WINTER 2023
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table of CONTENTS
board of ADVISORS
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
Marilyn D. McNeely Ibby Mills David Mulkey Carl. W. Mullis III* Betty R. Myrtle*
From the Director p.3
Exhibitions p.4
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** D. Jack Sawyer Jr.* Henry C. Schwob** Margaret R. Spalding Dudley R. Stevens Carolyn Tanner** Anne Wall Thomas*** Brenda A. Thompson William E. Torres C. Noel Wadsworth* Carol V. Winthrop* Gregory Ann Woodruff Ex-Officio Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner
New Acquisitions p.9
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***
The Art of Giving p.10
Elegant Salute p.12
In the Shop and Gifts p.14
Sally Dorsey** Judith A. Ellis Todd Emily
Museum Notes p.15
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
Sarah Peterson Usha Rodrigues
* Lifetime member
** Emeritus member
*** Honorary member
Mission Statement: The Georgia Museum of Art shares the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as a 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: Pueblo, Cochiti Pueblo, New Mexico, large two-headed, four-armed effigy figurine, ca. 1880. Ceramic with black and white slip, 63.5 x 39 x 21 centimeters. Department of Geosciences, Princeton University (PU 7413). Photo Bruce M. White. Back Cover: Mary Cassatt (1844 – 1926), “Little Girl in a Large Red Hat” (detail), ca. 1881. Oil on canvas, 43.8 × 38.7 centimeters. Princeton University Art Museum. Museum purchase, Fowler McCormick, Class of 1921, Fund (2021-12).
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
Design Noelle Shuck
Interns Maggie Dukes, Lauren Greenblatt and Josie Lipton
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from the DIRECTOR
Back in October, it finally hit me as I cleaned out drawers, dusted books and typed memoranda that I was retiring, and that this newsletter would be the last in which I get enough column inches to vaunt the achievements of the museum or, in the oppo- site case, to vent my spleen that we were not doing enough. In leaving, I promise to continue the former without the desire nor necessity of the latter. It is hard enough to leave when things go well. It is harder still to retreat when it is time for your work to move to another, higher plateau of achievement. The museum is ready for new leadership with the intelligence, the creativity and the courage to make it so. In other words and to the point, after more than half my life at this museum, it is hard to find the best and most meaningful words to wish the institution, its staff and supporters my profound hopes for a glo - rious future, with gratitude to all those who helped me navigate the shoals of directorship along the way. When I began this valediction, I had no desire to borrow the poet’s words and build my rituals in farewells. I had thought to say a simple good-bye, one without intensity or regret and certainly not bit- terness. I meant to be true to John Steinbeck’s words appropriately from “The Grapes of Wrath,” in which he says “Farewell has a sweet sound of reluctance. Good-bye is short and final, a word with teeth sharp to bite through the string that ties past to future.” Anne Morrow Lindberg reminds us that sayonara, is literally translated as, “since it must be so,” or, alternatively, “if it must be so,” and that of all the good-byes she had heard, it is the most beautiful. It has the finality that other leave-takings too often lack, with their promises to meet again, to “fare well” against the vicissitudes of life, to be pure and good enough to walk with God. It proclaims what parting must be and that, in life, separation is the occurrence common to all. Sadly, as I dust another book, straighten another shelf, or write another memorandum, I whisper to this place, my house of 30-plus years, sayonara.
Bill Eiland places flowers on the grave of the museum’s founder, Alfred Heber Holbrook.
William Underwood Eiland, Director
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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 fun- damental questions 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, affording new insights into the American past and present.
An accompanying catalogue expands upon the ex- hibition 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, Princeton 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
(bottom left) Henry Inman (American, 1801 – 1846), “O-Chee-Na-Shink-Ka a,” 1832 – 33. Oil on canvas, 77.5 × 64.8 centimeters. Promised gift from a Private Collection, member of the Class of 1982. (bottom right) Asher Brown Durand (American, 1796 – 1886), “Landscape,” 1859. Oil on canvas, 77 × 61.5 centimeters. Princeton University Art Museum. Gift of J.O. MacIntosh, Class of 1902 (y1955-3249).
