x 8 inches. Collection of Michael T. Ricker.

Curator: Jeffrey Richmond-Moll, curator of American art

exhibitions

Jennifer Steinkamp: The Technologies of Nature December 18, 2021 – August 21, 2022

In “Mike Kelley,” Jennifer Steinkamp masterfully uses digital animation to examine the boundaries between reality and illusion, nature and technology, and the natural and manmade.

Jennifer Steinkamp (American, b. 1958), “Mike Kelley,” 2007. Video, dimensions variable; duration: 8-minute loop. North Carolina Museum of Art; Gift in honor of Dr. Lawrence J. Wheeler, director of the North Carolina Museum of Art (1994–present) from Julian T. Baker Jr., Rhoda L. and Roger M. Berkowitz, Dr. Thomas D. Brammer andMr. Robert S. Watson, Angeline J. Bryant, Blake Byrne, Marion Johnson Church, Paul Edward Coggins, Dr. W. Kent Davis, Joyce Fitzpatrick and Jay Stewart, Dr. Carlos Garcia-Velez, Marty Hayes andMichael Cucchiara, Mr. andMrs. Vaughn Hayes, Eric and Tara Hirshberg, Ian Huckabee, Bill G. Johnson, Thomas S. Kenan III, Suzanne R. McKinney, R. Glen Medders, Dr. Cynthia S. Payne, Melissa Peden and Robert Irwin, Susan L. Petry, Michael Rubel and Kristin Rey, Kimerly Rorschach, Jeffrey Williams and Patrick Sears, Allen G. Thomas Jr., Caroline Hickman Vaughan, Robert A. Sandefur and Robert P. Venuti, Drs. Zannie and Glenn Voss, Caroline and RichardWright, and James Walker Crow; Technology funded with generous support from IBMCorporation. 2009.14. Image courtesy of the artist and Lehmann Maupin, New York, Hong Kong, Seoul and London.

The repeated unfolding of the seasons in Steinkamp’s windblown tree points the relentless march of time, and the reference in the title to one of Steinkamp’s important teachers alludes to the passing of generational time and knowledge. Yet, its cyclical format also disrupts our linear ideas about history, asserting the resilience of natural forms whose lifecycles cannot — or, perhaps more urgently, should not — be halted.

Curator: Jeffrey Richmond-Moll, curator of American art

In Dialogue: Views of Empire: Grand and Humble December 4, 2021 – August 21, 2022

This edition of our “In Dialogue” series brings together two different kinds of mid-19th-century lithographs and other thematically related works. Both sets of prints are recent gifts.

Both sets of prints are recent gifts. First came an addendum to the Parker Collection, an elephant-folio-size album containing 25 lithographs with cityscapes showing St. Petersburg and dating to the third quarter of the 19th century. More recently, in the sum- mer of 2020, Marina Belosselsky-Belozersky Kasarda and Vladislav Kasarda donated 30 small hand-colored lithographic prints. These prints date ca. 1850 and show genre scenes and individual figures representing different occupations in Russia at the time: coachmen, porters, water carriers, innkeepers, firefighter and street peddlers, among others. The general views of St. Petersburg render pictures of the imperial metropolis with its public squares and neoclassical buildings that embody the state, thus inviting admiration while suppling a sense of inclusion and belonging. At the same time, the intimate look at working people in the vibrantly colored small prints acknowledges and affirms class distinctions while advancing the notion of a shared national identity. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around a few works of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with works of art by influential peers, related sketches and studies or even objects from later periods.

(top) R. K. Zhukovskii (Russian, 1814-1886), “Merchants Taking Tea,” ca. 1850. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda. (bottom) N. G. Vanifantiev (Russian, active in the 1840s), “Troika on a Frozen River,” ca. 1845. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda.

