SPRING 2022
Carrie Mae Weems (American, b. 1953), “All the Boys (Blocked 1),” 2016. Archival pigment and silkscreened panel mounted on gesso board, 31 3/8 � 25 3/8 inches. Courtesy of the artist and Jack Shainman Gallery, New York.
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table of CONTENTS
From the Director p.3
Exhibitions p.4
The Art of Giving p.10
Hidden Hero p.11
New Acquisitions p.12
Lou Stovall (American, b. 1937), “For Ascending Larks,” 1981. Silkscreen, 33 1/4 × 33 inches. Collection of Di and Lou Stovall.
Museum Notes p.14
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Gifts p.14
In the Shop p.14
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.
706.542.4662 Fax: 706.542.1051
Department of Publications Hillary Brown and Isabel Walston
Front cover: Lou Stovall (American, b. 1937), “Sea to Shining Sea,” 2009. Silkscreen, 20 × 20 inches (sheet). Collection of Di and Lou Stovall.
Design Noelle Shuck
Back cover: Lou Stovall (American, b. 1937), “Into the Light,” 2009. Silkscreen, 20 × 20 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2021.265.
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from the DIRECTOR
board of ADVISORS
Recently, I received a report on the Friends Appreciation Month, a fund- raising effort spearheaded by that group’s Outreach and Engagement Com - mittee from August 21 through September 30, 2021. The project was a great success due to their good work; for that month alone, the Friends gained 106 new members and 28 new, rejoining or returning Friend and Annual Fund members, resulting in $18,875 in annual fund revenue. I am grateful to the committee as well as to the Friends at-large for this effort, especially the chairs of the committee, Lauren Shlesinger and Elizabeth Katz. I am glad to be sharing more good news with you. The New York Times chose our show of Emma Amos’ work as one of the notable exhibitions of the past year, and Hyperallergic considered it one of the 10 best of the year. That exhibition and “Extra Ordinary: Magic, Mystery and Imagination in American Realism” swept the awards for best exhibitions of the past year at the Southeastern College Art Conference. Our exhibition of the works of Pier Francesco Foschi, as re-imagined for Italian audiences, will open next year at the Accademia in Florence. I hope we can organize a trip there and expand it to visit sites along the “Daura Highway,” including cities in Spain and France that were important in Pierre Daura’s life and career. In the South, we talk a lot about “place” and how important the notion of rootedness is to culture and to perspective. With our emphasis on visu- al-arts education, we want to expand horizons as well as “look to home” for inspiration, comfort and learning. Join us on our treks. The museum lost three of its greatest contributors and supporters recently. Ron Shelp was a dedicated collector of self-taught art, exclusively by Afri- can Americans. The exhibition of his collection, “Testimony: Vernacular Art of the African-American South,” has traveled throughout the U.S. and was avant-garde before the fact. Ron was more than a dedicated board member; he was a donor of consequence and pivotal in establishing our collections of folk and self-taught art. Every time I pass by Charlie Lucas’ horse on the small plaza near our parking area, I remember Ron’s gifts and kindnesses to the museum, and, of course, his profound love of art. We also mourn the death of Rowland Radford in December. A true advocate of the museum and our programs, Rowland supported them liberally. He and his wife Tish were early sponsors of our biennial Green Symposium in the decorative arts, and he is leaving funds to continue that beneficence. He cared about the museum and he cared about the university. Rowland and Tish traveled each time we put together a trip. Always game for one more church, always curious about local culture, never objecting to another hour or so in a museum, provincial or otherwise. Rowland bore it all with great humor and sometimes, as necessary, a bon mot to redirect me when I asked too much of our travelers. The last time I saw Rowland at his house in Atlanta, when I was leaving, he called out, “When is the next trip to Italy?” It won’t be the same without him. We are proud down here in the deep South of our storytellers, of those wits who regale us with family history and curious twists to the commonali- ties of life. One of our great raconteurs of life in this town has left us. It is hard for me to believe that Milton Leathers will not be calling me with a clever witticism, a rollicking good story or to swap some tall tales. He was a speaker at our first Green Symposium back in 2002 and he was thereafter quick to acknowledge his pride in the museum and its programs. Goodbye, Milton, until some story you told me conjures up a memory, the simplest form of prayer.
