Facet Spring 2024

SPRING 2024

p. 4

table of CONTENTS

From the Director p.3

Exhibitions p.4

An Interview with Artist Kei Ito p.8

Gallery Spotlight: “Test Able” p. 10

A Homecoming for Pier Francesco Foschi p.12

12th Henry D. Green Symposium p. 14

The Art of Giving: The Elizabeth Firestone Graham Foundation p.16

p. 8

Museum Notes p.17

In the Shop p.18

Camera Roll p.19

Hours Tuesday and Wednesday: 10 a.m. – 5 p.m. Thursday: 10 a.m. – 9 p.m. Friday and Saturday: 10 a.m. – 5 p.m. Sunday: 1 – 5 p.m. Closed Mondays. Museum Shop closes 15 minutes prior. Free tickets required.

706.542.4662

Department of Publications Hillary Brown and Jessica Luton

Design Noelle Shuck

p. 19

from the DIRECTOR

board of ADVISORS

Carl. W. Mullis III* Gloria B. Norris*** Sylvia Hillyard Pannell Randall S. Ott Gordhan L. Patel Janet W. Patterson Christopher R. Peterson, chair Kathy B. Prescott Julie M. Roth Alan F. Rothschild* Bert Russo Sarah P. Sams** D. Jack Sawyer Jr.* Henry C. Schwob** Margaret R. Spalding Dudley R. Stevens Brenda A. Thompson William E. Torres Carol V. Winthrop Gregory Ann Woodruff

B. Heyward Allen Jr.* Rinne Allen Amalia K. Amaki** June M.Ball Karen L. Benson** Sally Bradley Jeanne L. Berry Devereux C. Burch* Robert E. Burton** Lacy Middlebrooks Camp Shannon I. Candler* Wes Cochran Harvey J. Coleman James Cunningham Martha Randolph Daura*** Todd Emily James B. Fleece John M. Greene** Judith F. Hernstadt Marion E. Jarrell** Jane Compton Johnson* George-Ann Knox* Shell H. Knox*

David Odo (center) with UGA Student Government Association president George Moore (left) and multicultural organizational outreach director Popi Marquez (right).

Allergies aside, who doesn’t love spring?

While I consider Georgia winters to be mild compared to my recent years of braving the winters in Massachusetts, spring’s warmer, brighter days and budding plants have the same influence here in the South. The arrival of spring lifts our spirits, encourages us to spend more time outdoors and reminds us to reconnect with friends we might not have spent enough time with during the colder, darker days of winter. Despite the renewed spark of life that the season brings for most, the changing season doesn’t necessarily bring about the same social renewal for those in our community who struggle with loneliness and isolation. Indeed, Dr. Vivek Murthy, the Surgeon-General of the United States, has named loneliness as an urgent public health issue that has a profoundly negative effect on both individ - ual health outcomes and society as a whole. Dr. Murthy points out that commu- nity organizations can play a critical role in creating spaces for connection, and the Georgia Museum of Art is just such an organization. As I think about how the museum can continue fostering a deeper sense of connection among people through positive social relationships, I remain steadfast in my aim to make sure that the museum is a valued and reliable source of support. Visiting the museum with friends or loved ones is an opportunity to put away our phones, take a break from our other distractions and connect with each other. In the visually rich environment of our museum galleries, our senses are heightened as we look at the works of art on view together. This close-looking experience encourages us to slow down, listen more deeply to each other and connect. As the season rejuvenates us back into a more active life, I hope that you’ll come to the museum to participate in one of the many programs we offer that facilitate connections with new friends. Whether you’d like to try yoga or mind- fulness in the unique setting of an art gallery, enjoy time with other families in the community at one of our Family Day programs or attend a film screening, lecture or artist talk, we offer a variety of engaging ways for you to connect with our collections and others from the community. And speaking of friends, why not become a Friend of the Museum? It’s free, signs you up for all of our digital communications (such as our weekly email update and quarterly newsletter) to come directly to your inbox and is a great means to meet new people who are also interested in connecting through art. As Dr. Murthy says: “Each of us can start now, in our own lives, by strength- ening our connections and relationships,” to begin to tackle loneliness. Visiting museums helps connect us with others who are directly sharing an experience with us, whether viewing art or attending a program, but it also allows us to commune with the work of artists who have been wrestling with some of the same issues we face in our own lives.

Ex-Officio Linda C. Chesnut Bree Hayes S. Jack Hu David Odo Jeanette Taylor

Andrew Littlejohn D. Hamilton Magill, chair elect David W. Matheny, immediate past chair Marilyn M. McMullan Marilyn D. McNeely Ibby Mills

* 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 repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. The University of Georgia does not discriminate on the basis of race, sex, religion, color, national or ethnic origin, age, disability, sexual orientation, gender identity, genetic information or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-administered programs; or employment. Inquiries or complaints should be directed to the Equal Opportunity Office 119 Holmes-Hunter Academic Building, University of Georgia, Athens, GA 30602. Telephone 706-542- 7912 (V/TDD). Fax 706-542-2822. https://eoo.uga.edu/. Front cover: Richard Prince (American, b. 1949), untitled (Milton Berle), 2021. Inkjet on canvas, 100 × 46 1/4 inches. Courtesy Richard Prince. Back cover: Richard Prince (American, b. 1949), untitled (Milton Berle), 2021. I nkjet on canvas, 100 × 46 1/4 inches. Courtesy Richard Prince.

