AUTUMN 2021
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table of CONTENTS
From the Director p.3
Exhibitions p.4
The Art of Giving p.12
New Acquisitions p.14
Shawnya L. Harris named Center for Curatorial Leadership fellow p.17
Museum Notes p.18
Gifts p.18
In the Shop p.19
Bobby C. Martin (U.S., Muscogee [Creek], b. 1957), “Emigrant Indians #1,” 2018. Five-color screenprint on Crane Lettra paper, 20 × 20 inches (sheet). Collection of the artist.
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Hours
Tuesday and Wednesday: 10 a.m. – 5 p.m. Thursday: 10 a.m. – 9 p.m. Friday and Saturday: 10 a.m. – 5 p.m. Sunday: 1 – 5 p.m. Closed Mondays. Museum Shop closes 15 minutes prior. Free timed tickets required.
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706.542.4662 Fax: 706.542.1051
on the covers: Woody Crumbo (Muscogee [Creek] and Potawatomi, 1912 – 1989)
Department of Publications Interns
Hillary Brown and Isabel Walston
Front cover: “Eagle Dancer,” n.d. Screenprint, 11 1/2 × 8 1/2 inches (sheet).
James O’Neill and Kaitlyn Page
Back cover: “Tail Dancer,” n.d. Screenprint, 11 1/2 x 8 1/2 inches.
Design
Noelle Shuck
Georgia Museum of Art, University of Georgia; Gift of Alfred H. Holbrook. GMOA 1963.1091 and 1963.1101.
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board of ADVISORS
B. Heyward Allen Jr.* Corinne C. Allen Amalia K. Amaki** June M. Ball Linda N. Beard Karen L. Benson** Richard E. Berkowitz
Mark G. McConnell Marilyn M. McMullan Marilyn D. McNeely
Isobel Parker Mills David R. Mulkey Jr. Carl W. Mullis III* Betty R. Myrtle ** Gloria B. Norris*** Deborah L. O’Kain Randall S. Ott Gordhan L. Patel, past chair Janet W. Patterson Christopher R. Peterson, chair-elect Kathy B. Prescott Rowland A. Radford Jr.* Margaret A. Rolando* Julie M. Roth Alan F. Rothschild Jr.* Jan E. Roush Bert Russo Sarah P. Sams**
Governor and Sandra Deal, WilliamUnderwood Eiland and Gloria Ricks Taylor.
Jeanne L. Berry Sally B. Bradley
from the DIRECTOR
Devereux C. Burch* Robert E. Burton** Debra C. Callaway** Shannon I. Candler* Faye S. Chambers Harvey J. Coleman Rep. Sharon M. Cooper James C. Cunningham Martha R. Daura*** Annie Laurie Dodd*** Sally Dorsey** Howard F. Elkins Judith A. Ellis Todd Emily James B. Fleece Phoebe G. 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 F. Littlejohn D. Hamilton Magill III David W. Matheny, chair
Recently, during a conversation between Lonnie Bunch, secre- tary of the Smithsonian Institution, and Rick West, the retiring director of the Autry Museum of Western Art, the latter said of museum collections that they should not be ends in themselves but means to an end. Collections have been called many things — lifebloods to the past, essential to understanding the present and provoking inspiration for the future. Indeed, many of us believe the origin of the word “museum” arises from “musaeum,” or a gathering of artists, writers, philosophers and thinkers in Alexan- dria, Egypt, supposedly founded by Ptolemy I Soter. The musaeum was a storehouse of texts, but also the home of music and poetry, and with its emphasis on critical thinking and the nexus between philosophy and the fine arts, it is indeed the earliest forerunner of the modern museum. Today, we hope, museums continue to inspire thought, nurture genius and encourage creativity. They do so both through the programs they undertake and through the objects they collect and present. Thus, of one thing I am sure, collections include objects that can change lives. At the risk of being too personal, one such work — a film — on our recent exhibition schedule certainly transformed my vision, not only in emotional terms, but also in appreciation of a medium that is becoming increasingly important as an art form in museums. “Whitman, Alabama,” by Jennifer Crandall, is such a work, one that, given my Alabama roots, particularly speaks to me through its various protagonists as they read Walt Whitman’s life-affirming poetry. The people in this film laugh and dance and play and sing; often, I noticed our audiences tearfully joined them in this poetic descrip- tion of what it means to be human, and, yes, American. These denizens of Alabama are profoundly human, and big-city sophis- tication is generally foreign to them. But, as they read Whitman’s poem, they became — even if just for a little while — the captive of the poet’s muse, and all of us, for that same short while, under- stood the symbolic, the allegorical and the beauty of art. Perhaps — indeed, I hope so — our audiences were as moved as I to hear the folk of Alabama recite, “I celebrate myself, and sing myself. And what I assume, you shall assume. For every atom belonging to me as good belongs to you.”
D. Jack Sawyer Jr.* Henry C. Schwob** Ronald K. Shelp Margaret R. Spalding Dudley R. Stevens Carolyn W. Tanner** Anne Wall Thomas*** Brenda A. Thompson William Torres C. Noel Wadsworth* Carol V. Winthrop Gregory Ann Woodruff
* 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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Collective Impressions: Modern Native American Printmakers October 16, 2021 – January 30, 2022
T.C. Cannon (Kiowa/Caddo, 1946 – 1978), “Waiting for the Bus (Anadarko Princess),” 1977. Lithograph, 32 × 22 inches. Fred Jones Jr. Museum of Art, The University of Oklahoma Norman, The James T. Bialac Native American Art Collection, 2010, 2010.023.0327.