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**
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*
Faye S. Chambers Harvey J. Coleman Sharon Cooper James Cunningham Martha Randolph Daura*** Annie Laurie Dodd***
D. Jack Sawyer Jr.* Henry C. Schwob** Margaret R. Spalding Dudley R. Stevens Carolyn Tanner**
Sally Dorsey** 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 Ibby Mills
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 Sarah Peterson Usha R. Rodrigues
* 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
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Carrie Mae Weems: The Usual Suspects
May 21 – August 7, 2022
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Organized by the Louisiana State University Museum of Art and curated by Courtney Taylor, “Carrie Mae Weems: The Usual Suspects” includes recent photographic and video works by the renowned artist questioning stereotypes that associate Black bodies with criminality.
the National Endowment of the Arts, the Alpert, the Anonymous was a Woman and the Tiffany Awards, among many other honors. She has participated in numerous solo and group exhibitions at major national and international museums including the Metropolitan Museum of Art, the Frist Center for Visual Art, Solomon Guggenheim Museum in New York and the Centro Andaluz de Arte Contemporáneo in Seville, Spain. She is represented in public and private collections around the world.
Images from her series “All the Boys” and “The Usual Suspects” implicate these stereotypes in the deaths of Black men and women at the hands of police and confront the viewer with the fact of judicial inaction. Blocks of color obscuring faces point to the constructed nature of our notions of race and how these imagined concepts obscure humanity — here with very real and deadly outcomes. “People of a Darker Hue,” a meditative compilation of video, found footage, narration and performance commemorates these deaths. Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relation- ships, cultural identity, sexism, class, political systems and the consequences of power. Determined as ever to enter the picture — both literally and metaphorically — she has sustained an ongoing dialogue within contemporary discourse for over 30 years. During this time Weems has developed a complex body of art employing photographs, text, fabric, audio, digital imag- es, installation and video. In 2013, Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. Weems has received numerous awards, grants and fellowships including the prestigious Prix de Roma,
In-House Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art
Carrie MaeWeems (American, b. 1953), “Color Real and Imagined,” 2014. Archival pigment with silkscreened color blocks, 30 � 48 inches.
Carrie Mae Weems (American, b. 1953), “All the Boys (Profile 2),” 2016. Archival pigment on gesso board, 35 3/8 × 27 3/8 inches. Courtesy of the artist and Jack Shainman Gallery, New York. Carrie MaeWeems (American, b. 1953), “All the Boys (Blocked 2),” 2016. Archival pigment and silkscreened panel mounted on gesso board, 31 3/8 � 25 3/8 inches each. Courtesy of the artist and Jack Shainman Gallery, New York.
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exhibitions
Lou Stovall (American, b. 1937), “Peche,” 2004. Silkscreen, 9 7/8 × 19 3/8 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2021.267.
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.
Although Stovall’s projects with artistic collaborators are well known, his vision and craft as a draftsman, colorist and printmaker have been largely overlooked until recent years. 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 Art Museum, National Gallery of Art and the Phillips Collection (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.
It celebrates Stovall’s unique artistry and contribution to the visual arts, which are inspired by his life, nature and his poetic meditations. Included in the exhibition are several silkscreens from Stovall’s 1974 series “Of the Land,” a body of prints that form the basis of a new book on Stovall’s art and poetry edited by his son, Will Stovall. Born in Athens, Georgia, in 1937 but raised in Springfield, Massachusetts, 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 University in 1965 and in 1968 opened a print- making studio, the Workshop, Inc., adjacent to his residence in the Cleveland Park neighborhood of Washington, D.C. 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.
Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art
Lou Stovall in his Cleveland Park home studio, 1974.
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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 empha- sis, 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 re- gional centers that embraced and supported mod- ernist trends. The exhibition examines the impact of influential associations and artist groups, including Atelier 17, American Abstract Artists and the short- lived Vanguard. It also considers the role of museums and contemporary critics in shaping approaches to modernist abstraction. 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. Unlike more ex- clusive accounts of modernist painting, the story of modernist works on paper provides a broader, more democratic view of American modernism that high- lights the contributions of many lesser-known artists to this important 20th-century history. A catalogue published by the museum is available in the Museum Shop for $60.
(top) Worden Day (American, 1912 – 1986), “Tumuli,” 1951. Color woodcut, ed. 22/30, 8 9/16 × 22 3/16 inches. Promised gift of Michael T. Ricker. (bottom) Maybelle Stamper (American, 1907 – 1995), “Song a - Float,” 1951. Color lithograph with hand additions, ed. various, 9 1/16 × 7 13/16 inches. Promised gift of Michael T. Ricker.
Curator: Jeffrey Richmond-Moll, curator of American art
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Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence January 29 – April 24, 2022 exhibitions
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-renowned 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” features paintings and drawings by Fos- chi 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 commissions from numerous promi- nent families of Florence, including the Medici, Pucci and Tor- rigiani. 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, celebrated for his ability to convey the gravitas of his subjects and represent the objects that connoted their social and economic status.
