Facet Spring 2023

SPRING 2023

table of CONTENTS

From the Staff p.3

Exhibitions p.4

New Acquisitions p.10

Cecilia Beaux’s Masterpiece Back on View p.14

p.4

Julia's Wall p.15

p.16

Elegant Salute XVII p.16

In the Shop p.18

Gifts and Museum Notes p.19

p.18

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

Department of Publications Hillary Brown and Jessica Luton

Design Noelle Shuck

Interns Josie Lipton and Lily Stewart

from the STAFF

board of ADVISORS

As we celebrate our 75th anniversary, the museum is also going through a time of change. Several long-term staff members have retired, including our director of more than 30 years. After a months-long national search for someone to serve as our next director, David Odo, current director of academic and public programs, division head and research curator at the Harvard Art Museums, will fill those shoes. His appointment is effective as of June 26. In the meantime, Annelies Mondi, former deputy director of the museum, has been named interim director beginning April 1. The reflection on our big birthday shows that, in many ways, the museum has changed very little over its eight decades. When museum founder Alfred Heber Holbrook made his original gift of art, he stipulated that it must be used to start a museum that would be “open to the public at all times.” Holbrook had retired from a long legal career in New York and taken up art collecting with his wife. After her death, his extensive investigation of a museum location eventually brought him to UGA “because he had found more evidence of genuine art culture in Athens than any university he had visited in the South.” Holger Cahill, national director of the Federal Art Project, introduced him to Lamar Dodd, the then- new director of UGA’s art department and a great booster for UGA and Georgia. Upon meeting him, Holbrook was sold and moved into a house on Springdale Road and enrolled in art classes, where he was known for his enthusiasm and his pink smock. UGA’s students even adopted him as one of their own and even dedicated the 1947 volume of the Pandora yearbook to him. The museum has received many other notable gifts of art over the years and its space is much larger now. When it opened, it occupied two galleries in the basement of what was then the old university library on North Campus and is now the Administration Building. Over the past 75 years, the museum’s collection has grown to more than 17,000 objects and now occupies a large contemporary building with 21 gal- leries, plus a sculpture garden, on UGA’s East Campus. The museum’s commitment to free inspiration and Hol- brook’s original dedication to openness to the public has remained the same all these years. He insisted on it from the beginning and often toured paintings around the state in a car provided by the Georgia Center for Continuing Education. That original commitment to openness is fundamental to who we are as an institution and we hope to continue that tradition for at least another 75 years.

Marilyn D. McNeely Ibby Mills David Mulkey Carl. W. Mullis III* Betty R. Myrtle*

B. Heyward Allen Jr.* Rinne Allen Amalia K. Amaki** June M. Ball Linda N. Beard Karen L. Benson** Richard E. Berkowitz Jeanne L. Berry Sally Bradley

Gloria B. Norris*** Deborah L. O’Kain Randall S. Ott Sylvia Hillyard Pannell 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**

Devereux C. Burch* Robert E. Burton** Debra C. Callaway** Lacy Middlebrooks Camp Shannon I. Candler* Faye S. Chambers Wes Cochran 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** Anne Wall Thomas*** Brenda A. Thompson William E. Torres C. Noel Wadsworth* Carol V. Winthrop* Gregory Ann Woodruff

Sally Dorsey** Judith A. Ellis Todd Emily

James B. Fleece Phoebe Forio*** Freda Scott Giles John M. Greene** Helen C. Griffith** 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

Ex-Officio Linda C. Chesnut S. Jack Hu Kelly Kerner Sarah Peterson Jeanette Taylor

* 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 W. Newton Morris Charitable Foundation Fund and the Friends of the Georgia Museum of Art support exhibitions and programs at the Georgia Museum of Art. The Georgia Council for the Arts also provides support through the appropriations of the Georgia General Assembly. GCA receives support from its part- ner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide addi- tional 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 information or military service in its ad- ministrations 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: Alfred Heber Holbrook putting a painting by Ben Shahn into the trunk of his car on North Campus, likely in the early 1950s. Hargrett Rare Book and Manuscript Library, Special Collections Libraries, University of Georgia.

Back Cover: Family Day in 1994 at the Georgia Museum of Art on North Campus. From Georgia Museum of Art Archives.

Ronnie Goodman (American, 1960 - 2020), “Letter of Rejection,” 2011. Linocut on paper, 14 × 10 inches (image). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund. GMOA 2013.66.

Art is a form of freedom

March 4 — July 2, 2023

Faith Ringgold (American, b. 1930), “Coming to Jones Road: Under a Blood Red Sky,” 2007. Digital print with hand lithography, 12 × 12 inches (sheet). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund and the Richard E. and Lynn Rudikoff Berkowitz Acquisition Endowment. GMOA 2019.329.13.

This exhibition results from a collaborative project that brought works of art from the museum’s collection into classrooms at Whitworth Women’s Facility, a prison in north Georgia.

With an aim to cultivate community and empathetic con- nection through art and writing, despite vast differences in space, time and resources, the incarcerated women at the facility involved in this project selected the works in this exhibition and wrote prose and poetry in response to them. This interinstitutional project seeks to cultivate community and empathetic connection through art and writing, despite vast differences in space, time and resources. Since 2021, Callan Steinmann, curator of education at the museum, has worked with Caroline Young, lecturer of English at the University of Georgia and site director for the Common Good Atlanta program at Whitworth Women's Fa- cility, on the project. Common Good Atlanta, founded in 2010, provides people who are incarcerated or formerly incarcer- ated with access to higher education by connecting Georgia’s colleges and professors with Georgia’s prison classrooms. Common Good’s Clemente Course in the Humanities offers students college credit through Bard College in subjects like critical thinking and writing, literature, U.S. history, philosophy and art history. Young’s UGA service-learning English course, Writing for Social Justice: The Prison Writing Project, has linked the museum to the incarcerated students in Clemente classes at Whitworth. Over the course of several semesters in 2021 and 2022, Young’s students considered how they might bring a museum experience to incarcerated women at Whitworth Women's Facility. UGA students learned about the museum’s collection and selected over 140 works of art to share with the women’s