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This exhibition examines the individuals, communities and institutions central to elevating printmaking as a medium among Native American artists during the second half of the 20th century.
As a nontraditional art form among Indigenous artists, print- making has continually offered a dynamic means of modernist experimentation, communal engagement and social commen- tary. The exhibition provides an overview of this history, while also considering concepts like ritual, gender, humor, power, memory, dispossession and exile. Such themes are especially well suited to this paper-based medium. As Choctaw/Chickasaw art historian heather ahtone notes, Native printmakers took up paper — the material that Western legal culture used to dis- possess tribes of rights, lands and languages — as a means of survivance, sustaining native stories and renouncing narratives of domination or tragedy. “Collective Impressions” features an influential group of In - digenous artists, from some of the earliest to engage with the medium, like Awa Tsireh and Gerald Nailor, to a group of more humorous and satirical artists, like Fritz Scholder, T.C. Cannon and Jaune Quick-to-See Smith. The exhibition also highlights a large number of Cherokee, Muscogee (Creek) and Yuchi artists, including Bobby C. Martin, America Meredith, Kay WalkingStick and Richard Ray Whitman, whose works address history, mem- ory and belonging. These are crucial questions for the Georgia Museum of Art, given that our university and museum stand on the ancestral homelands of these tribes.
Curator: Jeffrey Richmond-Moll, curator of American art Sponsors: The W. Newton Morris Charitable Foundation, the Friends of the Georgia Museum of Art and the Willson Center for Humanities and Arts
Awa Tsireh (San Ildefonso Pueblo, 1898 – 1955), “The Great Winter Hunters or Deer Dance of the Rio Grande Pueblos,” n.d. Pochoir, 14 11/16 x 19 5/6 inches. Fred Jones Jr. Museum of Art, The University of Oklahoma Norman, The James T. Bialac Native American Art Collection, 2010, 2010.023.1673. Gerald Nailor, called Toh Yah (Navajo, 1917 – 1952), “Navajo Woman on Horseback,” 1950. Screenprint, 16 1/2 x 15 inches. Fred Jones Jr. Museum of Art, The University of Oklahoma Norman, The James T. Bialac Native American Art Collection, 2010, 2010.023.1343. Fritz Scholder (Luiseño, 1937 – 2005), “Dancers at Zuni,” 1978. Lithograph, 22 × 30 inches (sheet). Fred Jones Jr. Museum of Art, The University of Oklahoma Norman, The James T. Bialac Native American Art Collection, 2010, 2010.023.1797.
exhibitions
Jennifer Steinkamp: The Technologies of Nature December 18, 2021 – August 21, 2022
In “Mike Kelley,” Jennifer Steinkamp masterfully uses digital animation to examine the boundaries between reality and illusion, nature and technology, and the natural and manmade.
The repeated unfolding of the seasons in Steinkamp’s windblown tree points the relentless march of time, and the reference in the title to one of Steinkamp’s important teachers alludes to the passing of generational time and knowledge. Yet, its cyclical format also disrupts our linear ideas about history, asserting the resilience of natural forms whose lifecycles cannot — or, perhaps more urgently, should not — be halted.
Curator: Jeffrey Richmond-Moll, curator of American art
Jennifer Steinkamp (American, b. 1958), “Mike Kelley,” 2007. Video, dimensions variable; duration: 8-minute loop. North Carolina Museum of Art. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London.
In Dialogue: Views of Empire: Grand and Humble
December 4, 2021 – August 21, 2022
This edition in our “In Dialogue” series brings together two different kinds of mid-19th-century lithographs and other thematically related works.
Both sets of prints are recent gifts. First came an addendum to the Parker Collection, an elephant-folio-size album containing 25 lithographs with cityscapes showing St. Petersburg and dating to the third quarter of the 19th century. More recently, in the sum- mer of 2020, Marina Belosselsky-Belozersky Kasarda and Vla- dislav Kasarda donated 30 small hand-colored lithographic prints. These prints date ca. 1850 and show genre scenes and individual figures representing different occupations in Russia at the time: coachmen, porters, water carriers, innkeepers, firefighters and street peddlers, among others. Conducting research on the works included in these gifts revealed an important connection. They were issued by the same publish- er, who held offices in St. Petersburg and Moscow and produced prints in Paris. Remarkably, within their sweeping vistas, the large cityscapes contain multiple figures and entire scenes that find close parallels in the small hand-colored prints. The same subjects are interpreted in two small bronzes from the Parker Collection and a silver snuff box from the Belosselsky-Belozersky Collection (also included in the display). The general views of St. Petersburg render pictures of the imperial metropolis with its public squares and neoclassical buildings that embody the state, thus inviting admiration while suppling a sense of inclusion and belonging. At the same time, the intimate look at working people in the vibrantly colored small prints acknowl- edges and affirms class distinctions while advancing the notion of a shared national identity. Although the bronzes and silver box show the same genre scenes as the small prints, they see working people from a bird’s-eye view. Set in “table-top-scapes” within well-appointed homes, these objects would reconcile the sense that the different strata of the society belong together, forming a nation, with a commanding assertion of class distinctions. This complex dynamic continues a tradition that emerged in the 16th century with the creation of printed images of the working class- es — the occupations of Paris and Rome, a practice taken to new heights by Annibale Carracci’s drawings of water carriers, wine sellers and different other street peddlers in the city of Bologna. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around a few works of art from the permanent collection. The series brings these familiar works to life by placing them in dia- logue with works of art by influential peers, related sketches and studies or even objects from later periods.