(top) Renee Cox (b. 1960), “The Signing,” 2018 (printed 2020). Inkjet print, 48 × 84 inches. Princeton University Art Museum, Museum purchase, Kathleen Compton Sherrerd Fund for Acquisitions in American Art (2021-38).
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exhibitions
“Art is a form of freedom”: Whitworth Women Select Works from the Collection March 4 – July 2, 2023
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.
The incarcerated women at Whitworth selected the works in this exhibition and wrote prose and poetry in response to them. This interinstitutional project seeks to cultivate com- munity 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, on the project. Common Good Atlanta, founded in 2010, provides people who are incarcerated or formerly incarcerated with access to higher education by connecting Georgia’s colleges and professors with Georgia’s prison classrooms. Its 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. Dr. Young’s UGA service- learning English course “Writing for Social Justice: The Prison Writing Project” 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 experi- ence to incarcerated women at Whitworth. They learned about the museum’s collection and selected over 140 works of art to share with Whitworth students through high-quality repro- ductions of each work of art, information about the artist, relevant historical context and questions to prompt reflections and interpretation. The UGA students sought to represent the diversity of the collection while highlighting artists historically excluded 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 Whitworth. Incarcerat- ed students there engaged with the art through close looking, discussion, creative writing and art making. They also nar- rowed down a selection of works of art that were personally meaningful and resonant for them. The works they chose and the writing that accompanies them relate to themes of identi- ty, motherhood, incarceration, home, childhood, social issues, memory and mysteries. Viewed together, these works question and challenge the ways in which art and educational institu- tions can foster or hinder societal awareness and social equity and offer new ways to understand the far-reaching impacts of higher education in the carceral system.
In-House Curator: Callan Steinmann, curator of education
Dox Thrash (American, 1893 – 1965), “Monday Morning Wash,” 1938 – 39. Graphite, ink and gouache, 11 3/4 × 14 15/16 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided in memory of Lamar Dodd by Mr. and Mrs. Chester Roush. GMOA 1997.58.
Herman Bailey (American, 1931 – 1981), “Mother and Child,” 1973. Lithograph, 26 × 19 3/4 inches (sheet). Georgia Museum of Art, University of Georgia; Gift of Amalia Amaki in memory of Paul R. Jones. GMOA 2011.502.
Sky Hopinka: Lore February 11 – October 1, 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.
The 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, reproduction and creation. Sky Hopinka is a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians. A filmmaker, video artist and photog - rapher, Hopinka has received numerous honors for his innovative approach to cinema, including a 2020 Guggeinheim 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. Hopinka has said, “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possi- bility to look like.”
Sky Hopinka (Ho-Chunk and Luiseño, b. 1984), stills from “Lore,” 2019.
Curator: Jeffrey Richmond-Moll, curator of American art
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exhibitions
Don’t Miss
In Dialogue: Henry Ossawa Tanner, Mentor and Muse September 3, 2022 – June 18, 2023
Reckonings and Reconstructions: Southern Photography from the Do Good Fund Through January 8
Allison Janae Hamilton: Between Life and Landscape Through February 5
Kristin Leachman: Longleaf Lines Through February 12
Jane Manus, Undaunted Through February 12
Jane Manus (American, b. 1951), “Lissa,” 2012. Welded painted aluminum, 102 × 31 × 40 inches. Collection of the artist.
The African American painter Henry Ossawa Tanner (1859 – 1937) left the United States in 1891 for Europe to escape prejudice and continue his training as an artist.
Settling in Paris and later on the French coast, Tanner won inter- national fame for his genre scenes, his depictions of the French landscape and, most of all, his religious pictures. He also became a mentor and role model for a new generation of Black artists, who traveled to France in the 1910s and 1920s to seek his professional guidance and found similar artistic transcendence in Europe. This focused exhibition highlights Tanner’s impact on several younger artists: Palmer C. Hayden, William H. Johnson, William Edouard Scott and Hale Woodruff. It is anchored by an important Parisian cityscape by Tanner on extended loan from the Terra Foundation of American Art. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around works of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with objects by influential peers, related sketches and studies or even objects from later periods.