David Odo, Director

exhibitions

Richard Prince (b. 1949), untitled (Milton Berle), 2021. Inkjets on canvas, varying dimensions. Courtesy Richard Prince.

Richard Prince: Tell Me Everything

February 10 – June 16, 2024

“Tell Me Everything” features artist Richard Prince’s most recent suite of works based on the joke archives of influential 20th-century American comedian Milton Berle (1913 – 2000).

Berle, whose career lasted more than eight decades, often docu- mented jokes on index cards, which he organized by subject in file drawers. Prince, an avid book and rare manuscript collector, bought four cabinets of thousands of Berle’s jokes at a Los Angeles auction. Although viewers are not privy to individual jokes, the enlarged inkjet images developed from this archive reference the centrality and lasting significance of jokes in communicating ideas about everyday life, taboo subjects and broader cultural norms. During the 1980s, Prince began reappropriating old jokes in his work, utilizing handwritten jokes and later creating large monochromatic canvases with silkscreens of individual jokes on the surface. The title of the exhibition was inspired by the first joke he came across in a secondhand bookshop: “I went to see a psychiatrist. He said, ‘Tell me everything.’ I did, and now he’s doing my act.”

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

Richard Prince (b. 1949), untitled (Milton Berle), 2021. Inkjet on canvas, 100 x 46 1/4 inches. Courtesy Richard Prince. Richard Prince (b. 1949), untitled (jokes), 1989. Acrylic and silkscreen on canvas, 96 × 75 inches. Courtesy Richard Prince.

exhibitions

Kei Ito: Staring at the Face of the Sun January 27 – July 14, 2024

Kei Ito uses photography to examine the intergenerational trauma of nuclear disaster and the possibilities of healing and reconciliation.

Ito’s grandfather, who survived the atomic bomb dropped on Hiroshima, described the day as if there were “hundreds of suns lighting up the sky.” Ito uses camera-less techniques, exposing light-sensitive material to sunlight for the length of a single breath. In this way, he ties the invisi- bility of radiation (whether from the sun or nuclear weaponry) to the life-breath of the human body. Ito’s work also connects nuclear war’s impact abroad to the effects of nuclear testing on “down - winders” on the American continent. As a result, he poignantly underscores our collective inheri- tance in the nuclear age, as both the attacker and the attacked suffer at an apocalyptic, global scale.

cutline

Curator: Jeffrey Richmond-Moll, George Putnam Curator of American Art, Peabody Essex Museum

Sponsors: Funding made possible by the Henri and Tomoye Takahashi Charitable Foundation, with additional support from the Friends of the Georgia Museum of Art and Sara and John Shlesinger

An installation photograph by Kei Ito (b. 1991) showing the artist lying next to his “R_st in Peace: Little Boy,” 2024.

Kei Ito (b. 1991), “Archive of Last Wishes,” 2022 – 24. Glass jars with various oils and honey, memorabilia/artifacts, C-prints. Installation photograph by the artist.

Nancy Baker Cahill: Through Lines October 28, 2023 – May 19, 2024

Installation photograph of Nancy Baker Cahill (American, b. 1970), “Margin of Error,” 2019 – 23. Augmented reality, accessible through 4th Wall app. Production by Drive Studio and Shaking Earth Digital. Courtesy of the artist. Photo by Jason Thrasher.

“Nancy Baker Cahill: Through Lines” highlights the artist’s interdisciplinary artistic practice and the role of emerging technologies in contemporary art.

Nancy Baker Cahill’s work examines ideas of systemic power, consciousness, the human body and the impact of humans on the biosphere. This mid-career survey exhibition is Baker Cahill’s first solo museum show. Expanding upon her background in tradition- al media, the artist redefines the possibilities of drawing in contemporary art. She begins with finely rendered graphite drawings that evolve into torn paper sculptures, then scans and animates them into 3D digital immersive videos. The drawings, altered by software, later reappear as single cinematic frames in the form of fine art prints. “Through Lines” moves across spatial dimensions and media, following Baker Cahill as she investigates materiality and immateriality through her progres- sion from drawing into digital works of art in augmented reality (AR). Featuring drawings, sculptural installations and single and multichannel videos, the exhibition traces Baker Cahill’s mark-making from traditional modes of artistic production into technologized ones. The works invite reconsiderations of fine art and the art historical canon in the face of emerging technol- ogies while examining site, time and space as they relate to the physical body, the digital, the permanent and the ephemeral. “Through Lines” invites guests and viewers to interact with art outside traditional brick-and-mortar exhibition spaces with an animated, geolocated AR installation in the museum’s Jane and Harry Willson Sculpture Garden. This monumental artwork,