(top) N. G. Vanifantiev (Russian, active in the 1840s), "Troika on a Frozen River," ca. 1845. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda. (middle) R. K. Zhukovskii (Russian, 1814-1886), "Merchants Taking Tea," ca. 1850. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda. (bottom) H. Mitreuler (Russian, active in the 1840s), "Coachmen and Their Droshky," 1842. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda. 7
Curator: Asen Kirin, Parker Curator of Russian Art
exhibitions
Neo-Abstraction: Celebrating a Gift of Contemporary Art from John and Sara Shlesinger July 17 – December 5, 2021
At the end of 2019, John and Sara Shlesinger donated 110 works of global contemporary art from their personal collection to the Georgia Museum of Art, transforming the museum’s ability to teach and exhibit cutting-edge art of the past 25 years.
This exhibition celebrates their gift by showcasing a selection of works by emerging and established artists from it. “Neo-Abstraction” highlights the resurgence of abstract art among contemporary artists, including an early spin painting by Damien Hirst and a photographic abstraction by Walead Beshty. Their works vary in method. Some em- ploy traditional forms of painterly abstraction. Others use technology to remove bodily gesture from the equation. Still others investigate the
boundary between the representational and the abstract. But, for each artist, abstraction offers a way to make visible materiality, process, expression and chance. As a result, their works bring us as viewers back to a real, physical and emotional encounter with the objecthood of our world.
Curators: Jeffrey Richmond-Moll, curator of American art
Damien Hirst (English, b. 1965), “Beautiful primary, childish, pale blue, sneezing pepper painting (w/ explosive intent),” 1998. Gloss household paint on canvas, 60 inches (diameter). Georgia Museum of Art, University of Georgia; The John and Sara Shlesinger Collection. GMOA 2019.416.
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Kota Ezawa: The Crime of Art July 17 – December 5, 2021
This exhibition brings together a group of light boxes and video animations that chronicle some of the most infamous and high-profile museum heists in history.
At the heart of this exhibition is a series of images that pays homage to the 13 works — including those by Degas, Manet, Rembrandt and Vermeer — stolen from the Isabella Stewart Gardner Museum in 1990. Ezawa draws from the histories of media, popular culture and art history to create distilled renderings of iconic images. His simplified versions of indelible images remain easily recognizable and potent, the result of a process that illuminates the hold certain images have on their viewers. Working in a range of mediums such as digital animation, light boxes, paper cut-outs, collage, print and wood sculptures, Ezawa maintains a keen awareness of how images shape our experience and memory of events. “Kota Ezawa: The Crime of Art” was organized by SITE Santa Fe with the Mead Art Museum.
Kota Ezawa (Japanese-German, b. 1969), “The Concert,” 2015. Duratrans transparency and LED light box, 28 1/2 × 25 1/2 inches. Collection of Nion McEvoy.
In-house curator: Nelda Damiano, Pierre Daura Curator of European Art
Inside Look: Selected Acquisitions from the Georgia Museum of Art September 18, 2021 – January 30, 2022
With more than 17,000 objects in its collection, the museum cannot show everything all the time.
This exhibition features many previously unseen works of art, in- cluding new gifts and purchases across our curatorial departments that have filled critical gaps in the permanent collections. Visitors will discover examples from the “Femfolio” portfolio, featuring prints by artists such as Faith Ringgold and Miriam Schapiro; a suite of abstract prints by Sophie Taeuber-Arp; selections from the John and Sara Shlesinger Collection of contemporary art; Russian portraits from the Belosselsky-Belozersky family; important abstract and self-taught objects by Black artists; photographs of celebrity culture and everyday life in 1960s England by Lewis Morley; and scenes of the resilient communities of Appalachia by photographers Milton Rogovin and Arthur Tress.
Miriam Schapiro (Canadian, 1923 – 2015), “Court Jester.” Digital print with hand lithography, 12 × 12 inches. 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 R. Berkowitz Acquisition Endowment. GMOA 2019.329.14.
Curators: Nelda Damiano, Pierre Daura Curator of European Art; Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art; Asen Kirin, Parker Curator of Russian Art; and Jeffrey Richmond-Moll, curator of American art
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exhibitions
“Song of Myself,” one of American poet Walt Whitman’s most famous poems, is a joyful celebration of the diversity of America and a meditation on our connectedness to one another.
Whitman, Alabama May 8 – December 12, 2021
“Whitman, Alabama,” an ongoing documentary project by filmmaker Jennifer Crandall, brings Whitman’s words to life through the voices of modern-day Alabama residents. For two years, Crandall traveled through the state, inviting everyday people to recite verses from Whitman’s poem on camera. The outcome is a collection of captivating portraits, and a compelling reflection on American and southern iden - tity. As the people in “Whitman, Alabama” recite lines of Whitman’s poem, they also share intimate glimpses of their lives on video. The juxtaposition of poetry against the backdrop of ev- eryday, human experiences — sitting with family on front steps, doing chores around a farm, attending football prac- tice — results in a series of videos that are both unexpected and mesmerizing. Crandall, who previously worked for the Washington Post as a video producer and journalist, began working on “Whitman, Alabama” while she was artist in residence for the Alabama Media Group. She said, “I came up with the idea of making a series of portraits hoping to show off Alabama’s people – but instead of using a traditional interview format, I wanted to use a poem as the common thread. And beyond that, let people speak for themselves.” To learn more about the project, visit www.whitmanalabama.com.