Curator: Jeffrey Richmond-Moll, curator of American art Sponsor: Terra Foundation for American Art
William Edouard Scott (American, 1884 – 1964), “Harbor Scene,” ca. 1920. Oil on board, 17 1/2 × 23 1/2 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2012.147.
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Pierre Daura, “Portrait of a Woman [Femme . . . ],” ca. 1928. Oil on canvas, 29 × 23 5/8 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Daura Foundation. GMOA 2022.267.
t he museum recently purchased this stunning portrait by Pierre Daura that depicts a yet to be identified young woman sitting on a chair and holding a book. The picture made quite the impression when it was recently on sale in Paris, going so far as to cause a bidding war during the auction. We are very grateful to have been able to acquire this canvas thanks to the funds provided by the Daura Foundation. The verso of the painting presents a partially legible inscription, “Femme au. . . ” (woman with) and the artist’s signature. We can only speculate, at this point, how the artist wished to describe his sitter, but the upcoming restoration of the painting might uncover more elements and help us identify her. Investigative work driven by Martha Daura, the artist’s daughter, has revealed that the book on the woman’s lap, titled “Gauguin,” was written by Roger Rey in 1924 and published in Paris. This clue tells us that Daura made the painting in or after 1924, and possibly later based on stylistic grounds. Martha donated a copy of Rey’s publication to the museum, and we look forward to exhibiting the portrait alongside the book soon.
Nelda Damiano, Pierre Daura Curator of European Art
The back of the painting
the art of giving WILLIAM UNDERWOOD EILAND
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Bill has been credited with more than $100,000 in gifts, both in-kind (works of art) and monetary, but his generosity goes beyond that. His connoisseurship and broad-ranging art historical knowledge have immeasurably broadened our holdings. If we ever needed a place to hold an event, he was always quick to offer up his own home, where he hosted many, many parties and dinners over the years. Despite an extraordi- narily busy schedule, he has mentored stu- dent interns, some of whom have gone on to be museum directors, and he has a history of making time to talk with people from smaller museums who seek his advice and to answer questions from fledgling journalists at the student paper. His history of service in the field is far too long to do more than mention here, and his involvement with professional organizations from state to regional, national and international often helped put the Geor- gia Museum of Art on the map. It is no coincidence that the museum grew so much with Bill as its director for 30 years. His grand vision for what it could be and his ability to charm others into funding those ideas and transforming them into reality are perhaps his greatest legacy here. When he arrived, we had a collection of around 5,000 works of art and a lovely building on North Campus with 9 galleries. As he leaves, we now house a collection of nearly 18,000 works. Our building has 22 galleries and 79,000 square feet. Three of our curatorial positions are endowed, providing us with stable funding for the future. We have pub- lished well over 100 books in his 30 years and won hundreds of awards for our exhibitions, educational programs, publications, dedicat- ed staff, volunteers and more. This museum truly would not have achieved what it has over the past three quarters of a century without the efforts of Bill Eiland.
This recurring feature usually focuses on donors from outside the museum, but it seems only right to dedicate this one to appreciating the gifts our director William Underwood “Bill” Eiland has made to the museum over the 30 years of his tenure.
Way back in 1998, he wrote that our founder and first director, Alfred Heber Holbrook, was fond of quoting a line from James Russell Lowell’s poem “The Vision of Sir Launfal”: “Not that which we give, but what we share / For the gift without the giver is bare.” We truly appreciate both the gifts and the giver, and you’ll soon see a selection of objects that Bill has given to the collection or selected for the collection or that have been given in his honor on view in our permanent collection.