Curator: Nelda Damiano, Pierre Daura Curator of European Art Sponsors: The Gladys Krieble Delmas Foundation, the Goizueta Founda- tion, the Samuel H. Kress Foundation, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art
Italy, fragment of a lacis band with vines and leaves, 17th century. Hand- knotted, embroidered net, 4 15/16 x 25 3/8 inches. ClevelandMuseum of Art, The Frances McIntosh Sherwin Collection, 1936.223. Pier Francesco Foschi (1502 – 1567),“Portrait of a Lady,” circa 1550. Oil on panel, 101 × 79 centimeters (39.8 × 31 inches). Museo National Thyssen- Bornemisza, Madrid, 145 (1935.16). Pier Francesco Foschi (1502 – 1567), “Portrait of a Young ManWeaving aWreath of Flowers,” circa 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.
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Don’t Miss
In Dialogue: Views of Empire: Grand and Humble Through August 21
Jennifer Steinkamp: The Technologies of Nature Through August 21
Contemporary Japanese Ceramics from the Horvitz Collection Through June 26
Power and Piety in 17th-Century Spanish Art Through November 27
Vasilii Fedorovich Timm / Georg Wilhelm Timm (Baltic-German 1820 - 1895), “A Russian Coachman and His Assistant,” ca. 1850. Watercolor on lithograph, 8 5/16 × 6 5/8 inches. Georgia Museum of Art, Univer- sity of Georgia; Promised gift of Marina Belosselsky- Belozersky Kasarda. SETO Hiroshi (1941–1994), vessel, circa 1985. Stoneware with striped silver glaze. Collection of Carol and Jeffrey Horvitz. KAMODA Shoji (1933 – 1983), jar, circa 1965. Ash and green dripping glazes. Collection of Carol and Jeffrey Horvitz.
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the art of giving THE W. NEWTON MORRIS CHARITABLE FOUNDATION
Born in Dublin, Georgia, Willis Newton Morris attended but did not graduate from the University of Georgia.
He remembered it fondly, however, and began having conver- sations with UGA development officers as early as 1984. His first gift to the museum, in 1995, totaled $1,000. In late 2021 the museum received a gift of $4.6 million from the W. New- ton Morris Charitable Foundation and its gifts to the University of Georgia total more than $9 million, showing how seeds planted early can flourish over time. The museum’s relationship with the W. Newton Morris Chari- table Foundation dates back to 1999, when it was created upon Morris’ death. This recent gift is an expression of confidence in everything the museum has achieved in the past 23 years and in its fiscal responsibility. William Underwood Eiland, the museum’s director, knew Morris well. He tells a story about having lunch with Morris in Atlanta, at a restaurant well known for Key lime pie. While waiting on the valet, Eiland says he leaned down to pick up a penny. Morris told him later that if he hadn’t done so, the museum “wouldn’t have gotten a dime.” “Generations of students and audiences will be beholden to Newton for his practical, good sense when it came to his finances,” Eiland said. His bequest to the museum already was transformative, and now the transfer of his funds to the UGA Foundation for the benefit of the museum means we can reach new heights for programming in service to teaching and research. As he would have wanted, visual-arts education is at the center of our mission, and his abiding support will allow us to reach all Georgians with our state-wide programs. As he told me during our discussion of plans for his gift — and I continue to keep it in mind — ‘Do good for people with this money.’” Morris founded the Morris State Bank of Dublin with his father and served as its vice president. He owned and operated radio station WMLT and had numerous other business interests in Dublin and Laurens County, Georgia, including a bus service. He had homes in Charleston, South Carolina; Atlanta, Geor- gia; and Highlands, North Carolina, which he decorated with fine period furniture and decorative arts. Morris served on the museum’s Board of Advisors from 1994 to 1998, support- ing numerous special exhibitions, including “Masterpieces of Renaissance and Baroque Sculpture from the Palazzo Venezia, Rome,” in conjunction with the Olympic Games in 1996.
Morris’ passport issued in 1974. His love and appreciation of international travel was a driving force behind his passion to bring the art of other cultures to the UGA and Athens communities.
Morris always wanted his funds to support exhibitions, acqui- sitions, publications and projects in American, European, Asian, Islamic and traditional American folk art. Over the past two decades, the W. Newton Morris Charitable Foundation has sup- ported exactly those endeavors at the museum, helping make many exhibitions and their associated programming a reality. Award-winning publications from the museum have also bene- fited from the foundation’s regular giving, including 2021’s “Emma Amos: Color Odyssey” and “Extra Ordinary: Magic, Mystery and Imagination in American Realism,” which won awards from the Georgia Association of Museums, South- eastern College Art Conference and Southeastern Museums Conference. Morris was able to travel the world and see exhibitions in the best museums abroad, but it was important to him to provide UGA students with those same opportunities at their own uni- versity. His legacy should allow the museum to do exactly that.