Curator: Asen Kirin, Parker Curator of Russian Art

Don’t Miss

Collective Impressions: Modern Native American Printmakers Through January 30

Inside Look: Selected Acquisitions from the Georgia Museum of Art Through January 30

Contemporary Japanese Ceramics from the Horvitz Collection Through June 26

Power and Piety in 17th-Century Spanish Art Through November 27

Oscar Howe, called Mazuha Hokshina (Yanktonai Dakota, 1915 – 1983), “Sioux Battle,” ca. 1948. Litho- graph, 17 3/4 × 12 1/2 inches. Fred Jones Jr. Museum of Art, The University of Oklahoma Norman; Gift of The Charles H. and Miriam S. Hogan Collection, 2004, 2004.018.044.022 Installation photograph of “Inside Look.”

the art of giving DAVID MATHENY BECOMES BOARD OF ADVISORS CHAIR

The Georgia Museum of Art’s Board of Advisors works to increase public awareness and engagement with the museum, its exhibitions and programs. Recently, longtime Friend of the MuseumDavid Matheny became the board’s chair, after serving on the board for approximately six years. The chair works to support the museum and director by as- sisting with fundraising and stewardship. Matheny has been working in Athens with the museum and the Lamar Dodd School of Art since around 1995. Throughout his time with the museum, Matheny has volun- teered in a range of positions. While he began with project management, his enthusiasm for the arts led him to serve on the Friends board of directors, as chair of the Collectors and eventually the Board of Advisors. As chair Matheny hopes to advance the numerous types of programming fostered by the museum. His longtime involvement has allowed him to explore virtually all aspects of the institution. In particular, Matheny is interested in the museum’s education and events programming that bring in members of the surrounding community. Since he has worked with both the museum and the art school, Matheny hopes to further student engagement at the museum. By being a board member himself for years, Matheny has a clear understanding of what makes the museum’s board so special: the people involved. The board consists of members from numerous states that come from an eclectic range of backgrounds. Matheny describes board members as “passion- ate, spectacular and joyful.” Looking forward, Matheny understands that small changes could position the museum for a better future. He would like more people to be aware of the museum’s presence and its status as the official state art museum of Georgia. Additionally, museums are notorious for being intimidating or unwelcoming for people who don’t have an existing knowledge of fine art.

Matheny hopes that, through diverse programming and events, the museum can continue to expand its audience to include all members of the community. Additionally, the continued hard work of an invested and engaged staff plays a big part in shap - ing the role of the museum. Over the years, Matheny has become an art collector and de- veloped an appreciation for the tactility of art. He and his wife Becky primarily look to artists with whom they have a per- sonal connection or affiliation, as they can get to know them directly. The couple carries their passion for art wherever they go, including when they travel and visit new places. Matheny is especially grateful for the loving support from his wife, two daughters and his grandchildren, with whom he is excited to share the museum for years to come.

Francesca Felicella, publications intern

Charles Pinckney MAKES JEWELRY FROM MEMORIES

Athens artist Charles Pinckney has been working as a metalsmith for more than 50 years, crafting jewelry and small sculptures out of metal, found objects, stones, bone and wood.

He said that he arranges and rearranges these objects into a composition “until the piece feels balanced and exciting to me.” You can see his work at the museum as part of a special display, “Charles Pinckney: Personal Adorn - ment,” through November 13, 2022, in one of the wall cases in the permanent collection wing. Pinckney, who was born in South Carolina, says that by the time he was 9 years old, he was making his own tools to carve wood and bone. Being an artist wasn’t something he thought of as a realistic goal, so he studied psychology at Clemson University, but he didn’t want to spend hours behind a desk and he had always loved mak- ing things with his hands. He took workshops with art- ists Eleanor Caldwell, Chuck Evans and Robert Ebendorf (the first two at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee, and the third at Anderson Ranch in Colorado), but he is primarily self-taught. He found employment to pay his bills by working as a hospital or- derly and a radio DJ until he was able to support himself as a full-time artist. Pinckney said, “The imagery I depict is abstractly related to memories of childhood and I think about patterns gen- erated as lives intertwine, the ebb and flow of emotional and personal connections over time. I work in series and develop related pieces from previous designs. Common features of my work include moving parts, articulated joins, the combination of precious and non-precious met- als and found objects and the use of designs that have a gestural quality rather than being highly symmetrical.” In the raw materials he uses, he sees what he calls “latent art,” which he is obsessed with uncovering. His work springs from stories of his childhood, of resistance to injustice, of tales of family, hardship and joy. One might say that this jewelry is made from memories, and it incorporates deeply considered personal symbolism. For example, he sometimes places the clasp of a necklace at the pendant rather than behind the neck, to make it