given talks illustrated by paintings from the collection in all parts of the state, “Tallulah Falls to Brunswick and from Statesboro to Blakely.” The General Extension Division of the university furnished a car and a helper to drive and handle the paintings, and, as Hol- brook wrote, “The museum does not wait for the public to come in. It goes to the people.” Bill is likewise famous for his enthusiasm for and knowledge of our collection, his ability to deliver a talk at a moment’s notice and his genuine commitment to the mu- seum’s statewide mission. His project with freelance curator Didi Dunphy, “Highlight- ing Contemporary Art in Georgia,” has now created three traveling exhibitions focusing on Georgia artists that have, like Holbrook, crisscrossed the state, providing low-cost art experiences to people from Albany to Atlanta, Athens to Savannah. Holbrook presented more than 900 works of art to the museum, but Bill hasn’t done so poorly there either. If you search “Eiland” in our public collections database, it brings up nearly 400 works, whether given by Bill, given by others in his honor or purchased with the William Underwood Eiland En- dowment for Acquisitions (made possible by M. Smith “Smitty” Griffith). Griffith’s gift in Bill’s honor has allowed the museum to acquire many works of art that it otherwise would not have been able to, including, most recently, a William Christenberry photograph of a church in Sprott, Alabama, that Bill says is only a couple of miles from where he was born and grew up.
As we look back on our 75-year history with a year of events that kick off February 4, with Elegant Salute XVII, and wrap up November 5 with a birthday party and open house, we see a lot of similarities between Holbrook and Bill, our two longest-serv- ing directors. A note from a 1952 museum newsletter talks about Holbrook having
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celebrating 75 years of the georgia museum of art
TICKETS for the dance party are available at bit.ly/es-2023 or by emailing jointhemuseum@uga.edu and are $55 per person for Friend + Annual Fund Members and $75 per person for all other guests. 1920s-inspired cocktail attire is encouraged for both events.
Fundraising for Elegant Salute is surpassing all expectations!
This event, which is our biggest fundraiser, will take place February 4 and formally kick off the museum’s 75th anniversary year. It will also celebrate our beloved director, William Underwood Eiland , before he retires at the end of March. Mary Lillie Watson is serving as this year’s chair, along- side honorary chairs of Elegant Salutes past. Watson says, “We’ve had a little extra time to reimagine the event and are so looking forward to sharing it with you. Don’t worry, we are still planning a sophisticated, black-tie affair. But we are forgoing a seated dinner to enable you to mingle with each other as you explore beautiful Gatsby-inspired décor, delectable hors d’oeuvre stations from Epting Events, live jazz and a carefully curated silent auction in addition to the signature end-of-evening dance party.” Our new cocktail-style format enables us to highlight a select number of exquisite silent auction items and works of art. Watson adds, “Due to the interest in this milestone celebration, we will not sell individual event tickets, so please consider sponsoring the event. Sponsorships will ensure that you can join us for this very special evening to celebrate the impact of the Georgia Museum of Art over the last 75 years and over 30 years of our director’s dedicated service. Your support will enable us to continue to work toward reaching our initial goal of $1 million for the Fund for the Future Endowment.”
chair Mary Lillie Watson chair
dance party Sarah Peterson
décor & floral Ligia Alexander Maggie Hancock
fundraising D. Hamilton Magill III
David Matheny Gordhan Patel
silent auction Christina LaFontaine
honorary chairs 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 C. Johnson, Elegant Salute IX David Matheny, Elegant Salute XIV Sarah Peterson, Elegant Salute XVI Amburn Power, Elegant Salute II & IV Sarah P. Sams, Elegant Salute IX
TO SPONSOR
visit bit.ly/es-2023 or email jointhemuseum@uga.edu.
THE “DRIPPING IN DIAMONDS” DANCE PARTY , which follows Elegant Salute proper and is included in your sponsorship, will feature music by the very suave DJ Mahogany , libations and a dessert reception. Why go out on Valentine’s Day, when restaurants are crowded and menus often uninspired? Bring your sweetie to this party instead and dance the night away in style.