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THE HIDDEN HERO at the Georgia Museum of Art
Last fall, Georgia Museum of Art employee Wanda Moore accepted a position as a security supervisor after working as a gallery guide for two years. Looking after a museum is no small task. From managing visitors to keeping the grounds polished and maintaining each gallery space, there is a lot that goes into Moore’s job. While much of what she does goes on behind the scenes, every person who has visited the museum has benefited from Moore’s work. Moore was raised in Athens, Georgia, and has since moved to Comer, in Madison County, with her two teenage chil- dren. After being recommended by friends who worked at the University of Georgia, Moore decided to apply for a part-time gallery guide position at the museum in 2019, which turned into a full-time position and eventually led her to her current supervisor role. “Moving into actually being a supervisor of security, I love the idea that every day is different,” Moore said. “There’s not a day that’s the same. Every day there is something for you to deal with and figure out how to deal with it.” Being part of a work environment that allows for learning and growth is important to Moore, and life at the museum gives her just that. There are more challenges than meets the eye, and even though she has only been a security supervisor a short while, Moore has already used her position to help better the lives of those in and around the museum. Just recently after being promoted, Moore was checking the museum’s parking lot and found a person who was semi- conscious. Thanks to her attentiveness and prompt action, Moore was able to notify campus police and get this person the medical care they needed. Moore was recognized by UGA police chief Daniel Silk in an email thanking her for her thoroughness that “may have saved [the man’s] life.” Moore is also partially to thank for the well-kept exterior of the building. After noticing that the grounds outside the museum were looking a little unruly, she did a thorough job of following through with clean-up plans. “A guy came in and he came downstairs and he [said], ‘Can I speak to Wanda?’” Moore said. “And he kinda made a joke, ‘Are you the person that’s called 20 times about the landscap- ing?’ I said, ‘Yeah, that might be me.’”
Moore carries this determination and dedication into all aspects of her life. In addition to being a full-time employ- ee at the museum, she still works part time as a manager at McDonald’s, takes classes on modern technology through the Engage and Learn program at UGA and stays busy rais- ing her children. “It is [busy]! Leaving one job and going to another and then my children . . . you know, coming in before daylight, opening up everything,” Moore said. “[But] I love my job. I actually love it. I never saw myself being a part of security, but I absolutely love it.”
Wanda Moore poses next to “La Confidence” by Elizabeth Jane Gardner Bouguereau at the Georgia Museum of Art.
Among the things she loves about working at the museum is walking through the galleries and surrounding herself with art. Like many museum staff members, Moore has formed relationships with works that are personal to her. “My favorite painting is ‘La Confidence’ by Elizabeth Gardner,” Moore said. “It has so much history to it and it has Athens history. It reminds me of my sister and I, and I think that was the first painting that I wrote about that [the museum] put on Instagram.”
KathrinMerritt, publications intern
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America Meredith (Cherokee Nation, b. 1972), “Stomp Dance,” 2010. Oil-based ink linoleum block print on paper, 13 × 12 1/2 inches. Georgia Museum of Art, University of Georgia; Museum purchase. GMOA 2021.259.
AMERICA MEREDITH
i n fall 2021, the museum mounted the exhibition “Collective Impressions: Modern Native American Printmakers.” The show offered an opportunity to place Indigenous artists firmly within the museum’s mission to preserve, exhibit and interpret the history of American art and to highlight Native artists with an- cestral ties to our region. The project has revitalized the museum’s commitment to Indigenous artists, expanding representation of their work in our permanent collec- tion. As part of this effort, we were thrilled to acquire two prints featured in “Collective Impressions”: “Stomp Dance” by America Meredith (Cherokee Nation) and “Emi- grant Indians #1” by Bobby C. Martin (Muscogee [Creek]).
Meredith writes, “we dance counterclockwise so our hearts are always closest to the fires. Men sing and wom - en produce the percussion with our leg shackles.” The print is rich with cultural allusions and ritual symbol- ism. In this cropped view, the artist captures the tightly laced leg shackles and puckered-toe Cherokee moccasins mid-motion. Meredith surrounds the central image with border designs based on Cherokee incised pottery designs, their four sides alluding to the four-square ceremonial dance grounds of the Muscogee. “At the right is a sun circle,” the artist notes, “a widespread symbol of the ceremonial fire lifting prayers to the heavens beyond the sun.” Meredith’s work often emphasizes the enduring impact of women’s work in preserving Indigenous culture amid communal displacement.