visible. In doing so, he hopes to draw a contrast with the way he remembers Black labor and Black people being hidden during his childhood. Pinckney calls his work “wearable sculpture” in the hope that it might evoke remembrances of lived experiences. He also makes larger sculpture, lamps and mirrors. His recent concentration on jewelry for men and women includes brooches, rings, necklaces, bracelets, cufflinks and earrings, all one of a kind and rich with detail. Almost all the works shown in the display are from the artist’s collection. His others are out in the world where they accrue new narratives, new chroni- cles and new histories. Pinckney lives in Athens, Georgia, and has received nu- merous awards, including the museum’s Larry D. and Brenda A. Thompson Award in 2014, two grants from the Georgia Council for the Arts and a grant from Tula Foundation Gallery. He has appeared on HGTV and been showcased as an artist in Southern Living and Orna- ment Magazines. He also teaches, lectures and shows his work at juried fine arts festivals and exhibitions around the country.

Cecily Brown, “A Storm at Sea,” 2017–21. Pastel, watercolor and ink on paper, 40 x 60 inches. Georgia Museum of Art, University of Georgia; Gift of an anonymous donor. GMOA 2021.128.

CECILY BROWN c

of the boat. Brown continuously returns to paintings over a period of years. As she reworks them, she relies on the gestural memories of the original works to layer new forms, instilling them with a deeper subliminal understanding of the imagery. Brown’s powerful imagery eerily illuminates present-day struggles of refugees seeking their own recourse through sea travel. Begun at the height of the 2016 migrant crisis in the United States, they also remind us of the oversaturation of photographs of these failed sea voyages in our modern news media. Brown employs the figure and boat to contend with the long histories of maritime disaster and grapple with her understanding of contemporary tragedy and loss. “A Storm at Sea” is currently on view in the permanent collection galleries alongside another brilliant figurative abstraction inspired by a historical work of art, Elaine de Kooning’s “Bacchus #81.”

ecily Brown’s paintings and drawings evocatively examine figuration, memory and abstraction. Brown began her “Shipwreck” series in 2016, inspired by maritime paint- ings of Eugène Delacroix and Théodore Gericault. “A Storm at Sea” hauntingly recalls Delacroix’s 1840 painting “The Shipwreck of Don Juan,” which depicts the moment in Lord Byron’s poem when Don Juan and the surviving crew members reckon with their fate while lost at sea. In Brown’s painting, the foreground is impressed with velvety char- coal, guiding the viewers to the rolling waves overtaking the helm of the boat. The fluid outlines of the figures dissolve into the reced - ing background. Only two figures remain fully decipherable in the foreground—one with his back turned to the viewer at center—both with heads hung low as their bodies lean into the disappearing edge

Kathryn Hill, Curatorial assistant in contemporary art

JENNIE C. JONES AND BETHANY COLLINS t hanks to the generous contributions provided by the Collectors of the Georgia Museum of Art, the muse- um continues to fill gaps in the permanent collection. Overall, women artists, particularly those of color, require better representation nationally, therefore strategic purchas- es at our museum are one step toward mitigating such art historical inequities. Funding from the Collectors was used in 2017 to purchase a sculpture by 19th-century artist Edmonia Lewis, yet two recent purchases focus on contemporary art- ists Jennie C. Jones and Bethany Collins. New York–based artist Jennie C. Jones melds visual and sonic traditions and their relationship to the history of minimalist abstraction. Viewing “listening as a conceptual practice,” her work often presents pairings of from visual and sound tra- ditions for audiences to consider the interplay between aural environments and the visual experiences. Recent acquisitions include two collages based on a commissioned installation at the Philip Johnson Glass House (1949) and Sculpture Gallery (1970). Phillip Johnson (1906-2005) was a major figure in twentieth-century architecture and these two structures are located on the tranquil grounds of his 49-acre property in New Canaan, Connecticut, which is a national historic site. Jones infused the spaces with meditative solfeggio frequen- cies which gradually change to avant-garde jazz compositions as visitors move through the spaces, reflect the social and cultural shifts occurring between 1949 and 1970. The collages, in effect, become a visual record of these experiences. Bethany Collins , a native of Montgomery, Alabama, working in Chicago, uses textual sources as a way of interrogating America’s racial history through her conceptual practice around language. She often manipulates books and docu- ments to overturn their authoritative strength in the lives of marginalized communities. The Georgia Museum of Art’s recent acquisitions are drawn from works in an installation called “The Southern Review” where she alters pages from the literary journal of the same name that was active in the 1980s. Collins blackens out the body of each page with char- coal, often leaving provocative titles and other isolated text and her own fingerprints to represent omitted narratives of Black and “othered” individuals from Southern history.

Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art

Bethany Collins (American, b. 1984), untitled (“Ash Lawn”), 2020. Charcoal on found paper, 10 × 6 3/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art. GMOA 2021.120. Jennie C. Jones, untitled (“The Glass House” works), 2018. Collage, acrylic and ink on paper, 19 3/4 × 15 3/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art. GMOA 2021.122.

museum notes

Staff Notes

A new but familiar face has joined the museum staff as the Pierre Daura Curatorial Research Assistant. Ashlyn Davis , originally from south Georgia, completed her undergraduate degree in journalism from UGA’s Grady College of Journalism and Mass Communication. She went on to receive her master’s degree in art history from the Lamar Dodd School of Art in 2020. Her time at the Georgia Museum of Art began in 2018 as a summer intern in the communications department. Throughout her graduate career she also interned at the museum for director Eiland and Pierre Daura Curator of European Art Nelda Damiano. We are excited to welcome her back and are grateful to Martha Randolph Daura for her financial support of this position. Amy Scott has joined the museum staff as part–time education programs assistant. Scott earned a bachelor’s degree in journalism with a new media certificate and minors in studio art and design + media from the University of Georgia. She is a multimedia artist working primarily in ceramics, photography, sound and sculpture. Her background in journalism influences the way she approaches her practice, which explores the unspoken interactions with loved ones and within ourselves. Previously, Scott worked in a variety of capacities for the Red & Black and interned for NPR in Washington, D.C., Athens-based artist Jamie Calkin and WUGA. The museum welcomed Cassie Hawkins as its director of special events on September 13, 2021. Cassie is a “double dawg” with bachelor’s degrees in ceramics and photography from UGA. She moved to San Francisco to obtain her master’s in photography. After graduating, Cassie moved to Los Angeles and lived there for eight years. Cassie returned home to Athens and was the senior event coordinator at the Georgia Center for Continuing Education for the past five and a half years prior to starting at the museum. Awards The museum won best in show in the 2021 Southeastern Museums Conference Publications Competition for “Emma Amos: Color Odyssey,” which also won the gold medal in the Books and Catalogues category. Facet won a gold medal in the Magazines and Newsletters category and the brochure for “Whitman, Alabama” won a silver medal for the Brochures and Rack Cards category. “Belonging: Georgia and Region in the National Fabric: The Ninth Henry D. Green Symposium of the Decorative Arts” won the 2021 Mary Ellen LoPresti Publication Award for best scholarly publication.

Ashlyn Davis

Amy Scott

Cassie Hawkins

gifts

The Georgia Museum of Art received the following gifts between April 1 and June 30, 2021:

In honor of William U. Eiland by Betty Robertson and Patricia & Tom Wright

In memory of Vicky J. Brown by Patricia & Tom Wright

In memory of Julia Sanks by Sharon and Brandon McDearis

In memory of Mark M. Johnson by William Underwood Eiland

In memory of Peggy O. Sorrells by William Underwood Eiland and Patricia & Tom Wright