facility students through high-quality reproductions of each work of art, information about the artist, relevant historical context and questions to prompt reflections and interpreta - tion. The UGA students sought to represent the diversity of the collection while highlighting artists traditionally exclud- ed from the mainstream art historical narrative. Starting in the fall of 2021, Common Good Atlanta Clemente instructors Don Chambers and Caroline Young integrated these art kits into their course curriculum at the wom- en’s facility. Incarcerated students there engaged with the art through close looking, discussion, creative writing and making art of their own. They then narrowed down a selection of works of art that were personally meaningful and resonated with them. The works that they chose, along with their accompanying writing, make up the entirety of this exhibition and relate to themes of identity, mother- hood, incarceration, home, childhood, social issues, memory and mysteries. Viewed together, these works question and challenge the ways in which art and educational institutions can foster or hinder societal awareness and social equity. The exhibition exemplifies just one of many potential new ways to approach and understand the far-reaching impacts of higher education in the prison systems.

In-House Curator: Callan Steinmann, curator of education

Amalia Amaki (American, b. 1959), “Blue Lady,” 2004. Photograph, 28 × 30 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2016.137.

exhibitions

Object Lessons in American Art: Selections from the Princeton University Art Museum February 4 – May 14, 2023

“Object Lessons in American Art” features four centuries of works from the Princeton University Art Museum that collectively explore American history, culture and society.

Inspired by the concept of the object lesson — the study of a material thing to communicate a larger idea — the exhibition brings groups of objects together to ask fundamental ques- tions about artistic significance, materials and how meanings change across time and contexts. With a focus on race, gender and the environment, these pairings demonstrate the value of juxtaposing diverse objects to generate new understanding. “Object Lessons” presents Euro-American, Native American and African American art from contemporary interpretive perspec- tives, illustrating how fresh investigations of art can inform and enhance its meaning and afford new insights into the American past and present. An accompanying catalogue expands upon the exhibition through focused analyses that situate these important works within current social, cultural and artistic concerns and debates. “Object Lessons in American Art” is organized by the Princeton University Art Museum. Curator: Karl Kusserow, John Wilmerding Curator of American Art, Prince- ton University Art Museum In-house curator: Jeffrey Richmond-Moll, curator of American art Sponsors: This exhibition is made possible by the leadership support of the Terra Foundation for American Art.

Renee Cox (b. 1960, Colgate, Jamaica; active New York, NY), “The Signing,” 2018, printed 2020. Inkjet print, 121.9 × 213.4 centimeters. Princeton University Art Museum. Museum purchase, Kathleen Compton Sherrerd Fund for Acquisitions in American Art (2021-38) © Renee Cox.

Rande Cook (Kwakwaka’wakw, b. 1977, British Columbia, Canada), “Our Home,” 2018. Red cedar and acrylic, 121.9 × 76.2 × 5.1 centimeters. Princeton University Art Museum. Museum purchase, Fowler McCormick, Class of 1921, Fund (2019-23) © Rande Cook.

Sky Hopinka: Lore February 11 – September 24, 2023

In this video work, images of friends and landscapes are cut, fragmented and reassembled on an overhead projector as hands guide their shape and construction.

Meanwhile, a voice tells a story about a not-too-distant past, a not-too-distant ruin, with traces of nostalgia expressed in terms of lore. We see knowledge and memory passed down and shared not from wistful loss, but as a collage of rumination, reproduc- tion and creation. Sky Hopinka, a member of the Ho-Chunk Nation and a descen- dant of the Pechanga Band of Luiseño Indians, is a filmmaker, video artist and photographer who has received numerous honors for his innovative approach to cinema including a 2020 Gug- genheim Fellowship, a 2021 Forge Project Fellowship and a 2022 MacArthur Fellowship. Hopinka layers imagery, sound and text to center personal perceptions of Native homelands, as well as correlations between language and culture in relation to home and land. “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling,” said Hopinka “and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”

Sky Hopinka (Ho-Chunk and Luiseño, b. 1984), stills from “Lore,” 2019.

Curator: Jeffrey Richmond-Moll, curator of American art

exhibitions Southern/Modern June 17 – December 10, 2023

“Southern/Modern” will be the first project to comprehensively survey the rich array of paintings and works on paper created in the American South during the first half of the 20th century.

Featuring more than 100 works of art drawn from public and private collections across the country, it will bring together a generation’s worth of scholarship. The exhibition will take a broad view of the South, considering artists who worked in states below the Mason-Dixon line and as far west as those bordering the Mississippi River. It will be structured around key themes that cut across state lines and take an inclusive view of the artists working in the region. It will also include several major artists from outside the region who produced significant bodies of work while visiting the South. “South - ern/Modern” will provide the fullest, richest and most accurate overview to date of the artistic activity in the South during this period and illuminate the important and often overlooked role that it played in American art history. “Southern/Modern” is organized by the Mint Museum in collaboration with the Georgia Museum of Art. The exhibition will be accompanied by a fully illustrated publication featur- ing essays from leading scholars in the field and produced in collaboration with the University of North Carolina Press. Curator: Dr. Jonathan Stuhlman (senior curator of American art, Mint Museum) and independent scholar Martha R. Severens In-house curators: Shawyna L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, and Jeffrey Richmond-Moll, curator of American art Sponsors: Lead support for “Southern/Modern” is provided by the Luce Foundation for American Art. Additional support from the Terra Foun- dation for American Art; the Wyeth Foundation for American Art; the National Endowment for the Arts; and the Betsy and Alfred Brand Fund at the Mint Museum.