In “Stomp Dance,” Meredith shows the rhythmic move- ments of an Eastern Woodlands stomp dance. “At stomps,”
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BOBBY C. MARTIN m artin’s “Emigrant Indians #1” likewise he layers two separate maps of Kansas atop one another: a 1950s Rand McNally roadmap and an 1836 map of tribal peoples removed to the region. The historical map includes the phrase “Emigrant Indians.” Martin underscores the irony of a U.S. government document that describes Native peoples as “emigrés,” as if they had any choice in their dispossession. He also includes figures from a photograph his mother took in examines dispossession, exile and memory through the subject matter of mapping. Here,
Bobby C. Martin (Muscogee [Creek], b. 1957), “Emigrant Indians #1,” 2018. Five-color screenprint on Crane Lettra paper, 20 × 20 inches. Georgia Museum of Art, University of Georgia; Museum purchase. GMOA 2021.260.
the early 1950s while a student at Haskell Technical Institute (now Indian Nations University) in Lawrence, Kansas. At center, that year’s homecoming king and queen appear in full regalia. With his references to land, surveying, “homecom- ing” and emigration, Martin uses humor and irony to address Indigenous histories of forced removal.
Kathryn Hill, curatorial assistant in contemporary art
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in the shop
“Wealth and Beauty” continues to grace our galleries with images and objects illustrating the luxurious lives of Renaissance Florentines. The Museum Shop echoes these luxuries with bold jewelry and sumptuous scents. Wanderlust Scents’ “Florence” captures the spirit of the city with notes of leather, cypress and vanilla, while Susan Shaw’s handmade jewelry evokes Renaissance style through vivid color, lustrous pearls and matte gold plating. These and many other gracious gifts are currently available, with every purchase going to support the Georgia Museum of Art and its programming.
Associate registrar Amber (Strachan) Barnhardt married Sarah Jane Barnhardt on October 20, 2021. Security supervisor Ryan Greene-Woods married Terri Greene- Woods on January 11, 2022, the ninth anniversary of their first date. The following poem by Chevelyn Curtis , a gallery guide at the museum, was published last year in Eber & Wein Publishing’s “Who’s Who in American Poetry 2021.”
I’m Standing
I’m Standing in my truth, that the color of my skin does not define me. I’m standing in my truth, that no matter what anybody says I matter. I’m Standing in my truth, that I can do anything I put my mind to. I’m Standing in my truth, that my background made me who I am today. I’m Standing in my truth, that your judgement of me will not change my character. I’m Standing in my truth, that accepting myself comes before accepting others. I’m Standing in my truth, that my place in this world means something. I’m Standing in my truth, that I am loved and cherished.
FRENCH GLASS EARRINGS ($42)
I’m Standing in my truth, Are you standing in yours?
FRESHWATER PEARL NECKLACE ($82)
— Chevelyn Curtis
HAND-CAST 24K GOLD-PLATED EARRINGS ($22) FLORENCE CANDLE ($21.95) UNISEX PERFUME ($21.95) REED OIL DIFFUSER ($25.95)
gifts
The Georgia Museum of Art received the following gifts between October 1 and December 31, 2021.
In memory of Mary Hester by William Underwood Eiland
In honor of William Underwood Eiland by Patricia & Tom Wright
The 11th Henry D. Green Symposium of the Decorative Arts SAVE DATE august 5 – 6, 2022 Georgia in Our Times: Modern Design and Contemporary Lens
In memory of Andrew Ladis by Patricia & Tom Wright
In honor of Mary Erlanger by Gloria Ricks Taylor
In memory of Judi Buck North by Carol Dolson, Kitty Donnan, Jan Miller Elkins, Cyndy Harbold and Jane Johnson In memory of Rowland Radford by Marion Jarrell, Jane Johnson, Hugh Richardson, Jewett & Alan Rothschild Jr. and Margaret R. Spalding
In honor of Julie Jenkins by A. Felton Jenkins III
In honor of Ibby Mills by Judy Powell
In honor of Annelies Mondi by Patricia & Tom Wright
Lead Sponsor: Richard C. Owens Charitable Foundation
In memory of Jim Carter by William Underwood Eiland
In memory of Rhett Tanner by Jan Roush
Registration details to follow at georgiamuseum.org/greensymposium.
In memory of Kay Cole by William Underwood Eiland
Topics will include fashion, silver, furniture design, wood turning, collecting, folk art and architecture.