In honor of Mary Burdell by Jean Harrell

In honor of Bill Parker by Robert Bairstow

In memory of James Robinson by William Underwood Eiland

In memory of Jane Symmes by William Underwood Eiland

in the shop

LEATHER AND ITALIAN PAPER-BOUND NOTEBOOKS ($25 – $35)

“Wealth and Beauty” will feature paintings and drawings by highly prolific and fashionable Florentine painter Pier Francesco Foschi and his contemporaries, along with decorative arts objects that provide insight into the world of wealthy 16th-century Florentines. To complement this decadent exhibition, the Museum Shop is offering an array of luxurious items inspired by the Italian Renaissance. You’ll find stationery sets, Murano glass pens and leather-bound notebooks imported from Italy as well as beautiful period jewelry reproductions. As always, every purchase goes to support the Georgia Museum of Art and its programming.

MURANO GLASS PEN AND INK SET ($35)

ITALIAN STATIONERY BOX ($75)

GOLD-PLATE AND ENAMEL NECKLACE ($100)

GOLD-PLATE AND ENAMEL EARRINGS ($35)

CALENDAR

GALLERY TALK: FASHION AND FOSCHI Wednesday, March 23, 3 p.m. Join fashion historian and UGA doctoral student Sara Idacavage for a special interactive gallery program focused on the clothing and textiles featured in Foschi’s portraits. CURATOR TALK: “IN DIALOGUE: VIEWS OF EMPIRE: GRAND AND HUMBLE” Wednesday, March 30, 2 p.m. Join Asen Kirin, Parker Curator of European Art, for a gallery talk focused on 19th-century Russian lithographs currently on view in our “In Dialogue” installation.

ZOOM LECTURE: DANIELLE O’STEEN: “LOU STOVALL AND HIS WORKSHOP, INC.: SCREENPRINTING INWASHINGTON, D.C.” Thursday, March 3, 5:30 p.m. O’Steen is curator of the exhibition “Lou Stovall: On Inventions and Color,” which will be on view at the Kreeger Museum in Washington, D.C., through April 16, 2022 . PANEL DISCUSSION: INTERDISCIPLINARY PERSPECTIVES ON JENNIFER STEINKAMP AND THE TECHNOLOGY OF NATURE Thursday, March 17, 4 p.m. Led by curator of American art Jeffrey Richmond-Moll, this panel discussion will feature faculty from the Lamar Dodd School of Art, Warnell School of Forestry and Natural Resources and State Botanical Garden of Georgia. Together the panelists will discuss Steinkamp’s “Mike Kelley” — an animated windblown tree that cycles through the seasons — in relation to the fields of contemporary art, digital media, forest ecology and botany. HOLBROOK LECTURE: ELIZABETH CURRIE: “EVERYDAY PEOPLE: DRESS AND ART IN THE ITALIAN BAROQUE” Thursday, March 24, 5:30 p.m. This talk, presented by Elizabeth Currie, lecturer and author specializing in fashion and textile history, will focus on styles of clothing, materials and accessories to show how stereotypes developed surrounding physical appearances. Drawing on visual sources, social histories, surviving garments and textiles, it will discuss how dress can shed light on contemporary perceptions of social groups who were often marginalized and offer up vital clues about their lived experiences.

TOURS AND GALLERY TALKS

Keep an eye on our website/social media channels for the most up-to-date information. TOURS AT TWO Wednesday January 5, March 2 and 9, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. CURATOR TALK: PRINTS BY SOPHIE TAEUBER-ARP Wednesday, January 12, 2 p.m. With Ashlyn Davis, Pierre Daura Curatorial Research Assistant. ARTFUL CONVERSATION Artful Conversation programs are 30 minutes long, focus on one or two works of art and provide opportunities for close looking, open- ended dialogue and discovery. • Wednesday, January 19, 2 p.m. Ricky Swallow, with Callan Steinmann, curator of education • Wednesday, February 16, 2 p.m. Ellis Wilson, with Sage Kincaid, associate curator of education • Wednesday, March 16, 2 p.m. Georgia O’Keeffe, with Callan Steinmann, curator of education SUNDAY SPOTLIGHT TOURS Sunday, January 23, February 20 and March 20, 3 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. CURATOR TALK: CELEBRATING AFRICAN AMERICAN ARTISTS Wednesday, February 2, 2 p.m. Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, will present a special tour celebrating African American artists for Black History Month. CURATOR TALK: “WEALTH AND BEAUTY: PIER FRANCESCO FOSCHI AND PAINTING Nelda Damiano, Pierre Daura Curator of European Art, will give a gallery talk in the exhibition. CURATOR TALK: “LOU STOVALL: OF LAND AND ORIGINS” Wednesday, February 23, 2 p.m. With Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art. IN RENAISSANCE FLORENCE” Wednesday, February 9, 2 p.m.