Stills from “Whitman, Alabama”
Curator: Callan Steinmann, curator of education
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Don’t Miss
In Dialogue: Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr. Through November 28
Contemporary Japanese Ceramics from the Horvitz Collection Through June 26, 2022
Power and Piety in 17th-Century Spanish Art Through November 27, 2022
Ronald Lockett (American, 1965 – 1998), “Undiscovered,” 1993. Rusted tin and colored pencil mounted on wood, 46 1/2 × 45 1/2 × 5 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of Ron and June Shelp. GMOA 2019.309. Workshop of Bartolomé Esteban Murillo (Spanish, 1618 – 1682), “The Martyrdom of St. Andrew,” ca. 1675 – 78. Oil on canvas. Museum and Gallery at Bob Jones University, Greenville, SC.
the art OF GIVING
We thank these donors to the Georgia Museum of Art from July 1, 2020, to June 30, 2021.
$10,000 & Above
$5,000 – $9,999
Anonymous Jeanne L. Berry Lacy Middlebrooks Camp & Thomas G. Camp
Lucy & B. Heyward Allen Jr. Marjorie & Mark McConnell
Gloria Bryant Norris Sheila & Randy Ott Sylvia Hillyard Pannell & Clifton W. Pannell
Faye Smith Chambers Linda & David Chesnut Elizabeth & John Crawford IV Daura Foundation Martha Thompson Dinos* Elise R. Donohue Charitable Trust Todd Emily Fraser-Parker Foundation Georgia Council for the Arts The Goizueta Foundation Carol & Jeffrey Horvitz Brenda & Hamilton Magill III Becky & David Matheny Marilyn & John McMullan Isobel & James Mills National Endowment for the Arts
Paul W. Richelson* Michael T. Ricker Margaret A. Rolando UGA Parents & Leaders Council Ann & Richard Woodruff
$2,500 – $4,999
Anonymous Linda & Larry* Beard Lynn & Richard Berkowitz Devereux & E. Davison Burch Helen & Howard Elkins Teresa & Charlie Friedlander
Anne & William Newton Deborah & Dennis O’Kain Virginia & Gordhan Patel The Richard C. Owens Charitable Foundation Betsy & Lee Robinson Lucy M. Rowland Sara & John Shlesinger Dudley Stevens Brenda A. & Larry D. Thompson Kathy Prescott & H. Grady Thrasher III The Turner Foundation W. Newton Morris Charitable Foundation Mary Lillie & Ray Watson
John M. Greene Judy & John Hill Cynthia S. Harbold & Charles L. Kauderer Elizabeth & Andrew Littlejohn
M. Elizabeth McGhee Janet & Alex Patterson Margaret R. Spalding Synovus – Athens Stevi & William Wansley
$1,000 – $2,499
Gifts of Art
June M. Ball Jane E. Fahey & Emmet J. Bondurant II Sara B. Bradley Susan & Travis Burch Maxine and Robert Burton Shannon I. and Peter M. Candler James C. Cunningham Jr. Patricia Deitz* Kathy K. & David N. Dorough Karen & James Fleece Karen M. & Andrew L. Ghertner Susan D. & Claiborne V. C. Glover III Barbara Guillaume Margaret K. & Eugene H. Howard Jr. Jonathan Boos Gallery, New York Nancy B. & Leston Juneau
Barry Andersen Berry Campbell Gallery William Castellana Sara & Robert K. Chambless Erin E. Josey & Patrick L. Dean* Robert W. Eiland Kathleen V. Fetters Teresa & Charlie Friedlander Noel Hanford Elizabeth & William A. Jump III Patricia A. & J. P. Kennedy Michelle Melin-Rogovin Deborah & Dennis O’Kain Sheila Pinkel Michael T. Ricker Lucy M. Rowland Sara & John Shlesinger Janice C. Simon Jan and Lance Toland Kendell & Tony Turner III Robert von Sternberg Marianne Weinberg-Benson Harold L. Williamson Jr. Lindsay Wyatt
Jane & Bruce King Shell & Wyck Knox
Erika G. Lewis Sue W. Mann Marilyn D. McNeely Parker & Kent R. Middleton Dan Minor Jackie & Anthony Montag Marian J. & Carl W. Mullis III Sherrie & Stephen Olejnik Sarah K. & Chris R. Peterson Letitia & Rowland A. Radford Jr. Julie M. & Ira G. Roth Jewett W. & Alan F. Rothschild Jr. Jan E. Roush Sarah P. & Walter A. Sams III Lauren K. & Matthew M. Schlesinger Gloria Ricks Taylor Martha W. & Ronald L. Thomas Jr. Kendell & Tony Turner III Marcia & James A. Verbrugge Cecelia & David Warner W. Thomas Wilfong Mary M. & Norman J. Wood
*Deceased
The W. Newton Morris Charitable Foundation provides generous annual support for the programs of the Georgia Museum of Art.
GERMÁN CUETO t hanks to funds generously provided by Martha Randolph Daura, the museum ac- quired two works by Germán Cueto from the collection of the artist’s son, Javier F. Cueto Galán. Often considered the first Mexican abstract artist, Cueto experimented with a wide range of mediums and materials during his career. He began studying sculpture in the San Carlos Academy in 1918 but dropped out because he was dissatisfied with the school’s strict adherence to dated artistic tradi- tions. At this time, directly following the Mexican Revolution, many Mexican artists were looking to both their pre-Columbian history and the European avant-garde for inspiration to establish a new cul- tural and artistic identity. Cueto was an early member of several highly influ - ential groups, including Cercle et Carré (Circle and Square), which comprised well-known artists of the early-20th-century avant-garde, such as Hans Arp, Piet Mondrian, Vassily Kandinsky and Pierre Daura. Cueto’s first solo exhibition took place in Mexico City in 1944, but he did not achieve the notoriety of many of his peers until later in his life, when the next generation of Mexican artists began to ac- knowledge his innovations and their impact on their own work. “El Orador” features a speaking figure with one arm raised, molded in a mixture of curved and jagged segments of scrap metal. “Proyecto para mural in distintos metales” is a preparatory study made from two distinct layers of cut paper. The study is not related to any known mural produced by Cueto.