In memory of Norman J. Wood by William Underwood Eiland, Lucy Tresp and Patricia & John Whitehead
In memory of Frances Y. and Henry D. Green by A. Felton Jenkins III
University of Georgia Center for Continuing Education and Hotel
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museum works TRAVEL THE COUNTRY
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5. Two drawings from our collection by William Golding in crayon and graphite, “U.S.E.U.S.S. Isendaga” ( GMOA 1977.3620), and “Off Barnegat” ( GMOA 1977.3619) are part of the exhibition “Hard Knocks, Hardships, and Lots of Experience: The Art of William O. Golding,” on view at: • the Jepson Center, Telfair Museums (Savannah, GA), April 1 – August 28, 2022;
1. Cecilia Beaux’s “Twilight Confidences” ( GMOA 2018.117) is on the last stop of its tour in the exhibition “Whistler to Cassatt: American Painters and France,” at the Virginia Museum of Fine Arts (Richmond), April 16 – July 31, 2022. 2. John Leslie Breck’s painting “Misty Day, Venice” ( GMOA 2018.49) is wrapping up its tour in the traveling exhibition “John Leslie Breck and the Birth of American Impressionism” at the Figge Art Museum (Davenport, IA), May 28 – August 28, 2022. 3. Charles Burchfield’s “October Wind and Sunlight in the Woods” ( GMOA 1968.2352) is on loan to the exhibition “Charles E. Burchfield: A Lifetime of Themes,” on view at the Burchfield Penney Art Center, Buffalo State College (NY), December 10, 2021 – May 1, 2022. 4. Elaine de Kooning’s “Rio Grande” ( GMOA 2013.474) will be on loan to the exhibition “The Centennial Exhibition,” on view at the Harwood Museum of Art, University of New Mexico (Taos), June 2, 2023 – January 28, 2024.
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• and the Morris Museum of Art
(Augusta, GA), September 24, 2022 – January 8, 2023.
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6. Two drawings by Howard Cook, “Fiddlers Contest” ( GMOA 2009.17) and “Untitled - Altapass, NC - Man Playing Guitar” (GMOA 1967.1996), will be on loan to the exhibition “The Art of the American Guitar,” on view at the Virginia Museum of Fine Arts, October 8, 2022 – January 29, 2023, and the Frist Art Museum (Nashville, TN), May 26 – August 13, 2023. 7. The traveling exhibition “Fleeting Pleasures: Japanese Woodblock Prints from the Georgia Museum of Art” will be on view at Susquehanna Art Museum (Harrisburg, PA), October 8, 2022 – January 22, 2023, and Fresno Art Museum (CA), February 3 – June 30, 2024.
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CALENDAR
Program is free but registration is required; e-mail gmoa-tours@uga.edu to reserve a spot.
HEALING ARTS RETREAT Saturday, May 21, 2 – 4:30 p.m.
Join us for a renewing retreat at the museum. Begin with gentle yoga in the galleries sur- rounded by art. Move into the studio class- room for tea and relaxing art making for all levels. Close with meditation and reflection in the galleries. 90 CARLTON: SUMMER RECEPTION Friday, June 3, 6:30 – 8:30 p.m. Join the Friends of the Georgia Museum of Art for a reception featuring the exhibition “Graphic Eloquence.” Light refreshments, door prizes and more. Space is limited and advance registration is strongly recommended.
GALLERY TALK: MICHAEL RICKER Thursday, June 2, 2 p.m.
TOURS AND GALLERY TALKS
Join special guest Michael Ricker for a gal- lery talk on “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker.” The exhibition features works on loan from Ricker’s private collection.
Keep an eye on our website/social media channels for the most up-to-date information. TOURS AT TWO Wednesday, April 6, 20 and 27; May 4, 11 and 18; June 8, 22 and 29, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. SUNDAY SPOTLIGHT TOURS Sunday, April 10, May 15 and June 12, 3 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. ARTFUL CONVERSATION Artful Conversation programs are 30 minutes long, focus on just one or a few works of art and provide opportunities for close looking, open-ended dialogue and discovery. • Wednesday, April 13, 2 p.m. Cecily Brown’s “A Storm at Sea” (2017), with Callan Steinmann, curator of education • Wednesday, May 25, 2 p.m. Selections from the exhibition Carrie Mae Weems: “The Usual Suspects,” with Emily Hogrefe-Ribeiro, assis- tant curator of education • Wednesday, June 15, 2 p.m. Selections from the exhibition “Graphic Eloquence,” with Sage Kincaid, associate curator of education
SPECIAL EVENTS
SLOWART DAY Saturday, April 2, 2 – 3 p.m.