“Margin of Error,” imagines an inevitable and toxic outcome cre- ated by humans’ impact on the environment. The title referenc- es the statistical probability of an event to occur, in this instance the occurrence of environmental disaster. By placing this work in the museum’s sculpture garden, the exhibition underscores consequence of the impending biological, chemical and geologi- cal disasters that will take place in our own backyards. Curator: Kathryn Hill, associate curator of modern and contemporary art Sponsors: The Willson Center for Humanities and Arts, John and Sara Shlesinger, the W. Newton Morris Charitable Foundation Fund and the Friends of the Georgia Museum of Art

A Perfect Model: Prints after Anthony van Dyck’s Portraits June 8 – December 1, 2024

DON’T MISS

Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection THROUGH JULY 7, 2024

Anthony van Dyck (Flemish, 1599 – 1641) was one of the most successful artists of his generation, especially admired for his evocative portraits.

He undertook the ambitious project of creating a series of prints depicting famous scholars, military men, nobles and artists. Van Dyck’s prints were widely copied by his con- temporaries and were often altered and reprinted over the centuries. This exhibition presents prints that attest to Van Dyck’s lasting impact as printmaker and portraitist.

Power and Piety in 17th- Century Spanish Art THROUGH july 28, 2024

Curator: Nelda Damiano, Pierre Daura Curator of European Art

Paulus Pontius (Flemish, 1603 – 1658) after Anthony van Dyck (Flemish, 1599 – 1641), “Carolus de Colona,” n.d. Engraving, 16 × 11 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Dr. and Mrs. S. William Pelletier. GMOA 1981.57.

“how do you capture something that is not in front of you?” AN INTERVIEW WITH ARTIST KEI ITO

Kei Ito looks over “Sungazing Scroll” in this installation photograph of his current exhibition on view at the Georgia Museum of Art. Image provided by the artist.

For Kei Ito, the bombing of Hiroshima in 1945 is just as palpable and present now, nearly 80 years later, as it was the day his grandfather survived it. He carries the weight of the trauma with him as though he experienced it himself. He remembers his grandfather’s description of the bombing vividly. “It was like a hundred suns lighting up the sky,” he recalls his grandfather saying.

In his exhibition at the Georgia Museum of Art, “Staring at the Face of the Sun,” Ito’s “irradiated histories” examine the detrimental effects of nuclear weapons and the possibility of healing and reconciliation. Ito’s works span five galleries and collectively serve as an early career survey while honoring his grandfather’s legacy as a survivor. Following the bombing of Hiroshima, Ito’s grandfather became an outspoken anti-nuclear activist who gave “talks at the UN, in Russia and the United States, both official and unofficial, at protests, conferences, all sorts of these things,” Ito said. Sadly, radiation, the weapon’s unseen destruction, led to his grandfather’s untimely death from cancer when Ito was just nine years old. Born in Tokyo, Japan, Ito moved by himself to New Zealand when he was in high school. There, he found the initial spark for his passion for art and photography. After high school, he followed his interest in art to the United States and earned his undergraduate degree in art from the Rochester Institute of Technology. He then moved to Baltimore, where he obtained his master of fine arts degree at the Maryland Institute of Art.

Installation photograph of Kei Ito’s “Eye Who Witnessed.” Image provided by the artist.

However, nuclear weapons have always and continue to pose an equal threat to everyone. Americans, for exam- ple, were actually the first victims of nuclear weapons. Scientists in direct contact with weapons, as well as people in communities in close proximity to government testing sites, known as downwinders, died because of exposure to radiation. “I hope this exhibition can bridge the irradiated trau- mahood between Japanese and American victims and ultimately serve as a reminder not to repeat the same tragedy,” he said. “Anyone in today’s world could be a victim of a nuclear weapon.” The exhibition’s five galleries of works, powerful when experienced as a collective, command attention and con- sideration from visitors. As installation art, these tem- poral monuments create an atmosphere that ultimately implores visitors to see things from a more understand- ing perspective. “Usually, when someone goes to a memorial, even if they don't know what the memorial is about initially, they feel a certain emotional empathy,” he said. “I’ve tried to create art that applies empathy to the realization of our standing today. Knowing where we stand allows us to determine where we go from here.”

His current exhibition is a testament to his belief in the power of performance or installation art. By creating the experience of “temporal monuments” for viewers, the exhibition explores the potential dangers of nuclear weap- ons through the lens of collective trauma. The experience is meant as a catalyst for deep contemplation and thorough examination by visitors. Through cameraless photography, the oldest form of photography, Ito uses motion, breath, light and chemical reactions — the seen and unseen — to mimic the complicated reality of the obvious, the subtle and even the invisible dangers of nuclear weapons. “When I was starting to make work about nuclear issues, I wondered: How do you capture something that is not in front of you? If the camera is a device that has a lens pointed forward and captures what exists in front of you, how do I capture something that's gone or invisible, like radiation or history or memory?” he said. “My answer was to get rid of the camera and channel into the most basic component of photography: light.” “I think about the idea of light and myself as a containment of this light a lot,” he added. “Without a camera, I focused in on the idea of everything as photography; myself as a camera or film containing this idea of capturing light and irradiated trauma.” For Ito, the point is to get viewers to stop, pause and con- sider fully the cost of nuclear warfare and conflict. When it comes to the idea of war, “it’s an abstract concept for most Americans. It’s something they read about on Twitter (X), see on the news or maybe read about in a newspaper,” he said. “My belief in art is not to present a solution, but rather to try to question or propose a question to the audience,” he said. “Even though global world conflict has gone to a ter - rible place these days, from an American perspective these conflicts usually happen outside of everyday life.”