Lamar Dodd, “Copperhill,” 1938. Oil and egg tempera on linen, 28 x 50 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Mary and Lamar Dodd to the University of Georgia Foundation. GMOA 1974.3. Carl Holty (American, b. Germany, 1900–1973), “Two Women Bathing,” 1948– 50. Oil on Masonite, 55 3/4 x 47 3/4 inches. Georgia Museum of Art, University of Georgia; Gift of Charles B. Johnston. GMOA 1950.330.

Howard Cook. 1901-1980 (AL, 1930s), “Birmingham, Alabama,” 1935. Conté crayon, charcoal, and colored chalk on paper, 48 x 36 inches. Georgia Museum of Art, University of Georgia; Gift of the artist, Friends of the Department of Art and Museum. GMOA 1967.1942.

Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection June 11, 2022 – July 3, 2024

In 2012, Larry and Brenda Thompson gave 100 works of art by African American artists to the Georgia Museum of Art, mirroring the original donation of 100 American paintings by museum founder Alfred Heber Holbrook.

In addition, they endowed a curatorial position to steward this collection to help fulfill the museum’s vision of an inclu - sive canon of American art. This exhibition includes works from the 2011 traveling exhibition “Tradition Redefined,” which preceded the gift, as well as subsequent works added in recent years that have not been on view in other galleries. These works celebrate the expansion of the museum’s per- manent collection through this transformative gift of works by African American artists.

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

Moe Brooker (American, 1940 –⁠ 2022), “Toogaloo III,” 2003. Encaustic on panel, 20 × 15 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2011.579.

Power & Piety in 17th-Century Spanish Art November 14, 2020 – February 4, 2024

This exhibition is part of a continued collaboration between the Georgia Museum of Art and Bob Jones University Museum and Gallery in Greenville, South Carolina.

“Power and Piety” provides visitors with the opportunity to see works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others. Viewers will be immersed in a selection of paintings that uphold the tenets of Catholic Counter-Reformation Art illustrative of the struggle between the Catholic church and the rise of the Protestant Reformation in Europe, which dom- inated the art scene in 17th-century Spain.

Pedro Orrente (Spanish, ca. 1580 – 1645), “Ecce Homo” (“Behold the man”), 1610. Oil on canvas, 46 15/16 x 60 1/4 inches. Bob Jones University Museum & Gallery, Greenville, SC.

Curator: Nelda Damiano, Pierre Daura Curator of European Art

curline

outdoor sculpture isn’t something that is added to a museum’s collection very often. It can be expensive, it is often difficult to install and outdoor space is limited, especially for works that may be on display for the foreseeable future. Nonetheless, three new outdoor sculptures—by Andrew T. Crawford , Jane Manus and William J. Thompson —now grace the museum grounds.

JANE MANUS

Walk into the museum, through the lobby and into the Jane and Harry Willson Sculpture Garden and you’ll find “Andreas,” the most recent addition to our outdoor gallery devoted to work by women. Created by Florida-based sculptor Jane Manus and on view in the exhibition “Jane Manus, Undaunted” (which closed here on February 12), it makes a dramatic statement in the middle of the garden. Manus uses welded aluminum for her sculptures. While it is a difficult material to work with, it doesn’t rust and is much lighter than steel. Manus has made art since she was a child. She was drawn to sculpture from the beginning, working in clay, and even had a kiln in her room in high school that she says almost burned down her house. She studied at the Art Institute in Boston, where she moved on to wood constructions, but that material has its issues, too. Wooden sculptures placed outside, where Manus wanted her work to be, often warp and decay. Her teacher Michael Phillips suggested she try welding and taught her how. “Once I started in metal, I never wanted to do anything else again. It was fast and forever and substantial,” said Manus. It is important that her sculptures work from all angles, as you walk around and sometimes through them, she added. Her artistic vocabulary is reminiscent of geometric sculptors such as Mark di Suvero, Tony Smith and Joel Shapiro, but her interpretations feel lighter on their feet. Her work was originally on display at the Georgia Museum of Art in 1996 as part of the celebrations for the opening of the University of Georgia’s Performing and Visual Arts Complex, and another one of her wall sculptures is also currently on display in the museum lobby. Art writer Lilly Wei wrote that “Andreas” makes her “think of a greatly elongated body in abstract form. I see the sem- blance of a head, torso, legs and feet, recalling the way Greek temples were conceived in correspondence to the human body, with a head (pediment), torso and legs (columns) and feet (the columns’ base). It is figurative while abstract, expressive while geometric. The result can not only be likened to the body at rest, but also to a body that is stretched, taut, on the cusp of movement, like a dancer about to make the next leap before landing nimbly into position.”

“...It is figurative while abstract, expressive while geometric. The result can not only be likened to the body at rest, but also to a body that is stretched, taut, on the cusp of movement, like a dancer about to make the next leap before landing nimbly into position.”

Lilly Wei

Walk through the museum lobby to the doors outside to view Jane Manus’ sculpture “Andreas” in the Jane and Harry Willson Sculpture Garden, a space dedicated to work by women.

ACQUISITIONS

ANDREW T. CRAWFORD

If you’re familiar with one sculpture that was already on display outside the museum, you probably recognize Crawford’s name. He’s the creator of “Split,” which sits up on East Campus Road. Crawford often transforms the tools for making sculptures into sculptures themselves, and this massive 500-pound screw cleaved almost in half demonstrates themes that run through much of his work. Crawford alters the ordinary, making everyday objects feel less “rigid” and more “human” by twisting, pulling or splitting them into new shapes. The work first appeared on campus in 2006, alongside eight of Crawford's other “ordinary” objects, and took up its permanent home in 2008 thanks to funds provided by Amburn and Will Power in memory of Mildred and Jay Huskins. Crawford makes ornamental ironwork as well as large- scale sculpture, and many of his gates can be seen around Athens and in Atlanta. Born in New Jersey, he grew up in Atlanta and his studio and workshop still are there today. Crawford and his team installed “On the Verge” in November, just across from the museum’s Carlton Street covered parking area entrance. For a long time, it was just a series of large posts and it was hard to envision the final product, but the sculpture took shape rapidly as workers assembled sections of spiraling metal in between those posts. The result is a work that comes to life as students walk, bike or scoot through it, a passion project that differs substantively from the commercial work at which he excels. Although Crawford attend- ed the Rhode Island School of Design (RISD), members of his family went to UGA, and he’s pleased to have one of his largest works of sculpture on its campus, where it and “Split” serve as gateways to the arts district.