LECTURES

ARTIST TALK: YATIKA STARR FIELDS Thursday, January 20, 5:30 p.m. Yatika Starr Fields (Osage, Cherokee and Creek) is a painter known for his vibrant, large-scale murals. In 2019, Fields produced a series of lithographs and monotypes during a residency at Crow’s Shadow Institute of the Arts. In this talk, Fields will discuss his larger body of work, with a focus on that print series. “Sun Carrier Series: Scorpion Bowl” is currently on view in “Collective Impressions: Modern Native American Printmakers.” ZOOMARTIST TALK: ARTHUR TRESS Wednesday, January 26, 2 p.m. In 1968, Volunteers in Service to America commissioned photographer Arthur Tress to document the endangered folkways of Appalachia. The ravaged landscape of this region spurred an environmental awareness in his work, including a series on resource extraction and the human costs of pollution. In this conversation with curator of American art Jeffrey Richmond-Moll, Tress will discuss this early series of photographs and their impact on his decades-long photographic career. The exhibition, “Inside Look: Selected Acquisitions from the Georgia Museum of Art,” features a selection of Tress’ Appalachia photographs. ARALEE STRANGE LECTURE: DARE DUKES, “BANGING AGAINST THE BARREL: HOWCULTURAL PRODUCTION NURTURES HEALING AND POWER AT THE INTERSECTION OF PERSONAL AND COMMUNITY NARRATIVES” Thursday, February 10, 5:30 p.m. Dare Dukes’ leadership at Deep Center in Savannah transformed a creative writing program into a social justice organization that disrupted the traditional bootstraps narrative in education, and insisted on calling out white supremacy in the systems that served young people.

SPECIAL EVENTS

THIRD THURSDAY Thursday, January 20, February 17 and March 17, 6 – 9 p.m. Athens’ established venues for visual art hold Third Thursday, an event devoted to art in the evening hours, on the third Thursday of every month from 6 until 9 p.m. to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org.

STUDENT NIGHT: RENAISSANCE ROMANCE

Thursday, February 10, 6:30 — 8:30 p.m. Join the Georgia Museum of Art Student Association for a night of music, fun and themed activities to celebrate the latest exhibitions, including “Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence.” Student Night is generously sponsored by the UGA Parents Leadership Council.

GIRL SCOUT DAY Saturday, March 19, 10 a.m. – noon

ART + WELLNESS STUDIO Sunday, March 20, 2 – 4 p.m.

YOUTH AND FAMILY PROGRAMS

March is Women’s History Month. Learn about women artists and work toward completing badge requirements. After completing activities in the galleries, scouts can create a work of art in the studio classroom or take an art kit home while supplies last. Make troop reservations at gmoa-tours@uga.edu. FAMILY DAY: MODERNISMON PAPER Saturday, March 26, 10 a.m. — noon Exciting and colorful works on paper abound in the exhibition “Graphic Eloquence.” Participate in Art Cart activities, take a closer look at the variety of materials modern artists used and then make your own inspired watercolor at home using the free Family Day To-Go art kit.

Looking at, making and talking about art can offer a welcome respite. Studies show the therapeutic benefits of art can increase our sense of well-being and connection. Join art therapists Meg Abbot and Mary Safrai as they explore art and create something wonderful together. Program is free but seats are limited; email gmoa-tours@uga.edu@uga.edu to reserve a spot.

Family Day is sponsored by Lucy and Buddy Allen and the Friends of the GeorgiaMuseum of Art.