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in the shop
While focusing on local products from Georgia and the Southeast, Adam Clark, our new Museum Shop manager, searches the globe for new and captivating products. The shop is now carrying puzzles from Athens’ own Very Good Puzzle, plus emblematic items like Fisher Space Pens, Yeti tumblers, t-shirts and tote bags. Wear some art with Tattly tattoos (fake tattoos by real art- ists) and jewelry from Atlanta-based UGA alum Camille Kohler of Cameoko. If you or your kiddo needs some inspiration, the shop has books on soap carving, origami, fashion design and more!
gifts
The Georgia Museum of Art received the following gifts between July 1 and September 30, 2022.
In honor of Annelies Mondi by Lacy Middlebrooks Camp & Thomas G. Camp, Karen & Jim Fleece, Becky & David Matheny, Babe & Carl Mullis, Sylvia & Clif Pannell, Kathy Prescott & Grady Thrasher III and Patricia & Tom Wright
In memory of Mary Arnold Erlanger by Marilyn Vickers & Lief Carter
In memory of Milton Leathers by Betty Alice Fowler
In memory of Mrs. Nancy Bechtold Lukasiewicz by William Underwood Eiland and Patricia & Tom Wright
In memory of Rowland Radford by Carl & Babe Mullis
In memory of Shirley Reinert by William Underwood Eiland
In memory of Art Rosenbaum by William Underwood Eiland
In memory of John Waters by William Underwood Eiland
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MUSEUM NOTES
AWARDS
STAFF NOTES
Nina Guzman (our assistant editor) and Zach Decker (gal- lery guide) have left the museum for new positions. Nina is working at the Brown Media Archives on campus, and Zach is working for Athens-Clarke County Leisure Services as a park assistant. Molly Stevens joined the staff as education programs assistant. She is a graduate student at the Univer- sity of Georgia, finishing up her master’s degree in classical languages. Molly has interned at the Isabella Stewart Gardner Museum and the National Museum of Asian Art and has ex- perience as a middle- and high-school teacher. Katie O’Neal started in November as the museum’s senior accountant. Katie is a graduate of UGA with degrees in accounting and anthro- pology. Jessica Luton joined the museum staff as assistant editor, also in November. Jessica is also a freelance journalist who has written for Flagpole Magazine, Georgia Health News, Likethedew.com and the Huffington Post.
Ashlyn Davis , our Pierre Daura Curatorial Research Assistant, married Kenneth Williams on October 8 in Hahira, Georgia. Congratulations!
William Underwood Eiland and former Athens-Clarke County commissioner Kathy Hoard
William Underwood Eiland , museum director, received the Louis Griffith Hospitality Award in October from the Athens Conven - tion and Visitors Bureau (CVB). The award recognizes a manage- ment-level employee for leadership in the local hospitality industry. Nominees are evaluated on management, leadership skills and their vision for the hospitality industry. Award winners display foresight and exceptional leadership skills and have positively impacted the Athens-Clarke County hospitality industry and the community as a whole. Annelies Mondi , former deputy director of the museum, received the Dan Silosky Award from the Southeastern Registrars Associa- tion (SERA). This annual award recognizes an individual registrar or collections professional for outstanding contribution to the field and honors long-time SERA member Dan Silosky. He is remem- bered for his dedication to the profession, witty outlook on life and love of scholarship. A vital member of SERA, he served as the corresponding secretary (1984 – 88), was the West Virginia state representative and chaired the 1992 Membership Survey. The museum received both a gold in the magazines and newslet- ters category and a “Best in Show” award in the 2022 Southeast- ern Museums Conference Publication Design Competition for this publication (Facet), designed by museum graphic designer Noelle Shuck . The competition showcases the best in the profession and provides benchmarks for regional publication efforts in southeast - ern museums. This is the third year in a row that the museum has won “Best in Show” for one of its publications and the second year Shuck has snagged the award.