Andrew T. Crawford’s “On the Verge” sculpture serves as one of the gateways to the arts district on East Campus.

Crawford’s sculpture installation in progress in November 2022. The work is on view now just across from the museum’s covered parking area off Carlton Street. Photo courtesy of Annelies Mondi.

WILLIAM J. THOMPSON Walk around to the other side of the museum from “On the Verge,” and you’ll find a sculpture by William J. Thompson titled “Archangel” on a pedestal near the museum’s main entrance. Thompson is perhaps best known locally for creating the “Spirit of Athens” sculp- ture downtown in conjunction with the 1996 Olympic Games. He also made a memorial at Andersonville National Park, commissioned by the Georgia Natural Resources Commission to commemorate lost prisoners of all American wars. Born in Denver, Colorado, Thompson, like Crawford, studied at RISD. After serving in the U.S. Army and receiving his master of fine arts degree from Cranbrook Academy of Arts, he taught at UGA’s art school from 1964 to 1983. The Lamar Dodd School of Art’s sculp- ture studio is named in his honor. The museum owns many works by Thompson: prints, drawings, several smaller sculptures. But until now it did not have a large work. Given his importance to Georgia and to UGA, it made sense to acquire one, and his children generously donated this addition to our col- lection. Thompson died in 1995. He originally made this sculpture in 1967, in aluminum and fiberglass. It was included in the 1969–1970 Smithsonian National Traveling Exhibit.. The original sculpture was not in good condi- tion, so Jack Ward, who worked closely with Thompson many years ago, and Joe Thomp- son (the artist’s son and a sculptor in his own right) recast it in bronze in 2022, enabling us to install it outside. Like many of his works, it reaches toward the sky, mirroring Beverly Pepper’s sculpture “Ascension” nearby.

William J. Thompson’s sculpture “Archangel” is on view on a pedestal near the museum’s main entrance.

Come visit our new sculptures. “Andreas” can be seen during regular museum hours and “Archangel” and “On the Verge” can be seen 24 hours a day.

CECILIA BEAUX’S MASTERPIECE back on view through mid-May

In 2018, due to a stroke of good fortune, the museum acquired Cecilia Beaux’s “Twilight Confidences,” a masterpiece whose whereabouts were unknown for much of the 20th century.

Beaux created the painting in 1888 during a summer on the French coast as her first major exercise in plein-air (or “open air”) painting. In 2020 Beaux’s painting found renewed attention and popularity and several muse- ums across the country requested to borrow “Twilight Confidences” for their loan exhibitions. After traveling in the blockbuster exhibition “Whistler to Cassatt: Amer- ican Painters in France” at the Denver Art Museum and Virginia Museum of Fine Arts, the painting has finally returned to Athens after two years, to the delight of staff, docents and visitors alike. The painting went on view at the museum in January 2023 as a prelude to “Object Lessons in American Art: Selections from the Princeton University Art Museum.” It will come down after May 14 before it goes back out on loan.

Cecilia Beaux (American, 1855–1942), “Twilight Confidences,” 1888. Oil on canvas. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the William Underwood Eiland Endowment for Acquisitions made possible by M. Smith Griffith and the W. Newton Morris Charitable Foundation. GMOA 2018.117.

CELEBRATING the MEMORY of JULIA EDWARDS SANKS

A wall dedicated to long-time museum docent and supporter Julia Sanks is now in place at the museum. The memorial wall is meant to help students and younger visitors feel included by seeing younger artists’ work on display.

The group decided that a student gallery wall, installed outside the Mary and Michael Erlanger Studio Classroom, would expand upon Julia’s passion for helping students explore their creativity in the classroom. While braving a pandemic, the docents were instrumental in raising funds for the wall. Sherrie Olejnik, then docent president, helped push the project forward through supply chain struggles. On March 20, we unveiled Julia’s Wall and it is a welcomed addition to our museum. The goal of this memorial is to help students and younger visitors feel included in the museum by seeing their work on display, expanding on the museum’s mission of sup- porting art education and students. “It is a flexible system with gallery lighting that will allow for student-made art, both 2D and 3D, to be displayed,” said associate curator of education Sage Kincaid. “All the 5th-grade students, as well as many from other grades, in the Clarke County School District visit the museum each year for a tour of the galleries and to make an art project related to something they have seen in the galleries. The classroom is where these art activities take place so it makes sense to have it close to the classroom.”

Julia Sanks loved helping students.

Known for her dedication and outreach to students in the community, she spent much of her time giving back and encouraging students through museum programs. She recruited many past and current docents and was an active advocate for the museum and its docent program. Her passion and investment in these endeavors at the mu- seum led her to becoming the president of the program in 2014. During this time, she also tutored at Sylvan Learning Center, which she and her husband owned for 10 years. Her longstanding service to the museum and passion for connecting with students will now be remembered with a special gallery wall that will feature student art and is meant as a dedication to Julia and her many years of dedication to facilitating fun and creativity while working with students. When she died, in February of 2020, community docents and Emily Hogrefe-Ribeiro (the previous assistant curator of education) sat down to brainstorm how they could hon- or Julia’s time at the museum.