Germán Cueto (Mexican, 1893 – 1975) “El Orador,” 1948 Iron, 17 3/4 × 7 7/8 × 5 1/2 inches
Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Martha
Randolph Daura GMOA 2021.104
Nelda Damiano Pierre Daura Curator of European Art
Germán Cueto (Mexican, 1893 – 1975) “Proyecto para mural in distintos metales,” 1946 Gouache on cut paper, 19 7/8 × 24 inches Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Martha Randolph Daura GMOA 2021.105
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PRISCILLA ROBERTS
the present, from the Egyptian pharaoh head and Renaissance polychrome sculpture to the fluttering butterfly, alluding to and disrupting the unfolding of time. This painting, featured in the spring 2021 exhibition “Extra Ordinary: Magic, Mys- tery and Imagination in American Realism,” is an exciting new addition to the museum’s strong collection of American magic realists, including Paul Cadmus, Jared French and O. Louis Guglielmi. Only recently has Roberts’ singular style and formative role among the circle of American magic realists received proper attention and recognition.
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riscilla Roberts’ paintings are poetic meditations on the discarded past, which resist her era’s constant embrace of “the new.” She once described her painting style as “an anachronism in the present-day world,” inspired by the carefully staged interior views of Dutch painter Johannes Vermeer. Roberts sometimes spent weeks or even months arranging objects for her compositions. Those objects includ- ed antiques store discoveries and family heirlooms, like the elaborate green dress in “Lay Figure,” designed in the late 1800s by the House of Worth. In this painting, the past meets
Jeffrey Richmond-Moll Curator of American art
Priscilla Roberts (American, 1916 – 2001), "Lay Figure," 1950. Oil on board, 30 x 25 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by William Underwood Eiland Endowment for Acquisitions made possible by M. Smith Griffith. GMOA 2021.101.
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PHILIP MOULTHROP bowl restoration
This wonderful bowl was discovered by Billy K. Poole and Dr. Milton Mazo in an Atlanta estate sale and later donated to the Georgia Museum of Art.
IT WAS A STUNNING EXAMPLE OF WOOD TURNING BY A MASTER, Ed Moulthrop, who was key in the revival of lathe turning in the country. Unfortunately, it was not maintained in ideal circumstances for much of its life, and its finish had deteriorated. The luster and effects of the woodgrain were not accentu - ated by the cloudy and flaking surface that had developed on the piece. Billy Poole remembered that Ed Moulthrop had an unsuccessful experi- ment with one type of finish that did not en - dure. After years of only occasional study, Philip Moulthrop undertook the restoration of this bowl and matched his father’s skill in recreating its original luster and brilliance. The object has been born again, as the work of art originally intend- ed. We often focus on objects that are new in the collection. While not new to the collection, this object is like new again. We are indebted to Philip Moulthrop for his contribution of skill and effort. The underside of the bowl is inscribed “1933 Marthame Sanders & Co. 1983” and “1963 The Landmarks Group 1983.” Likely, it was commis- sioned as a commemorative presentation by the Landmarks Group for distinguished restoration done by the Marhame Sanders builders. The piece also has an inscribed signature by Ed Moulthrop. The use of examples of local craft for recognition of excellence is widespread and demonstrates the admiration society holds for craft talent. Bill Newton, Decorative Arts Advisory Committee member, retired from the Coca-Cola Company, remembered that commissions for Moulthrop objects were deemed the elite vehicle for import- ant gifts and recognition in corporate diplomacy. This object was made by one of Georgia’s most significant craftsmen, was presented by and to important entities for their social contributions and, finally, owned and donated by two notable Georgia collectors.
Ed Moulthrop (American, 1916 – 2003), bowl, 1983. Tulip poplar. Georgia Museum of Art, University of Georgia; Gift of Dr. Milton Mazo and Mr. Billy K. Poole. Restored by Philip Moulthrop 2021. GMOA 2006.106.
The 11th Henry D. Green Symposium of the Decorative Arts SAVE DATE January 27 – 29, 2022 Georgia in Our Times: Modern Design and Contemporary Lens
Lead Sponsor: Richard C. Owens Charitable Foundation
Dale Couch Curator emeritus
University of Georgia Center for Continuing Education and Hotel
Keynote by Adrienne Childs
Topics will include fashion, silver, furniture design, wood turning, collecting, folk art and architecture.