FAMILY DAY: “VIEWS OF EMPIRE” Saturday, January 15, 10 a.m. — noon The exhibition “Views of Empire” brings together prints (and a printed silver box) that show sweeping views of St. Petersburg, Russia, and the people who lived and worked there. Participate in Art Cart activities related to this exhibition, practice coloring black- and-white prints and then decorate your own metal box at home using the free Family Day To-Go art kit. TODDLER TUESDAY Enjoy looking at art and story time together in the galleries and then complete an art activity just for the little ones. This free program is designed for families with children ages 18 months to three years. Seats are limited; email gmoa-tours@uga.edu to reserve a spot. • Tuesday, January 18, 10 a.m.: Circles, Rectangles and Squares, Oh My! • Tuesday, February 22, 10 a.m.: All That Glitters • Tuesday, March 22, 10 a.m.: Birds and Butterflies TEEN STUDIO: GEOMETRIC&MODERN Thursday, January 20, 5:30 – 8 p.m. Visit the exhibition “Inside Look” and then create your own geometric modern art print. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. Seats are limited; email gmoa-tours@uga.edu to register. FAMILY DAY: AMERICAN ARTIST LOU STOVALL Saturday, February 26, 10 a.m. – noon View screen prints by master printmaker Lou Stovall, participate in Art Cart activities related to the exhibition “Lou Stovall: Of Land and Origins,” view screenprinting demonstrations and then make your own Stovall-inspired round work of art at home using the free Family Day To-Go art kit.

FILMS

“BLACK IS THE COLOR: AHISTORYOF AFRICAN AMERICAN ART” Thursday, February 24, 7 p.m.

This film highlights key moments in the history of African American visual art, from Edmonia Lewis’s 1867 sculpture “Forever Free” to the work of contemporary artists such as Whitfield Lovell, Kerry James Marshall, Ellen Gallagher and Jean-Michel Basquiat. Both comprehensive and lively, “Black Is the Color” is a much-needed survey of great work by artists whose contributions were neglected by the mainstream art world for far too long. 52 minutes. ESPAÑA EN CORTO: SPANISH SHORT FILM FESTIVAL Tuesday and Wednesday, March 29 and 30, 7 p.m. Join us for the 9th annual Spanish Short Film Festival, España en Corto, started and organized by UGA graduate students, showcasing award-winning Spanish short films. This program is cosponsored by the Georgia Museum of Art and UGA’s department of Romance languages.

WORKSHOPS AND CLASSES

YOGA IN THE GALLERIES Thursday, January 20, February 17 and March 17, 6 p.m. Join us for a free yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. This program is available both in-person and via Zoom. Email gmoa-tours@uga.edu to reserve a seat. MORNINGMINDFULNESS Friday, January 21, February 4 and 18, March 4 and 18, 9:30 a.m. The Georgia Museum of Art invites you into the galleries to participate in free guided mindfulness meditation, held every other Friday. No experience necessary. This program is available both in-person and via Zoom. Email gmoa-tours@uga.edu to reserve a seat. STUDIOWORKSHOP: EMBROIDERY AND FIBER ARTS Thursday, February 10, 17 and 24, 6:30 – 8:30 p.m. Teaching artist Gabriella Victorio will lead this three-part series of studio-based courses for artists of all experience levels. $15 materials fee. Space is limited; email gmoa-tours@uga. edu to register.

TEEN STUDIO: “SOUNDSUIT” Thursday, March 17, 5:30 – 8p.m. Teens ages 13 – 18 are invited to this

DRAWING IN THE GALLERIES Sunday, February 13, 2 – 4 p.m.

studio-based workshop led by local artist and educator Kristen Bach. Check out Nick Cave’s “Soundsuit” and then create your own contemporary art from a variety of materials. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. Seats are limited; email gmoa-tours@uga.edu to register.

Experience the pleasure of drawing in the museum’s galleries with teaching artist Phil Jasen. Supplies and instructions provided. Program is free but seats are limited; to reserve a spot email gmoa-tours@uga.edu.

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