A close up installation photograph of “Sungazing Scroll.” Image provided by the artist.

“TEST ABLE” JUST OUTSIDE OF KEI ITO’S EXHIBITION IN THE GALLERIES, YOU’LL FIND RALSTON CRAWFORD’S “TEST ABLE,” A WORK FROM OUR COLLECTION THAT SPEAKS TO THE TOPIC OF ITO’S SHOW: NUCLEAR TESTING.

Crawford’s painting takes its title from the first nuclear weapons test after the bombing of Nagasaki and Hiroshima in 1945. Operation Crossroads dropped two nuclear bombs (named Gilda, after Rita Hayworth’s character in the film of the same name, and Helen of Bikini) in Test Able and Test Baker at Bikini Atoll. This coral reef of 23 islands is northeast of Australia as part of the Marshall Islands. The U.S. government chose it as a nuclear testing site after World War II, forcibly relocating its inhabitants and conducting 23 nuclear tests there through 1958. Although the U.S. attempted to return Bikini islanders and their descen- dants to the islands in 1970, those efforts were short-lived. Well water remained contaminated as a result of nuclear testing, and residents of the island were once again forced to evacuate. Crawford, as chief of the Visual Presentation Unit of the Army Air Force’s Weather Division during the war, used his art skills to develop ways to represent weather through easily recognizable symbols, akin to the ones you might see today in a weather re- port. After the war, Fortune Magazine hired Crawford to docu- ment the nuclear weapons tests of Operation Crossroads. He was the only artist among more than 100 reporters and photographers who were present when the bombs for Test Able And Test Baker were dropped. From the press ship U.S.S. Appalachian, he looked on as Gilda was detonated 520 feet above a fleet of target ships. Crawford made eight paintings in reaction to the test and wrote: “These pictures constitute a comment on destruction. They most certainly do not explain the atomic bomb, nor do they give quan- titative information about the ships. They refer to these facts. They refer in paint symbols to the blinding light of the blast, to its color, and mostly to its devastating character as I saw it in Bikini Lagoon. . . . My purpose has been to convey ideas and feelings in a formal sequence, and not reproduce nature.” Fortune reproduced two of the paintings in its December 1946 issue, including this one, and a copy of the magazine is in a case next to the painting. The painting features jagged, overlapping forms and twisted lines that collide to represent ships destroyed by the explosion. Yellow and orange curves capture the intense light, heat and toxic fallout of the bombing.

You can see “Test Able” in its current location through July 14, when the Kei Ito exhibition closes.

A HOMECOMING FOR PIER FRANCESCO FOSCHI Georgia Museum of Art show opens in Florence, Italy

Pier Francesco Foschi (1502 – 1567) was a Florentine through and through.

He first trained with his father and then joined the workshop of Andrea del Sarto, one of the leading artists in Florence and perhaps the most influen - tial painter of the Renaissance. Foschi spent his career in his hometown, where prominent families commissioned him to paint portraits and devotional images. Many of his work can be found in churches around the city. In November 2023, on the heels of groundbreak- ing, scholarly research carried out at the Georgia Museum of Art, the Galleria dell’Accademia in Florence presented the first exhibition devoted to Foschi in Europe. Nelda Damiano, the Georgia Museum of Art’s Pierre Daura Curator of European Art, came to her job at the University of Georgia with an appreciation for Foschi. Her doctoral degree focused on Italian Renaissance art and her previous job was at the Cummer Museum of Art & Gardens, in Jacksonville, Florida, which has a stunning Foschi portrait in its collection. She spearheaded the exhibition “Wealth and Beauty: Pier Francesco Foschi and Renaissance Florence,” which was on view in Athens in early 2022 and was the first museum exhibition in the world focusing on the artist. In the process of organizing the exhibition and putting together its catalogue (the first widely avail - able and comprehensive publication on the artist), Damiano made many contacts in Florence, including Cecilie Hollberg, the director of the Accademia. They agreed that it would be ideal to have a parallel show in Foschi’s hometown, especially given the fragile state of some of his centuries-old paintings. The catalogue for the show in Athens reproduced images of frescos and altarpieces that were unable to make the trip across the Atlantic, but in Florence, visitors could just walk around the city to get their true fill of Foschi.

“Working together with the Galleria dell’Accademia to honor Foschi in his native city and introduce him to audiences from around the world has been an amazing experience."

Nelda Damiano poses at the Galleria dell’Accademia’s exhibition of artist Pier Francesco Foschi’s work.

Installation photos from the exhibition of artist Pier Francesco Foschi’s works at the Galleria dell’Accademia in Florence, Italy.