Taylor Nettis, communications intern

raises more than $435,000

Held on February 4, 2023, as the kick-off to the Georgia Museum of Art’s 75th anniversary year, Elegant Salute XVII raised more than $435,000 for the museum’s programs and long-term stability.

Generous donors went above and beyond in their gifts to honor both 75 years of free inspiration and the legacy of our retiring director, William U. Eiland. Our success would not have been possible without event chair Mary Lillie Watson and we are also forever indebted to our fundraising co-chairs— David Matheny, D. Hamilton Magill III and Gordhan Patel—who made sure we met and far exceeded our fundraising goal of $275,000. The evening had a 1920s theme and attendees donned flapper fringe, feather headdresses and plenty of sparkle. University President Jere W. Morehead began a series of champagne toasts to our beloved retiring director, William U. Eiland, that featured heartfelt tributes from long-time museum patrons including Todd Emily, Andrew Littlejohn, Randall Ott, Kathy Prescott, Peggy Ro- lando and Jason Schoen. A big part of his success at his job, many noted, has been his genuine interest in people and creating deep friendships with sup- porters. As Ott put it, “Bill Eiland is my friend, and I love him.” With the new cocktail style format, attendees enjoyed mingling delicious hors d’oeuvres selec- tion from Epting Events and period jazz standards from the Athens A-Train Band. Flowers and decor were spectacular, thanks to Maggie Hancock, Ligia Alexander, of Perryander Studio, and an army of other volunteers and the silent-auction items were popular as well. Attendees also had a chance to view newly installed exhibition, “Object Lessons in American Art: Selections from the Princeton Uni- versity Art Museum.” Elegant Salute proper rolled right into the Dripping in Diamonds Dance Party, with DJ Mahogany spinning tunes and attendees dancing the night away. We are thankful to everyone who made the evening a success—sponsors, partners, volunteers, chairs and, of course, our staff—and we are humbled by your support. Here’s to 75 more great years!

Committees

Elegant Salute XVII Sponsors

$25,000 Brenda & D. Hamilton Magill III Becky & David W. Matheny Marilyn & John McMullan

$1,000 Rinne Allen Linda Nicholson Beard

dance party Sarah Peterson, chair Kathleen Belknap K. Paige Carmichael Airee Edwards Kira Epstein Kimberly Fiscus

Jeanne L. Berry Linda A. Bigelow Sally Bradley Kira Epstein & Benjamin Brainard Maxine & Bob Burton Lacy Middlebrooks Camp & Thomas G. Camp Missy & Wesley Cochran Elizabeth & Anthony DeMarco Betsy & Blair Dorminey Karen & Jim Fleece Teresa & Charlie Friedlander Candace Gilliland Susan Guttman* & Claiborne Van C. Glover III Kitty & Karen Goodchild Heather Leigh & Park Harris Anne R. & Richard M. Hathaway Judith F. Hernstadt Angela & Matthew Hicks Tiffany & Chris Hines Margaret & Eugene Howard Jr. William Tzu-Wei Huang Cindy Karp Lynne & Charles Knapp Bob Davis & John Knowlton

Isobel & Jimmy Mills Gloria Bryant Norris Kathy B. Prescott & Grady H. Thrasher III Todd Emily Community Foundation Carol V. & Robert Winthrop II $10,000 Judith & Mark Ellis Elizabeth & Andrew Littlejoh Jason Schoen Dudley Stevens United Bank of Switzerland $7,500 Margaret A. Rolando $5,000 Lucy & B. Heyward Allen Jr. Blossoms Wholesale and the C.L. Morehead Jr. Foundation Stephanie C. Bryant, in memory of Clay Bryant* Shannon & Peter Candler Faye Chambers Martin E. O’Brien

Mike Hamby Bree Hayes Tiffany Hines Elizabeth Katz

Christina LaFontaine Michaael H. Landers Shanell McGoy Mary Prickett Shenara Sexton Julia Slatcher décor & floral

Maggie Hancock, décor chair Ligia Alexander, floral chair Lucy Allen

Jenny Broadnax Greta Covington Betty Alice Fowler Bree Hayes Caroline Hicks Nyah Hammond Kaitlyn Hart Avery Johnson Elizabeth Katz Sarah Peterson Grace Ryan Lauren Schlesinger Beverly Sligh

Shell & Wyck Knox Jr. Carol and Paul Kurtz

Christina & Wade LaFontaine Marjorie & Mark McConnell

Sarah & Chris Peterson Dorothy A. Roush family Margie Spalding Terrell Foundation Mary Lillie & Ray Watson Mary M. Wood $2,500 Anonymous Karen L. Benson Devereux & E. Davison Burch Susan & W. Travis Burch Lisa & William W. Douglas III

Marilyn D. McNeely Babe & Carl Mullis

Anne & William R. Newton Sherrie & Steven Olejnik Sheila & Randall Ott Anna Bogatin & Beau Ott Sylvia Hillyard Pannell & Clifton Pannell Judy Powell Amburn Power Shanell McGoy & Terry M. Powers Jr. Carol & James Reap Betsy & Rutledge L. Robinson Julie & Ira Roth Jewett & Alan F. Rothschild Jr. Lauren & Matthew M. Schlesinger Julia & Richard Slatcher Heather Lindell and Spencer Tally Telfair Museums, Inc., Savannah, GA Brenda A. & Larry D. Thompson Valerie Aldridge & Charlesworth Hunter Tison

Marcia Talmadge Mary Anna Terrell Jody Warner fundraising D. Hamilton Magill III, co-chair David Matheny, co-chair Gordhan Patel, co-chair silent auction Christina LaFontaine, chair Sarah Peterson honorary chairs

Bree & Richard Hayes Jane Compton Johnson Material Culture & Arts Foundation

Parker & Kent Middleton Libby V. & C. Van Morris Deborah & Dennis O’Kain

Jinx & Gordhan Patel Janet & Alex Patterson Gloria Ricks Taylor Sarah P. & Walter A. Sams III Gregory Ann & Richard Woodruff