Sponsored by Georgia Humanities
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SHAWNYA L. HARRIS NAMED Center for Curatorial Leadership fellow
HARRIS WAS ONE OF 12 FELLOWS FROM AROUND THE COUNTRY TO BE CHOSEN, based on her curatorial achievements and demonstrated innovation in the field. “Quite simply, Shawnya Harris and the endowed curatorship she holds have changed the culture of the museum in many ways,” said William Underwood Eiland, director of the Georgia Museum of Art. “Her tenure as a fellowship-holder with the Center for Curatorial Leadership will result in continued advancement not only of her departmental goals but also of those of the museum at large.” The program, which ran from January to April, remained entirely online and involved intense sessions with a combined focus on theoretical presentations and practical application. Completing the fellowship involved a lot of self-awareness train- ing and peer assessment. For Harris this meant self-evaluating, studying strengths and weaknesses and looking at things more objectively. She described this aspect of the program as a refo- cusing experience in which participants were prompted to con- sider their individuality and how they fit inside of the institution rather than the other way around. Additionally, there was the opportunity to analyze the phenomenon of the museum itself. Stepping back and taking a holistic approach provided space for combined problem solving with peers. By determining individual strengths, participants were able to consider how they fit into their role within the museum and, by extension, the community. A unique element of the program was that each fellow was paired with a mentor from another institution. Harris was paired with Alex Nyerges, director of the Virginia Museum of Fine Arts, who offered insight on the importance of an organized administration within a museum, informed by his more than 36 years of experi- ence as an art museum director. By pairing fellows with directors, curators like Harris could learn directly about administrative roles and decision-making within institutions. Together, the two were able to discuss the universal challenges museums are facing today and methods they each use to improve the museums they are a part of. While the country remained under lockdown this last spring, Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art at the Georgia Museum of Art, was named a 2021 fellow by the Center for Curatorial Leadership.
Shawnya L. Harris. Photo by Dorothy Kozlowski. University of Georgia, Marketing & Communications.
Another component of the program that offered fellows the chance to gain practical exposure for museum leadership was a series of workshops provided by faculty members at Colum- bia Business School. While the classes focused on business and finance, the professors from Columbia tailored assignments spe - cifically toward museum leadership. Each assignment was guided by the professors and focused on operational improvements for the future. Throughout the fellowship, Harris designed, planned and imple- mented a series of diversity mentoring projects. These projects worked toward finding ways to expand information to popula - tions that have historically not had access to guidance about mu- seum careers and opportunities. The workshops aimed to broaden accessibility by discussing education requirements, specialization training and career advice for different positions within the mu - seum with young adults and emerging professionals. Outside of the program, fellows had the chance to meet with one another after hours and exchange ideas, discuss issues and net- work. This upcoming fall the cohort plans to reunite in New York City and establish face-to-face contact for the first time.
Francesca Felicella Publications intern
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in the shop
This holiday season, the Museum Shop is your perfect destination for regionally sourced gifts. Our shelves hold unique finds created across the Southeast, from jewelry to decor to specialty tea ware. You're sure to find ideal hostess gifts, stocking stuffers and keepsakes for everyone on your list. As always, every purchase goes to support museum programming. GRANDMOTHER’S BUTTONS HANDMADE JEWELRY (Saint Francisville, Louisiana) 1. Bohemian Dragonfly earrings ($25) 2. Bohemian Dragonfly necklace ($120)
PAPER RAVEN CO. STATIONERY (Atlanta, Georgia)
Kathryn Hill.
3. Boxed holiday cards ($18) 4. DIY Paper Tree Advent Calendar ($20)
Museum director William Underwood Eiland will deliver the 2021 Jordan Massee Lecture on Southern History and Culture Sunday, October 10, at 2 p.m. at the Johnston-Felton-Hay House in Macon, Georgia. The lecture, entitled “Alabama, Mother Mine, Resident in the Kingdom of Cotton, a Lament,” will be free and open to the public as part of the Georgia Trust for Historic Preservation’s Fall Ramble event. Staff Notes Kathryn Hill has joined the museum staff as curatorial assistant in contemporary art. Hill received a dual master’s degree in art history and museum studies from Syracuse University in 2021, and has pursued academic and curatorial projects on women artists, 20th-century abstraction, craft, photography and Native American art. A native of Bentonville, Arkansas, Hill lived in Georgia in summer 2019, while serving as the Windgate Intern at the Morris Museum of Art in Augusta. She has held positions at the Syracuse University Art Museum, Everson Museum of Art and Crystal Bridges Museum of American Art, among others.
PIPER & LEAF TEA COMPANY (Lacey’s Spring, Alabama)
5. Muslin sachet bags ($11.50) 6. Teaser Jar gift set of five teas, tea ball and drinking jar ($29)
gifts
The Georgia Museum of Art received the following gifts between April 1 and June 30, 2021:
In honor of William U. Eiland by Betty Robertson and Patricia & Tom Wright
In memory of Pat Deitz by William Underwood Eiland and Max Gilstrap
In memory of Julia Sanks by Barbara Bloom-Fisher & Rob Fisher, Leta Bodine, Svea & Ron Bogue, Lacy & Thomas Camp, Joan Curtis, Carol & Richard Dolson, Brenda & Bill Dupre, Robert Elkins & Janet Miller, Susan Guttman & Van C. Claiborne Glover III, Sandra & Lester House, Jane Johnson, Barbara Laughlin, Susan & David Loegel, Sharon & Brandon McDearis, Jennifer Mettler & Murphy Wolford, Sherrie & Stephen Olejnik, Jean & Red Petrovs, Robert Sanks, Cecelia & David Warner, Geraldine Williams and Marilyn Wolf-Ragatz In memory of Mary Bondurant Warren by Emmet Bondurant II and William Underwood Eiland
In memory of Janice Emily by William Underwood Eiland and Betty Myrtle
In honor of Gloria Ricks Taylor by Kent and Parker Middleton
In memory of Hank Huckaby by William Underwood Eiland
In memory of Larry Beard by William Underwood Eiland and Janice & David Miller
In memory of Aljean Thompson by William Underwood Eiland
In memory of R. Scott Coleman by Margie & Cole Kelly
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CALENDAR
Indicates Spotlight on the Arts related
Nations Poetry” (2020), which visitors can lis- ten to while viewing the “Collective Impres- sions” exhibition. ZOOM PANEL DISCUSSION: PER- SPECTIVES ON “WHITMAN, ALABAMA” Thursday, November 18, 4 p.m. Moderated by Valerie Boyd (Charlayne Hunt- er-Gault Distinguished Writer in Residence and associate professor of journalism at the University of Georgia) and featuring film - maker Jennifer Crandall and Cody Marrs, professor of English at UGA. Co-organized by the Willson Center for Humanities and Arts. Register online.