Hollberg worked with Damiano, Elvira Altiero (at the Accademia) and Simone Giordani (professor of art history and Foschi specialist) to assemble the Florentine version of the exhibition. Best known as the home of Michelangelo’s David, the Accademia attracted more than 2 million visitors in 2023 and is the second most visited museum in Italy. “The objective of such an extensive and accurate exposition is to provide for the first time in Europe the tools to understand the artistic personality of a master like Foschi and his role in the context of 16th-century Florentine painting,” said Hollberg. “Thanks to our exhibition, in addition to showing forgotten works, important restoration operations have been activated on paintings located in various places in the area, such as one of the altarpieces in the Church of Santo Spirito in Florence.” Damiano wrote for the Accademia’s catalogue and traveled to Florence to assist with the installation of the show. “Just like in Athens, it was excit- ing to open each crate and see the paintings and drawings slowly come to life in the galleries,” said Damiano. “Especially impressive were the large- size altarpieces that normally live in churches but that were now easily viewable, with state-of-the- art lighting.” “Working together with the Galleria dell’Accademia to honor Foschi in his native city and introduce him to audiences from around the world has been an amazing experience,” she added. “Some of the most rewarding aspects of my work is to build ties with colleagues and other institutions, to share research and knowledge and offer visitors oppor - tunities to discover lesser-known artists. I hope those goals were met!"

See a virtual tour of the exhibition in Florence.

12TH HENRY D. GREEN SYMPOSIUM OF THE DECORATIVE ARTS

Ulysses Grant Dietz, chief curator emeritus of the Newark Museum of Art, delivers the keynote speech, “Go Big AND Go Home: Collecting Regionally While Thinking Nationally,” at the symposium.

Thank you to everyone who attended, sponsored or otherwise made possible the 12th Henry D. Green Symposium of the Decorative Arts, “The Past Made Public: Taking Stock,” held February 2 and 3 at the University of Georgia Center for Continuing Education & Hotel.

This year’s speakers were stellar, and the Georgia Museum of Art’s former curator of decorative arts, Dale L. Couch, was honored with the Henry D. Green Lifetime Achievement Award for his work in the field. The award honors Couch’s lifetime commitment to promoting connoisseurship, scholarship and the next generation of scholars in the decorative arts.

Dale Couch (left), former Georgia Museum of Art curator of decorative arts, and William Burdell (right), longtime Green Symposium supporter, pose together after Couch was honored with the Henry D. Green Lifetime Achievement Award at this year’s event.

SPONSORS

Miscellaneous Gifts

$5,000

Lee Epting Peggy Galis Mitzi Hagan Sandra S. & Cecil C. Hudson

John Knowlton & Bob Davis William Markert III Visit Athens GA

Marilyn & John McMullan Anne & Bill Newton The Richard C. Owens Charitable Foundation

$2,500

Terry L. Barrett Devereux & E. Davison Burch Linda & David Chestnut Beverley & Jeff Evans Material Culture & Arts Foundation Marian & Carl Mullis III The National Society of the Colonial Dames of America in the State of Georgia

$1,800

Lucy & B. Heyward Allen Jr. Brunk Auctions Mary & William Burdell Jr. Kathryn & Henry D. Green Jr. Hedgerow Farms Frances & Joseph Hamilton Hilsman III Christopher Howard & Carey O. Pickard III Lyn & Whitey Hunt Julie G. Jenkins MOTSTA Fund/Community Foundation for Northern Virginia Reece Preservation Services, LLC Betsy & Lee Robinson Claire & G. Boone Smith III Kenneth H. Thomas William Wansley in memory of Louise Dunn Wansley and in honor of Stevi and Elizabeth Wansley

Top: Attendees at a reception at the Hill. Middle: Raylee and Chase Dean. Bottom: Fred and Beth Mercier.

15 15

the art OF GIVING

The museum recently received a major grant from the Elizabeth Firestone Graham Foundation to reimagine and reinstall our permanent collection galleries. The $1,085,000 grant is the largest in the museum’s history, aside from a grant from the Woodruff Foundation for the building campaign.

THE ELIZABETH FIRESTONE GRAHAM FOUNDATION advances contemporary art by supporting the work of emerging and mid-career artists, providing exposure for contemporary art where it may not otherwise be seen, and promoting awareness of the collections of grantee organizations. The foundation is specifically interested in supporting the museum’s work as a university museum. To that end, a portion of the grant will expand the museum’s opportunities for UGA students, ensuring that they benefit from enhanced engagement with the museum’s collections and staff. said S. Jack Hu, UGA’s senior vice president for aca- demic affairs and provost. “We are immensely grateful to the Elizabeth Firestone Graham Foundation for supporting the museum’s work and the university’s teaching, research and service missions.” “THE UNIVERSITY OF GEORGIA IS VERY PROUD TO BE HOME TO THE GEORGIA MUSEUM OF ART,”

“THIS GENEROUS GRANT FROM THE ELIZABETH FIRESTONE GRAHAM FOUNDATION IS TRULY TRANSFORMATIVE,”

said David Odo, the museum’s director. “The foundation’s investment in the museum will enable us to think deeply and broadly about contemporary art and museum practice and to act boldly to implement research-based, meaningful change in the galleries.”