Lucy Allen, Elegant Salute VIII Rinne Allen, Elegant Salute XII Devereux Burch, Elegant Salute VII K. Paige Carmichael, Elegant Salute XIII Joan Curtis, Elegant Salute VI Betsy Dorminey, Elegant Salute XIII Maggie Hancock, Elegant Salute XV Jane Compton Johnson, Elegant Salute IX David Matheny, Elegant Salute XIV Isobel Parker Mills, Elegant Salute XIV Sarah Peterson, Elegant Salute XVI Amburn Power, Elegant Salute II & IV Sarah P. Sams, Elegant Salute IX

Cecelia & David Warner Frances Mock Williams

*deceased

in-kind sponsors

Athens Printing Company Condor Chocolates, LLC Epting Events Oconee Events Perryander Studio event partners

Agora Vintage Anonymous Kira Epstein and Ben Brainard

John Cleaveland Peter Dale Global Escapes Travel Viking

(top) Elegant Salute fundraising chairs (from left to right) David Matheny, Ham Magill and Gordhan Patel with event chair Mary Lillie Watson.

(middle) Mary Prickett, Chris & Sarah Peterson, Hong Le, Lauren Cash.

(bottom) University President Jere W. Morehead and museum director William Underwood Eiland.

in the SHOP

Museum Shop manager Adam Clark continues to keep our shop stocked with items from companies and artists from afar and local. Visiting our shop is always a fun venture. Whether you’re looking for products to tout the museum, unique artist- made jewelry or accessories, fun puzzles, kits and supplies or just want to take home a memento from your favorite exhibition after a visit to our galleries, our shop is the perfect place to peruse.

GEORGIA MUSEUM OF ART TEES $15–$20

CAMEOKO JEWELRY $18–$40

“OBJECT LESSONS IN AMERICAN ART” CATALOGUE $39.95

VERY GOOD PUZZLE $20–$26

MUSEUM NOTES

AWARDS

STAFF NOTES

Georgia Association of Museums Awards

David Odo , current director of academic and public programs, division head and research curator at the Harvard Art Museums, has been named director beginning June 26. Annelies Mondi , former deputy director of the museum, has been named interim director beginning April 1. Katie O’Neal , senior accountant at the museum, and Ashaé Burgess , assistant curator of education, both left the museum in February. Museum director William Under - wood Eiland retired at the end of March. Taylor Nettis , a native Athenian and former museum intern, joined the staff as a full- time gallery guide in February, and Laney Bales was hired as an administrative assistant in the business office in March. The curators have been busy. Jeffrey Richmond-Moll , curator of American art and in-house curator of the exhibition “Object Lessons in American Art: Selections from the Princeton Univer- sity Art Museum,” contributed a chapter to the catalogue for that show (available for purchase in the Museum Shop). Richmond-Moll also has an essay in another new book, “The Un- forgettables: Expanding the History of American Art,” a book by eminent art historian Charles C. Eldredge that brings together top scholars to celebrate forgotten artists and create a more inclusive history of American art. Richmond-Moll is also a reviewer for the Atlanta Celebrates Photography portfolio program this year. The ACP’s virtual portfolio reviews are for emerging and established lens-based, intermedia and media artists looking to gain new insights into their work and expand their professional networks. Richmond-Moll and Shawnya L. Harris , Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, both have essays in “Southern/Modern: Rediscovering Southern Art from the First Half of the Twentieth Century,” a companion book for the exhibition that will be on view at the museum in June.

The Georgia Museum of Art at the University of Georgia re- ceived two awards at this year’s Georgia Association of Museums (GAM) annual conference, held in Cartersville. GAM President Marcy Breffle and award committee co-chairs Melissa Swindell and Karin Dalton presented the museum with the awards for Patron of the Year to Alan Rothschild Jr. and Exhibition Category #3 ($25,001 – $99,999) for “Reckonings and Reconstructions: Southern Photography from the Do Good Fund.” Rothschild (UGA JD ’85) has been a leading force in the arts as the founder of the Do Good Fund, a public charity in Columbus, Georgia, whose focus has built a museum-quality collection of southern photography from the 1950s to the present that reflects a visual narrative of the American South. Over the past 11 years, the fund has grown significantly, delivering its collection all over the state. “Reckonings and Reconstructions” is the first large- scale survey of the collection and will travel to Columbus, St. Louis, Iowa and Florida. Rothschild has been a long-time friend and supporter of the Georgia Museum of Art and the University of Georgia. He has served on the museum’s Board of Advisors since 2008, including a two-year stint as its chair. His focus on the whole state and his deep-rooted interest in tying art to the humanities and to histor- ical contexts notably made him deserving of this award. He says, “Art for art’s sake is wonderful, but it is the beauty [of the story] behind the art that helps me understand art.” GAM is a private, nonprofit statewide organization dedicated to encouraging growth and improving professional practices of museums and nonprofit galleries throughout the state. The annual conference is an opportunity for museum professionals, board members, volunteers and supporters to share information and build relationships among museums and galleries throughout the state. The conference is hosted by a different community each year and will be held in Athens in 2024.

gifts

The Georgia Museum of Art received the following gifts between October 1 and December 31, 2022.