Head registrar Tricia Miller and curator of American art Jeffrey Richmond-Moll both presented at the Southeastern Museums Conference annual meeting, held in October in Bentonville, Arkansas. Tricia’s session was titled “Gifts That Keep on Taking: Managing Large Donations” and addressed donor relations, large-scale processing, budget implications, deaccessioning and much more. Jeff’s was titled “Expanding the Impact and Reach of Art Collections” and featured three curators talking about how museums can increase the pool of donors to their collections and find ways to diversify their collections to improve impact. In celebration of the 25th anniversary of Paine College’s Evelyn G. Etheridge Conference on the Harlem Renaissance, Shawnya L. Harris , the museum’s Larry D. and Brenda A. Thompson Curator of African American and African Dias- poric Art, spoke on some of the leading women artists of the Harlem Renaissance at the Morris Museum of Art in Augusta in October. Sage Kincaid , associate curator of education, presented “Visitor Experience of Mindfulness in an Art Museum” at the Art Education Research Institute annual symposium, held in October at the University of Georgia.
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CALENDAR * Program is free but registration is required; email gmoa-tours@uga.edu to reserve a spot.
series features scholars and scholarship focused on the intersections of visual art, po- etry, literacy, equity and justice in education. This program is presented in collaboration with the department of language and literacy at the University of Georgia’s Mary Frances Early College of Education and funded by the Aralee Strange Fund for Art and Poetry. POP-UP EXHIBITION: WONDER WOMEN Thursday, March 16, 6 – 9 p.m. Celebrate the power of women in art with this Women’s History Month pop-up exhibition in the Shannon and Peter Candler Collection Study Room. Stop by to check out a selection of works by woman artists from the museum’s collection, selected by museum interns. LECTURE: KAYWIN FELDMAN “BUILDING A NATIONAL COLLECTION IN A CHANGING NATION” Tuesday, March 21, 6:30 p.m. This lecture by Kaywin Feldman, director of the National Gallery of Art in Washington, D.C., will honor museum director William U. Eiland on the occasion of his retirement. Feldman previously led the Minneapolis Institute of Art and the Memphis Brooks Museum of Art. She is a past president of the Association of Art Museum Directors and past chair of the Amer- ican Alliance of Museums. She lectures and publishes widely on many aspects of museums in the 21st century. In 2021 Forbes magazine listed Feldman as one of the “50 Over 50” most visionary women making an impact on society. This program is presented in partner- ship with the Willson Center for Humanities and Arts. EMERGING SCHOLARS SYMPOSIUM “RETHINKING AMERICA: CONTEMPORARY CONTEMPLATIONS ON AMERICAN ART” Thursday and Friday, March 23 and 24 The 2023 Emerging Scholars Symposium will showcase research by current graduate students and other emerging scholars related to themes of rethinking and reimagining the history of Euro-American, Native American and African American art and material culture through new perspectives. The symposium accompanies the exhibition “Object Lessons in American Art: Selections from the Princeton University Art Museum.” This symposium is presented in partnership with UGA’s Associa- tion of Graduate Art Students. Visit georgiamuseum.org/rethinking-america/ for a full schedule. Nika Elder will deliver the keynote lecture, “Early American Portraiture and the Value of Flesh,” on March 23 at 5:30 p.m. Addressing works in the collections and exhibitions of the Georgia Museum of Art as well as related works elsewhere, this talk explains how and
TOURS AND GALLERY TALKS
SPECIAL EVENTS