The grant will enable the museum to build on recent efforts to develop its contemporary art program. Associate curator of mod- ern and contemporary art Kathryn Hill will lead our work with contemporary artists and new acquisitions.

to come to the Georgia Museum of Art to exchange ideas and share their knowledge as we test new approaches to our exhibitions, teaching and programs,” said Shawnya Harris, the museum’s deputy director of curatorial and academic affairs and Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art. These visits will benefit current students, scholars and visitors, as well as the next gen- eration of museumgoers. “THE PROJECT WILL CONVENE DISTINGUISHED ARTISTS AND SCHOLARS FROM ACROSS CAMPUS, AROUND THE NATION AND THROUGHOUT THE WORLD

The grant will also fund new acquisitions of contemporary art that will be installed in the galleries alongside the museum’s existing collection, creating new conversations and suggesting new ways to see and organize knowledge. The museum plans to generate ideas for new installations in active conversation with contemporary artists.

museum NOTES

GEORGIA ASSOCIATION OF MUSEUMS

GALLERY MAINTENANCE

We’ll be taking a short break from exhibitions for some overdue gallery maintenance in half of the museum after “Kei Ito: Staring at the Face of the Sun” closes. The temporary exhibitions wing of the museum, consisting of eight galleries, will be closed from July 22 through the end of August so that workers can remove and replace all drywall, replace all track lighting, resurface the wooden floors and replace carpet in some of the galleries. Some of these tasks have not been done since the museum opened its East Campus building in 1996, and paint build-up on the existing drywall means that new paint does not adhere well. The track lighting uses cans that are no longer manufactured and will now be a uniform system with the lighting in the permanent collection wing. The elevator, restrooms and water fountain that are in that wing will remain accessible throughout the project, and although the construction will produce some noise, it’s a great opportu- nity to refamiliarize yourself with the permanent collection. MUSEUM AWARDED TERRA FOUNDATION GRANT The museum has received a grant for $75,000 from the Terra Foundation for American Art that will support the planning process for the exhibition “The Sculpture of Edmonia Lewis.” The exhibition, which will tour nationally, will focus on the pioneering works of 19th-century neoclassical sculptor Mary Edmonia Lewis. A talented young sculptor who traveled to Rome in 1866, Lewis broke international, racial and gender barriers. Her status as a successful woman artist, along with her African and Indigenous (Mississauga) identity, compli- cated the critical reception and promotion of her work during her life. Following her death, Lewis’ contribution to American sculpture was largely underrecognized. Organized by Shawnya L. Harris, the museum’s deputy director of curatorial and academic affairs and Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, and Jeffrey Richmond-Moll, the museum’s former curator of American art and now George Putnam Curator of American Art at the Peabody Essex Museum, the exhibition will present 25 to 30 unique sculptures produced from the 1860s to 1890s that represent the vast majority of extant works by the artist. The grant will facilitate initial object research and collab- oration among advisors to the project and across collecting institutions that own works by Edmonia Lewis. The museum also plans to use the funds to organize a gathering of schol- ars in New York City to enhance research and programming initiatives and to create new opportunities for intellectual engagement with the university’s academic audiences.

The annual Georgia Association of Museums (GAM) conference was held Athens in January, with the theme “Finding the Right Frequency: Museums and Communities in Harmony.” Attendees experienced behind-the-scenes work at the museum, courtesy of a vaults tour with deputy director of collections and exhibitions and head registrar Tricia Miller and a workshop on multisensory inclusivity with associate curator of education Mallory Lind . The museum also hosted one of the conference’s evening receptions. Elizabeth Howe Marable , one of our preparators, led a work- shop on using SketchUp software for exhibition design. Michael Lachowski , our public relations coordinator, participated on a panel discussion on finding museum jobs and served on the host committee for the event, helping to ensure the success of the whole event and taking photos throughout the conference. Mill- er participated in a panel on collections continuity planning, and Callan Steinmann , our head of education and curator of academic and public programs, participated in the Georgia Museum Educa- tors Roundtable. On the last day of the conference, GAM presented its annual awards. Kathryn Hill , associate curator of modern and contem- porary art, received the award for emerging museum professional, and Steinmann accepted the award for best exhibition in its budget category for “Art is a form of freedom,” a collaborative project with University of Georgia students and incarcerated students at Whitworth Women’s Facility.

Kathryn Hill and Callan Steinmann with their Georgia Association of Museums awards.