TOURS AND GALLERY TALKS
LECTURES
ZOOMARTIST TALK: SARAH BRAMAN Thursday, October 7, 5:30 p.m.
Keep an eye on our website and social media channels for additional tours and gallery talks (virtual and in-person) by museum staff.
Sarah Braman transforms everyday objects into works that propel light and suggest themes of nature, family and home. In this Zoom talk, Braman will discuss her larg- er body of work, particularly as it relates to one of her sculptures currently on view in “Neo-Abstraction: Celebrating a Gift of Con- temporary Art from John and Sara Shlesinger.” ZOOM LECTURE: ANTHONY AMORE “STEALING REMBRANDTS” Thursday, October 14, 4 p.m. Anthony Amore, director of security and chief investigator at the Isabella Stewart Gardner Museum, will share fascinating stories and insights regarding art theft and the people and reasons behind it. Presented in conjunc- tion with the exhibition “Kota Ezawa: The Crime of Art.” Register online to participate. ARTIST TALK: BARBARA ROGERS Thursday, October 21, 1 p.m. Tucson-based artist Barbara Rogers will give a talk in conjunction with the exhibition of her painting “Float,” on view in the museum’s M. Smith Griffith Grand Hall. ARTIST TALK: DANIEL HESIDENCE Thursday, November 4, 5:30 p.m. Daniel Hesidence creates his paintings out of memory and the unconscious, their abstract surfaces always balancing chaos and order, in- timacy and distance, attraction and repulsion. In this talk, Hesidence will discuss his larger body of work, with a focus on his four paint- ings currently on view in “Neo-Abstraction.” PRINTS AND POETRY: NATIVE AMERICAN ART AND LITERATURE AT THE GEORGIAMUSEUMOF ART Thursday, November 11, 5:30 p.m. This event celebrates a partnership between the museum and the department of English at UGA, centered on the exhibition “Collective Impressions: Modern Native American Print- makers.” Jeffrey Richmond-Moll, curator of American art, will present an overview of the show, followed by a roundtable conversation about Indigenous poetry and artmaking with LeAnne Howe (Choctaw), Eidson Distin- guished Professor in American Literature, and Christine Lasek-White, assistant director of creative writing. In spring 2021, Howe and Lasek-White worked with UGA graduate stu- dents to produce recordings of Native poetry published in the “Norton Anthology of Native
CURATOR TALK: “INSIDE LOOK: SELECTED ACQUISITIONS FROM THE GEORGIAMUSEUMOF ART” Wednesday, October 6, 2 p.m. Join Asen Kirin, Parker Curator of Russian Art, for a gallery talk on a selection of Russian portraits from the Belosselsky-Belozersky family collection. ARTFUL CONVERSATION Artful Conversation programs are 30 minutes long, focus on one or two works of art and provide opportunities for close looking, open- ended dialogue and discovery. • Wednesday, October 20, 2 p.m. Works on pa- per from the “Femfolio” portfolio, on view in “Inside Look.” With Callan Steinmann, curator of education. • Wednesday, November 17, 2 p.m. Mat- thew Brandt’s “Great Salt Lake UT 5,” 2010, on view in “Neo-Abstraction.” With Callan Steinmann, curator of education. • Wednesday, December 15, 2 p.m. Photog- raphy by Arthur Tress, from “Inside Look.” With Sage Kincaid, associate curator of education. SUNDAY SPOTLIGHT TOURS Sunday, October 10, November 14 and December 12, 3 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents. TOURS AT TWO Wednesday, October 13 and 27; November 3 and 10; December 8 and 29, 2 p.m. These drop-in public tours feature highlights of the permanent collection and are led by museum docents.
SPECIAL EVENTS
STUDENTWEEK November 4 – 7, 1 – 5 p.m. daily The Georgia Museum of Art Student Association hosts a special Student Week program to celebrate the museum’s fall exhibitions, including “Neo-Abstraction.” Drop by the museum any time Thursday through Sunday between 1 and 5 p.m. to explore the galleries with a fun scavenger hunt and pick up a free “Art To-Go” kit to create your own work of art at home. Student Week is generously sponsored by UGA Parents Leadership Council. 4’33” SPOTLIGHT ON ARTS THESIS COMPETITION Tuesday, November 16, 7 – 8:30 p.m. This competition highlights scholarly research by UGA students about any art form or combination of art forms. Focusing on historical, theoretical and critical research in the arts, the competition provides an opportunity for students to present their research to the university community. BOOK SALE Thursday, December 2 – Sunday, December 5 Come shop for your loved ones at the museum’s annual holiday book sale, featuring new and used publications in all genres. We take credit cards. If you have books you’d like to donate, please contact us at 706.542.4662. FRIEND + ANNUAL FUNDMEMBER – HOLIDAY SHOPPING DISCOUNTS! Saturday, December 4 and Sunday, December 5 Reciprocal level members (and above) receive an additional 10 percent off all regular priced Museum Shop items (20 percent total) as a “thank you” for your continued support. Membership renewals, gift memberships and sale items not included.
ZOOM CURATOR TALK: “INSIDE LOOK: SELECTED ACQUISITIONS FROM THE
GEORGIAMUSEUMOF ART” Wednesday, December 1, 2 p.m.