In honor of Martha Daura by Lacy Middlebrooks Camp & Thomas G. Camp, Julie & Gary Crites, Martha Daura, Babe & Carl Mullis, Jean & Red Petrovs, Margaret Wood. In honor of Annelies Mondi by Lucy & B. Heyward Allen Jr., Juanita & Phillip Greenspan, Marion Jarrell In memory of Susan Guttman Glover by Martha Hughes In memory of John Bunn Hill by Judy Hill In memory of Andrew Ladis by Patricia & Tom Wright In memory of Rowland Radford Jr. by Babe & Carl Mullis In memory of Michael Shlesinger by Jane & Randy Merrill

Black Art and Culture Awards

Each year, the Georgia Museum of Art hosts its annual Black Art and Culture Awards, featuring the Larry D. and Brenda A. Thompson Award and the Lillian C. Lynch Citation. Respec- tively, these two awards honor a living African American visual artist with a significant Georgia connection in an effort to raise their profile and an African American leader who has made a significant contribution to African American cultural education and service. This year’s recipient of the Thompson Award is Stefanie Jack- son, painter and retired art professor of the Lamar Dodd School of Art. The Lillian C. Lynch Citation recipient is Annie Lucille Greene, a yarn painter and native Georgian.

In honor of William Underwood Eiland by Lacy Middlebrooks Camp & Thomas G. Camp, Elizabeth & Anthony DeMarco, Marjorie & Mark McConnell, Sylvia & Clifton Pannell, Michael Ricker, Dudley Stevens, Patricia & Tom Wright

CALENDAR * Program is free but registration is required; email gmoa-tours@uga.edu to reserve a spot.

ANDREA CARSON COLEY LECTURE: “FRAMING AGNES: A MULTI-MEDIA APPROACH TO TRACING TRANS HISTORY” Friday, April 21, 12:30 p.m. Presented by Dr. Kristen Schilt, associate professor of sociology, director of graduate studies and director of the Center for the Study of Gender and Sexuality at the Universi - ty of Chicago. Schilt’s research interests center on sociology of gender and sexualities, culture and work and occupations. This program is presented in partnership with UGA’s Institute for Women’s Studies. 7TH ANNUAL POP-UP ARTIST MARKET Saturday, April 29, 10 a.m. – 3 p.m. The Georgia Museum of Art’s Student Associa - tion hosts its 7th annual gallery and artist market event at Stan Mullins’ Art Studio at 650 Pulaski Street. Drop by to peruse a variety 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. MUSEUM MIX Thursday, May 4, 8 – 11 p.m. The museum’s thrice annual late-night art party returns, featuring music by a live DJ, free refreshments and galleries open until 11. 90 CARLTON: SUMMER Friday, June 16, 6:30 – 8:30 p.m. Join the Friends of the Georgia Museum of Art for a reception featuring a first look at the exhibition “Southern/Modern.” Not Yet Friends: $15; Friends of the Museum and Friend + Annual Fund Members (Supporter level): $10; Friend + Annual Fund Members (Reciprocal level and above): complimentary. Space is limited and advance registration is strongly recommended at bit.ly/90c-jun-23 . 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.

TOURS AND GALLERY TALKS

SPECIAL EVENTS

BLACK ART AND CULTURE AWARDS Friday, April 14, 6 – 9:30 p.m.

TOUR AT TWO Wednesday, April 5 and 26; May 10, 17, 24 and 31; June 7, 14, 21 and 28, 2 p.m. Drop-in public tours featuring highlights of the permanent collection, led by museum docents. FACULTY PERSPECTIVES: AKELA REASON Wednesday, April 12, 2 p.m. Akela Reason, associate professor of history at the University of Georgia, will give a gallery talk in conjunction with “Object Lessons in American Art.” Her talk will expand on the exhibition through the lens of her expertise in American visual and material culture. Reason teaches courses in material culture, urban his- tory, museum studies and public history, and she is the director of UGA’s Interdisciplinary Certificate in Museum Studies. ARTFUL CONVERSATION Artful Conversation programs are 30 minutes long, focus on just one or two works of art and provide opportunities for close looking, open-ended dialogue and discovery. • Wednesday, April 19, 2 p.m. Renee Cox’s “The Signing,” on view in “Object Lessons in American Art,” with Callan Steinmann, curator of education • Wednesday, May 3, 2 p.m. , John Linton Chapman’s “Via Appia,” with Molly Ste - vens, education programs assistant SUNDAY SPOTLIGHT TOURS Sunday, April 23, May 21 and June 25, 3 p.m. Drop-in public tours featuring highlights of the permanent collection, led by museum docents. GALLERY TALK: “RACE, REPRESENTATION AND SELF- PRESENTATION IN AMERICAN ART” Tuesday, April 25, 1 p.m. This gallery tour, co-sponsored by UGA’s Interdisciplinary Modernism/s Workshop and the Georgia Museum of Art, will focus on the politics of race and representation in historical American art, inspired by Phillis Wheatley’s famous portrait and strategies of self-presen- tation in 1773. Led by Jeffrey Richmond-Moll, curator of American art at the museum, the tour surveys works from the 18th and 19th century on view in the exhibition “Object Lessons in American: Selections from the Princeton University Art Museum.”

Join us for the presentation of the Larry D. and Brenda A. Thompson Award to artist Ste - fanie Jackson and the Lillian C. Lynch Citation to Annie Green. A limited number of event tickets will be available for purchase. Sponsors and their guests receive guaranteed tickets. To sponsor or for more information on individual ticket availability, visit bit.ly/bacawards-23 or email jointhemuseum@uga.edu. READING AND PANEL DISCUSSION: “CAN YOU SEE ME? HERE, IN THIS PLACE” Tuesday, April 18, 5:30 p.m. Join the Common Good Atlanta community and UGA English alumni for a reading of writ- ten works by students at Whitworth Women’s Facility. The exhibition “Art is a form of freedom,” on view through July 2, presents a spoken-word celebration of voice. Taking the form of poetry, essays, fiction and philosophy, this writing reflects the power of art to create conversations across the carceral divide. The reading will be followed by a panel discussion on art, education and the impact of higher education in and out of Georgia’s incarcera- tion system. LECTURE: KATIE JENTLESON “FROM BUCKS COUNTY BARNS TO EAGLE BRIDGE FARMS: THE USABLE PASTS OF CHARLES SHEELER AND ANNA MARY ROBERTSON ‘GRANDMA’ MOSES” Thursday, April 20, 5:30 p.m. In this talk, Katie Jentleson, Merrie and Dan Boone Curator of Folk and Self-Taught Art at the High Museum of Art, will consider how, in the decades between the World Wars, the trappings of agrarian life became touchstones for American artists, collectors and curators who were invested in uncovering a “us- able past” that could help contemporary art flourish and distinguish American cultural production from European tradition. THIRD THURSDAY Thursday, April 20, May 18, and June 15, 6 – 9 p.m. Athens’ established venues for visual art hold Third Thursday, an event devoted to art in the evening hours, on the third Thursday of every month to showcase their visual-arts pro- gramming. Full schedules and participants are posted at 3Thurs.org.