LIT UP CANDLE CO. $15 – $22

in the SHOP

HIPPIE GLASS $18

BOOKS $5 – $100

T-SHIRTS $18 – $22

SHOP ONLINE

FOR MORE PHOTOS VISIT US ON FLICKR, FACEBOOK OR INSTAGRAM

CAMERA ROLL

90 CARLTON: WINTER

JEDI (Justice, Equity, Diversity and Inclusion advisors at UGA) TOUR

GEORGIA ASSOCIATION OF MUSEUMS CONFERENCE

CALENDAR

TOURS AND GALLERY TALKS

SPECIAL EVENTS

YOUTH AND FAMILY PROGRAMS

THIRD THURSDAY Thursday, April 18, May 16 and June 20, 6 – 9 p.m. Athens’ established venues for visual art hold this event devoted to art in the evening hours on the third Thursday of every month to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org. POP-UP ARTIST MARKET Saturday, April 27, 10 a.m. – 3 p.m. The Georgia Museum of Art’s Student Associa- tion hosts its 8th-annual gallery and artist market event at Stan Mullins’ Art Studio. Drop by 650 Pulaski Street to check out a vari- ety of art and handmade goods by student and community artists. Rain or shine! See website listing for more details. This program is generously sponsored by the UGA Parents Leadership Council. STUDY BREAK AT THE MUSEUM Tuesday, April 30 Need a break from studying for final exams? Students are invited to stop by the museum on Reading Day to participate in one of our art and wellness programs or take a pause and enjoy some art in the galleries at their own pace. This program is presented in partner- ship with UGA’s Office of Student Care and Outreach and sponsored by the UGA Parents Leadership Council. 90 CARLTON: SPRING Friday, May 17, 6:30 – 8:30 p.m. Join the Friends of the Georgia Museum of Art for a reception featuring a final opportunity to see “Nancy Baker Cahill: Through Lines” and a celebration of our spring exhibitions. Not Yet Friends: $15; Friends of the Museum and Friend + Annual Fund Members (Supporter level): $10; Friend + Annual Fund Members (Reciprocal level and above): free. Advance registration is strongly recommended at https://bit.ly/90c-may-24. Not yet a Friend? Visit jointhemuseum.com to join today. Event Partners: Athens Printing Company, Barron’s Rentals, Epting Events, Guide 2 Athens and Perryander Studio.

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

CURATOR TALK: NANCY BAKER CAHILL Wednesday, April 3, 2 p.m.

Join Kathryn Hill, associate curator of modern and contemporary art, for a gallery talk in the exhibition “Nancy Baker Cahill: Through Lines.” STUDENT SPOTLIGHT TOUR: MARY ALICE SMITH Wednesday, April 10, 2 p.m. In this gallery talk, curatorial intern Mary Alice Smith (’24) will discuss selected objects from the museum’s self-taught art collection. Student Spotlight tours offer a chance to learn about student research and discover the col- lection from a student’s point of view. SUNDAY SPOTLIGHT TOURS Sunday, April 14, May 19 and June 23, 3 p.m. Stop by for a Sunday afternoon tour featuring highlights of the permanent collection led by museum docents. TOUR AT TWO Wednesdays April 17, 24; May 1, 15, 22, 29; June 5, 12 and 26, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. ARTFUL CONVERSATION: JOHN F. PETO Wednesday, May 8, 2 p.m. Artful Conversation programs are 30 min- utes long, focus on just one work of art and provide opportunities for close-looking, open-ended dialogue and discovery. Join Mal- lory Lind, associate curator of education, for a conversation about John F. Peto’s “Old Time Letter Rack.”

TODDLER TUESDAY 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. • Tuesday, April 9, 10 a.m. Five Senses • Tuesday, May 14, 10 a.m. Fun in the Sun • Tuesday, June 11, 10 a.m. Color Story TEEN STUDIO: THROUGH LINES Thursday, April 25, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this stu- dio-based workshop led by local artist and educator Kristen Bach. Visit the exhibition “Nancy Baker Cahill: Through Lines” and make your own work of art inspired by the show. 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: EARTH DAY Saturday, April 27, 10 a.m. – noon

April is Earth Month, with Earth Day taking place on April 22. Explore environmental works of art in the galleries, complete Art Cart activities and create your own work of art inspired by our green planet. For those who cannot attend in person, Family Day To-Go Kits will be available for pick-up starting at 1 p.m. Saturday through the end of day Sunday, while supplies last. GIRL SCOUT DAY Saturday, May 4, 10 a.m. – noon Calling all Girl Scout members and troops to embark on a journey of creativity, explora- tion and inspiration at the Georgia Museum of Art’s Girl Scout Day. 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. This is a drop-in event to fill requirements for various art badges. Make troop reservations at gmoa- tours@uga.edu.

ART ADVENTURES SUMMER 2024

Wednesday, June 19

Day camps, daycares and community centers are invited to take part in this free summer program, with morning and afternoon time slots available on select Tuesdays and Wednesdays in June and July. Each 90-minute session includes interactive gallery tours, games and an art activity. Each session can accommodate up to 30 children, with one chaperone for every 10 kids. To schedule your group’s Art Adventure, contact gmoa-tours@uga.edu or call 706.542.0448.