Join Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, on Zoom for a special curator talk focusing on examples from the “Femfolio” portfolio, featuring prints by artists such Faith Ringgold and Miriam Schapiro.
FAMILY DAY TO-GO: COLLECTIVE IMPRESSIONS Saturday, November 13, 10 a.m. – noon This exhibition looks at the history of print- making as a medium among Native Amer- ican artists during the second half of the 20th century. Check out prints by influential Indigenous artists, participate in fun Art Cart activities in the galleries and then make your own print at home using the free Family Day To-Go art kit. Attend the program Saturday or pick up kits from the museum Thursday – Sunday the week of the event. FAMILY DAY TO-GO: INSIDE LOOK II Saturday, December 11, 10 a.m. – noon Celebrate the winter holidays with us! Check out previously unseen works of American and Russian art, view a photography demonstra- tion in the lobby and then make your own Fabergé-inspired art at home using the free Family Day To-Go art kit. Attend the program Saturday or pick up kits from the museum Thursday – Sunday the week of the event. 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.
meditation, movement and mindfulness techniques. No experience necessary. This program is available both in-person and via Zoom (register on our website). YOGA IN THE GALLERIES Thursdays October 21, November 18, and December 16, 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 experi- enced yogis. This program is available both in-person and via Zoom (register on our website).
YOUTH AND FAMILY PROGRAMS
Family Day is sponsored by Lucy and Buddy Allen and the Friends of the Georgia Museum of Art.
FAMILY DAY: INSIDE LOOK Saturday, October 9, 10 a.m. – noon
With more than 17,000 objects in its collec- tion, the museum cannot show everything all the time. Check out previously unseen works of European and African American art in this first half of a two-part Family Day series, participate in fun Art Cart activities in the galleries and then make your own modern collage at home using the free Family Day To-Go art kit. Attend the program Saturday or pick up kits from the museum Thursday – Sunday the week of the event. TODDLER TUESDAY Enjoy looking at art and storytime together in the galleries, and then complete an art activ- ity just for the little ones. This free program is designed for families with children ages 18 months to 3 years. Seats are limited; email gmoa-tours@uga.edu to reserve a spot. • Tuesday, October 19, 10 a.m. : Dress Up • Tuesday, November 16, 10 a.m. : Print- making
DRAWING IN THE GALLERIES Sunday, November 7, 2 p.m.
Experience the pleasure of drawing in the museum’s galleries. This workshop is led by teaching artist Phil Jasen, and includes drawing instruction, art supplies and enough space to spread out in the galleries. Program is free but space is limited, to reserve a spot email sagekincaid@uga.edu.
ART + WELLNESS STUDIO: Sunday, December 12, 2 – 4 p.m.
The therapeutic benefits of art can offer a welcome respite. By looking at, making and talking about art, studies show that we can increase our sense of well-being. Join us as we explore art and create something won- derful together with art therapists Meg Abbot and Mary Safrai. Program is free but spaces are limited; email gmoa-tours@uga.edu to reserve a spot.
• Tuesday, December 14, 10 a.m. : Art Gifts
WORKSHOPS AND CLASSES
HOMESCHOOL DAY: MODERN NATIVE AMERICAN PRINTMAKERS Friday, October 22, 10 a.m. – noon The exhibition “Collective Impressions: Mod- ern Native American Printmakers” examines the individuals, communities and institutions central to elevating printmaking as a medi- um among Native American artists during the second half of the 20th century. Learn about this important history as you complete fun Art Cart activities in the galleries, view a printing demonstration in the lobby and then create your own prints at home with to-go art kits. For more information, email sagekincaid@uga.edu or call 706.542.8863. TEENSTUDIO: NEO-ABSTRACTION Thursday, November 11, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this studio- based workshop led by local artist and educator Kristen Bach. Visit the exhibition “Neo-Abstraction: Celebrating a Gift of Con- temporary Art from John and Sara Shlesinger” and then create your own inspired contem- porary art from a variety of materials. Pizza donated by DePalma’s Italian Café. This program is free, but seats are limited. Please email gmoa-tours@uga.edu to register.
FILMS
CREATIVEWRITINGWORKSHOP WITHMELISA (MISHA) CAHNMANN- TAYLOR Sunday, October 3, 2 – 4 p.m. Often used in political speeches and occasion- ally in prose and poetry, anaphora is the rep- etition of a word or words at the beginning of successive phrases, clauses or lines to create a sonic effect. In this workshop we will feel the power of repetition in Walt Whitman’s “Song of Myself” and begin anaphora’s enchant- ment ourselves, flying on the roller coaster of surprise and sharing from the most powerful of lines. This free workshop will be led by Dr. Melisa Cahnmann-Taylor, a U.S. Fulbright Scholar Ambassador and professor of lan- guage and literacy education at UGA. Email gmoa-tours@uga.edu to reserve a spot. MORNINGMINDFULNESS Fridays October 8, 22, November 5, 19, December 3, 9:30 a.m. The Georgia Museum of Art invites you into the galleries to participate in free, guided mindfulness meditation, held every other Friday. Included is a variety of instructor-led
FILM IN THE FLOWER GARDEN: “BEETLEJUICE” Wednesday, October 6, 7:30 p.m. State Botanical Garden of Georgia Bring your own blanket and join us for a family-friendly, outdoor film screening. You may arrive early to choose your spot. Film will begin promptly at 7:30. This program is generously sponsored by UGA’s Parents Lead- ership Council and presented in partnership with the State Botanical Garden of Georgia. Find the link for free tickets on our website.
CLOSED: October 2 and 16 November 6, 20, 25 and 26 December 25 and 26 January 1 and 2.
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