YOUTH AND FAMILY PROGRAMS

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

*TODDLER TUESDAY Enjoy looking at art and storytime together in the galleries and then complete an art activity just for the little ones. Designed for families with children ages 18 months to 3+ years.

BACKPACK TOURS Want a unique tour of the Permanent Collection? Check out a Backpack Tour at the front desk. Available in both English and Spanish, the backpack includes 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.

*ART + WELLNESS STUDIO Sunday, June 11, 2 – 4 p.m.

• Tuesday, April 11, 10 a.m. Earth Day • Tuesday, May 23, 10 a.m. Flower Crowns • Tuesday, June 20, 10 a.m. Watercolors FAMILY DAY: OBJECT LESSONS Saturday, April 15, 10 a.m. – noon

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 and create something wonderful together. STUDIO WORKSHOP: PAINTING SPRING BLOOMS WITH MICHAEL ROSS Thursdays May 4, 11 and 18, 6 – 8:30 p.m. Join teaching artist Michael Ross for a three- week acrylic painting class series that will fo- cus on the unfolding beauty of springtime. We will begin each session by studying landscape and botanical paintings from the museum’s collection and from the exhibition “Object Lessons in American Art.” Course cost is $25 for materials. Space is limited and registration is required; email gmoa-tours@uga.edu to sign up.

“Object Lessons in American Art: Selections from the Princeton University Art Museum” pairs together works in fresh ways that start new conversations about American history and culture. Explore the exhibition, play Art Cart games in the galleries and create a work of art to take home. UGA’s Hargrett Rare Book and Manuscript Library will also share Ath - ens-related objects. *TEEN STUDIO: ART IS A FORM OF FREEDOM Thursday, April 20, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio workshop led by local artist and educator Kristen Bach. Visit the exhibition “Art is a form of freedom” to see works of art selected by women incarcerated at Whitworth Wom - en’s Facility and then create your own objects inspired by the idea of freedom. Includes a pizza dinner from DePalma’s Italian Café. FAMILY DAY: THE FIVE SENSES Saturday, May 13, 10 a.m. – noon Our senses help us explore the world. So just how many can we use to explore the museum? Check out the art and beauty that surrounds us at this special National Endowment for the Arts’ Big Read-sponsored program. Pick up a free copy of the book “El Deafo” by Ilya Ka- minsky and other books, play Art Cart games in the galleries and make a work of art to take home.

WORKSHOPS AND CLASSES

YOGA IN THE GALLERIES Thursday, April 20, May 18 and June 15, 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 avail - able at the front desk starting at 5:15 p.m.

FILMS

MORNING MINDFULNESS Friday, April 14 and 28, 9:30 a.m.

“ART AND KRIMES BY KRIMES” Thursday, April 27, 7 p.m. While locked up for six years in federal prison, artist Jesse Krimes secretly creates monu- mental works of art, including an astonishing 40-foot mural made with prison bed sheets, hair gel and newspaper. He smuggles out each panel piece by piece with the help of fellow artists, only seeing the mural in totality upon coming home. As Jesse’s work captures the art world’s attention, he struggles to adjust to life outside, living with the threat that any misstep will trigger a life sentence. Presented in conjunction with the exhibition “Art is a form of freedom.” 2021, 85 min.

The Georgia Museum of Art invites you into the galleries to relax and recharge with guided mindfulness meditation, held every other Friday. No experience necessary. *CREATIVE AGING SEATED YOGA Thursday, April 13, 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+. *SLOW ART DAY Saturday, April 15, 2 – 4 p.m. Slow Art Day is an invitation to take a mo - ment to linger and enjoy the unique experi - ences the visual arts offer us. Nicole Bechill will lead the program, which will include looking at and making art with mindfulness and tea breaks to help us slow down. *DRAWING IN THE GALLERIES Saturday, May 13, 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. *CREATIVE AGING ART WORKSHOP Tuesday, May 16, 10 - 11:30 a.m. Lifelong learning through the arts offers opportunities to practice creativity and create community. Join teaching artist Toni Carlucci to look at and talk about art in the galleries and to make art and new friends in the studio classroom. All levels welcome. Creative aging programs are geared to ages 55+.

FAMILY DAY: JUNETEENTH Saturday, June 10, 10 a.m. – noon

ART ADVENTURES SUMMER 2023:

Juneteenth commemorates the end of slavery in the United States and is considered the longest-running African American holiday. Celebrate this upcoming jubilee by exploring works by African American artists, playing Art Cart games in the galleries and making art to take home. *TEEN STUDIO: PHOTOGRAPHY WORKSHOP Thursday, June 22, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio workshop led by local artist and educator Kristen Bach. Visit the Shannon and Pe - ter Candler Collection Study Room to view special photographs from the museum vaults and then take your own photographs with a variety of different cameras. Includes a pizza dinner from DePalma’s Italian Café.

SOMEWHERE OVER THE RAINBOW June and July

Day camps, daycares and community centers are invited to take part in this free summer program in June and July. Inspired by all the colors of the rainbow we can find in the museum’s permanent collec - tion, 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 Adven- ture, contact gmoa-tours@uga.edu or call 706.542.0448.call 706.542.0448.

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