FAMILY DAY: EYE WITNESS Saturday, May 18, 10 a.m. – noon

CREATIVE AGING ART WORKSHOP Tuesday, April 16, 10 – 11:30 a.m. Lifelong learning through the arts offers opportunities to practice creativity and create community. Join teaching artist Toni Carlucci in the galleries to look at and talk about art in the exhibition “Richard Prince: Tell Me Ev- erything” then come to the studio classroom to make art and new friends. All levels are welcome. Creative Aging programs are geared to ages 55+. Seats are limited; email gmoa- tours@uga.edu to register. YOGA IN THE GALLERIES Thursday, April 18, May 16 and June 20, 6 p.m. Join us for a free yoga class surrounded by works of art in the galleries. Led by instruc- tors from Five Points Yoga, this program is free and open to both beginner and expe- rienced yogis. Sanitized mats are provided. Space is limited and spots are available on a first-come, first-served basis; tickets are available at the lobby desk starting at 5:15 p.m. CREATIVE AGING SEATED YOGA Thursday, May 2, 10:30 a.m. Join us in the galleries for gentle seated yoga led by Raquel Durden. This class will in - clude restorative stretching, deep breathing and mindfulness. All levels and abilities are welcome. Creative Aging programs are geared to ages 55+. Seats are limited; email gmoa- tours@uga.edu to register. CYANOTYPE WORKSHOP WITH KRISTEN BACH Saturday, May 11, 2 – 4 p.m. Join artist Kristen Bach from Treehouse Kid and Craft to experiment with sun-exposure printing. Discover the magic of captur- ing images using the sun’s UV rays in this hands-on experience inspired by Kei Ito’s camera-less photographic prints. Participants will be introduced to alternative photographic techniques and guided through the creation of their own unique designs on light-sensi - tive paper. All supplies will be provided. Seats are limited; email gmoa-tours@uga.edu to register.

ART + WELLNESS STUDIO Sunday, May 19, 2 – 4 p.m.

“Kei Ito: Staring at the Face of the Sun” uses photography to examine the possibilities of healing and reconciliation in the shadow of the Atomic Age. Explore the galleries with in- teractive art cart activities, and make a work of art to take home. For those who cannot attend in person, Family Day To-Go Kits will be available for pickup starting at 1 p.m. Sat- urday through the end of day Sunday, while supplies last. FAMILY DAY: SUMMER SCAPES Saturday, June 15, 10 a.m. – noon Join us as we look at the traditions of land- scape and plein-air painting to celebrate the arrival of summer. Have fun in the galleries with Art Cart activities and create your own work of art inspired by the outdoors. For those who cannot attend in person, Family Day To-Go Kits will be available for pick-up starting at 1 p.m. Saturday through the end of day Sunday, while supplies last. BACKPACK TOURS Check out a Backpack Tour of the permanent collection at the front desk. Available in both English and Spanish, they include gallery ac- tivities, art supplies and looking prompts that can be completed at your own pace. These self-guided tours are free and perfect for a family visit. Recommended for ages 5 – 14.

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 therapist Meg Abbot as we explore art in the exhibition “Richard Prince: Tell Me Every- thing” and create something wonderful to- gether. Seats are limited; email gmoa-tours@ uga.edu to register.

DRAWING IN THE GALLERIES Saturday, May 25, 2 – 4 p.m.

Experience the pleasure of drawing in the museum’s galleries. This workshop is led by teaching artist Joel Rosenburg and provides drawing instruction, art supplies and enough space to spread out. Seats are limited; email gmoa-tours@uga.edu to register. IMPROV COMEDY 101 WITH FLYING SQUID COMEDY Thursday, June 13, 6 – 8:30 p.m. Hosted by Athens-based comedy group Flying Squid Comedy, this fun, student-driven prim - er on the ins and outs of improv will help you learn how to trust your gut instinct, listen to the moment, and find the funny. Open to total beginners or all-star improvisers. Presented in conjunction with “Richard Prince: Tell Me Everything,” based on the joke archives of Milton Berle. Seats are limited; email gmoa- tours@uga.edu to register.

WORKSHOPS AND CLASSES

FILMS

MORNING MINDFULNESS • Friday, April 12, 9:30 – 10:30 a.m. “Slow Art Day”

“IT’S A MAD MAD MAD MAD WORLD” Thursday, June 13, 7 p.m. This 1963 American epic comedy film starring Spencer Tracy and an all-star cast of comedi- ans is about the madcap pursuit of a suitcase full of stolen cash by a colorful group of strangers. Starring Milton Berle, Sid Caesar, Ethel Merman, Mickey Rooney, Spencer Tracy and Jonathan Winters. 1963, G, 160 min.

Join us for a special Morning Mindfulness meditation as we celebrate Slow Art Day, an international movement promoting the prac- tice of slow looking in art museums. Embark on a journey of introspection and artistic exploration as we cultivate presence and awareness amid the museum’s collection. • Friday, May 10, 9:30 – 10 a.m. Come rest and recharge in the galleries surrounded by inspiring art. Experienced mindfulness instructors lead guided medita- tions, gentle movements, and slow-looking techniques. This program is free, stools are provided and no experience or special attire is needed. For more information email gmoa- tours@uga.edu.

CLOSED

VIEW CALENDAR ONLINE

Wednesday, June 19

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

georgiamuseum.org

Made with FlippingBook Ebook Creator