Celebrate Slow Art Day at the museum. This worldwide phenomenon invites us to slow down and see where simply spending more time with a work of art can lead us. Join us and take a closer look at favorites from the permanent collection. Tour is free and open to the public. For more information email gmoa- tours@uga.edu.
YOUTH AND FAMILY PROGRAMS
Family Day is sponsored by Lucy and Buddy Allen and the Friends of the GeorgiaMuseum of Art. FAMILY DAY: ITALIAN RENAISSANCE FESTIVAL Saturday, April 9, 10 a.m. – noon Discover the exhibition “Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence” and attend a little Renaissance festival right here in Athens, complete with special sword demonstrations, face painting, interactive gallery experiences and fun for the whole family. Complete an art activity at home using the free Family Day To-Go art kit. Kits available for pick-up starting at 10 a.m. Saturday through the end of day Sunday while supplies last. TODDLER TUESDAY Enjoy looking at art and story time togeth- er in the galleries and then complete an art activity just for the little ones. This program is designed for families with children ages 18 months to 3+ years. • Tuesday, April 12, 10 a.m.: Painted Leaves • Tuesday, May 3, 10 a.m.: Swirls and Twirls • Tuesday, June 7, 10 a.m.: Outside Art HOMESCHOOL DAY: STEAMAND THE ITALIAN RENAISSANCE Friday, April 22, 10 a.m. – noon Find inspiration in the exhibition “Wealth and Beauty” and explore the science and the art of Renaissance Italy. Complete a STEAM design challenge, watch a demonstration on the science of paint and view art that has never been exhibited in the U.S. Free art kits will be provided. For more information, email gmoa- tours@uga.edu.
LINNENTOWN QUILT PROJECT Sunday, April 10, 1 – 3 p.m.
Linnentown was a neighborhood on Baxter Street in Athens made up of 50 Black fam- ilies until one day in 1962 when their lives changed forever. With the support of the city, UGA won a federal contract to demolish and displace the community to build residence halls for students. After hearing Hattie Thom- as Whitehead’s experience being pushed out of her family home, three graduate students in the art education program at UGA decid- ed to create a quilt to honor the memories of Linnentown. Through several workshops involving the community, participants heard stories from first descendants and created quilt squares to recognize their experiences. At this program, the final quilt will be on display for viewing and visitors can take a guided tour in the galleries. GRADUATE STUDENT ASSOCIATION NIGHT AT THE MUSEUM Thursday, April 14, 5:30 – 8 p.m. GSA will host graduate students for a night at the museum as part of an initiative to high- light different spaces around campus. Stu - dents will have the option of taking a guided tour through the permanent collection and exploring the museum’s special exhibitions. Refreshments will be provided, and students can pick up an art kit to take home. SIXTH-ANNUAL POP-UP ARTIST MARKET Saturday, April 23, 10 a.m. – 3 p.m. Stan Mullins’ Art Studio, 650 Pulaski St. The Georgia Museum of Art’s Student Associa- tion will host its sixth annual gallery and art- ist market event. Featuring a variety of art and handmade goods by student and community artists. This program is generously sponsored by the UGA Parents Leadership Council.
FACULTY PERSPECTIVES: NELL ANDREW Tuesday, April 26, 1 p.m.
Nell Andrew, associate professor of art his- tory at the University of Georgia, will give a gallery talk in conjunction with the exhibition “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker.” Her talk will expand on the ex- hibition through the lens of her expertise in modernism in visual art. In addition to teaching courses in modern art, the historical avant-garde, dance history and early film, Dr. Andrew is co-director of the Interdisciplinary Modernism/s Workshop, a faculty research cluster sponsored by UGA’s Willson Center for Humanities and Arts.
CURATOR TALK: “CARRIE MAE WEEMS: THE USUAL SUSPECTS” Wednesday, June 1, 2 p.m.
FAMILY DAY: TECHNOLOGIES OF NATURE Saturday, May 21, 10 a.m. – noon
With Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art.
Contemporary artists often find inspiration in nature and capture its beauty using new technologies. Check out art inspired by nature, including digital art by Jennifer Steinkamp
FLOWER CROWNWORKSHOP Thursday, April 21, 6 p.m.
ART + WELLNESS STUDIO Sunday, June 19, 2 – 4 p.m.
and interactive sculpture by Rebecca Rut- stein. Then view technology demonstrations by UGA’s Science Library. Make your own nature and technology-inspired work of art at home using the free Family Day To-Go art kit. Kits available for pick-up starting at 10 a.m. Saturday through the end of day Sunday while supplies last.
Celebrate springtime and join us for a flower crown making workshop in the sculpture gar- den. Hosted in partnership with R&R Secret Farm, this program includes seasonal fresh blooms and all the materials and instruc- tion needed to make your own unique flower crown. This event requires registration and a $25 materials fee; email gmoa-tours@uga. edu to reserve your spot. YOGA IN THE GALLERIES Thursday, April 21, May 19 and June 16, 6 p.m. Join us via Zoom for a free yoga class sur- rounded 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 avail- able both in-person and via Zoom. STUDIOWORKSHOP: PRINTMAKING WITH AMANDA JANE BURK Thursday May 12, 19 and 26, 6:30 – 8:30 p.m. Join teaching artist Amanda Jane Burk for a series of three studio-based printmaking classes. Over the course of this workshop, participants will examine various works from the museum’s print collection and the exhibition “Graphic Eloquence.” Participants will learn to create prints using two traditional printmaking techniques: relief carving and monotype printing. Individuals will carve two stamps, utilize the monotype process and learn how to use a press. $20 materials fee. Space is limited and registration is required; email gmoa- tours@uga.edu to sign up.
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, explore art and create something wonderful together.
TEEN STUDIO: LOU STOVALL Thursday, May 26, 5:30 – 8 p.m.
FILMS
Teens ages 13 – 18 are invited to this stu- dio-based workshop led by local artist and educator Kristen Bach. Visit the exhibition “Lou Stovall: Of Land and Origins” and then create your own Stovall-inspired round art. This program includes a pizza dinner from DePalma’s Italian Cafe. FAMILY DAY: BOLD SHAPES, VIVID COLORS Saturday, June 18, 10 a.m. – noon Jack Youngerman was an American artist known for his bold and vivid paintings in which bright, contrasting colors explode on the canvas. Add to a community mural inspired by his work, participate in Art Cart activities and take a closer look at other colorful works of modern art. Make your own work of art at home with the free Family Day To-Go art kit. Kits available for pick-up start- ing at 10 a.m. Saturday through the end of day Sunday while supplies last. BACKPACK TOURS Backpack Tours are now at the front desk for check-out. Available in both English and Spanish, they include gallery activities, 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.
Films generously sponsored by UGA’s Parents Leadership Council. “THE MEDICI: MAKERS OF MODERN ART” Thursday, April 7, 7 p.m. This documentary reveals how the Medici family transformed Florence through their patronage of sculpture, painting and architec- ture and created a world where masterpieces fetch millions today. Presented in conjunction with the exhibition “Wealth and Beauty.” 2008, 58 minutes.
“COMMON GOOD ATLANTA: BREAKING DOWN THEWALLS OF MASS INCARCERATION” Thursday, April 14, 7 p.m.
In 2008, Sarah Higinbotham, a doctoral candidate at Georgia State University at the time, wanted to teach a literature class in a Georgia prison, but discovered that no college programs existed in Georgia prisons, so she started one. This documentary by Atlanta filmmaker Hal Jacobs looks at the impact of the program on students and instructors. Incarcerated students find an intellectual freedom that encourages growth and digni- ty, while instructors find a stimulating and transformative environment for the liberal arts. 2022, 58 minutes. The film screening will be followed by a panel discussion including Jacobs; Bill Taft, academic director of Common Good Atlanta; and Common Good alumni and instructors.
DRAWING IN THE GALLERIES Sunday, May 15, 2 – 4 p.m.
Experience the pleasure of drawing in the museum’s galleries. This workshop is led by teaching artist Phil Jasen and provides draw- ing instruction, art supplies and enough space to spread out in the galleries.
WORKSHOPS AND CLASSES
MORNINGMINDFULNESS Friday, April 1, 15 and 29, 9:30 a.m.
The museum invites you into the galleries to participate in free, guided mindfulness med- itation, held every other Friday. Included is a variety of instructor-led meditation, move- ment and mindfulness techniques. No experi- ence necessary. This program is available both in-person and via Zoom.
ART ADVENTURES SUMMER 2022
ART AND NATURE Every Tuesday and Wednesday, June 7 – July 27
CREATIVE AGING SEATED YOGA Thursday, April 7, 10:30 a.m.
Day camps, daycares and community centers are invited to take part in this free summer program, with morning and afternoon time slots available. Inspired by representations of nature in the museum’s per- manent collection and temporary exhibitions, each 90-minute session will include 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, email gmoa-tours@uga.edu or call 706.542.0448.
Join us in the galleries for an hour of gentle seated yoga. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are welcome.
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