THIRD THURSDAY Thursday, January 19, February 16 and March 16, 6 – 9 p.m. Athens’ established venues for visual art hold this event devoted to art in the evening hours on the third Thursday of every month to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org. ELEGANT SALUTE XVII: CELEBRATING 75 YEARS OF THE GEORGIA MUSEUM OF ART Saturday, February 4, 6:30 p.m. – midnight Join us for Gatsby-inspired décor, delectable hors d’oeuvre stations, a carefully curated si- lent auction and the signature end-of-evening dance party. This event will formally kick off the museum’s 75th-anniversary year and cele- brate our beloved director, William Underwood Eiland, before he retires at the end of March. Sponsors will receive guaranteed tickets; no individual tickets will be sold. For more infor- mation or to sponsor call 706.542.0830, email jointhemuseum@uga.edu or visit bit.ly/es- 2023. 1920s-inspired black tie is encouraged. ELEGANT SALUTE XVII: DRIPPING IN DIAMONDS DANCE PARTY Saturday, February 4, 9 p.m. – midnight Join us for beautiful Gatsby-inspired dé- cor, dessert, libations and the “Dripping in Diamonds” dance party. Friend + Annual Fund Members $55 per person, all other guests $75 per person. To purchase tickets online visit bit. ly/es-2023 or email jointhemuseum@uga.edu. 1920s-inspired cocktail attire is encouraged. STUDENT NIGHT Thursday, February 16, 6 – 8 p.m. Join the Georgia Museum of Art Student Association for refreshments, door prizes and themed activities to celebrate the latest exhi- bitions, including “Object Lessons in American Art.” Student Night is generously sponsored by the UGA Parents Leadership Council. ARALEE STRANGE LECTURE: VAUGHN WATSON “ON ELDER AVENUE: ENVISIONING RIGHTFUL LITERARY PRESENCE AS TRAVELING WITH” Thursday, February 23, 5:30 p.m. Dr. Vaughn W.M. Watson, associate profes- sor in the department of teacher education at Michigan State University, will give the fifth annual Aralee Strange Lecture for Art and Po- etry. Watson directs the Diasporas, a partici- patory literacy collaboration with Black African immigrant youth and university and commu- nity educators. The Aralee Strange Lecture
TOUR AT TWO Wednesday January 4, 18 and 25; February 1; March 1, 8 and 15, 2 p.m. Drop-in public tours featuring highlights of the permanent collection, led by docents. 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, January 11, 2 p.m. Thornton Dial, “Spirit of Grand Central Station: The Man That Helped the Handicapped,” with Sage Kincaid, associate curator of education • Wednesday, February 15, 2 p.m. Vertis Hayes’ “Juke Joint,” with Callan Stein- mann, curator of education • Wednesday, March 22, 2 p.m., Clementine Hunter, “Good Angels/Bad Angels,” with Sage Kincaid, associate curator of education SUNDAY SPOTLIGHT TOUR Sunday, January 22, February 19 and March 19, 3 p.m. Drop-in public tours featuring highlights of the permanent collection, led by docents. CURATOR TALK: “DECADE OF TRADITION: HIGHLIGHTS FROM THE LARRY D. AND BRENDA A. THOMPSON COLLECTION” Wednesday, February 8, 2 p.m. Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, will give a tour of the exhibition. “Decade of Tradition” includes se- lections from the Thompsons’ transformative gift of 100 works by African American artists. CURATOR TALK: “OBJECT LESSONS IN AMERICAN ART” Wednesday, February 22, 2 p.m. Jeffrey Richmond-Moll, curator of American art, will give a special tour of this exhibition, which features four centuries of works from the Princeton University Art Museum that collectively explore American history, culture and society. CURATOR TALK: “‘ART IS A FORM OF FREEDOM’: WHITWORTH WOMEN SELECT WORKS FROM THE COLLECTION” Wednesday, March 29, 2 p.m. Callan Steinmann, curator of education, will give a tour of the exhibition.
*TEEN STUDIO: OBJECT STORIES Thursday, February 16, 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 “Object Lessons in American Art: Selections from the Princeton University Art Museum” and then create your own objects inspired by stories from the exhibition. This program is free and includes a pizza dinner from DePalma’s Italian Cafe. FAMILY DAY: WONDER WOMEN Saturday, March 18, 10 a.m. – noon March is Women’s History Month. Have fun in the galleries exploring works of art by women artists, complete Art Cart activities and create your own work of art to take home. BACKPACK TOURS Check out a Backpack Tour of the Permanent Collection at the front desk. 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.
*CREATIVE AGING ART WORKSHOP Tuesday, February 7, 10 a.m. Lifelong learning through the arts offers opportunities to practice creativity and create community. Join teaching artist Toni Carlucci in the galleries to look at and talk about art and in the studio classroom to make art and new friends. All levels welcome. Creative aging programs are geared to ages 55+. *DRAWING IN THE GALLERIES Sunday, February 12, 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. *ART + WELLNESS STUDIO Sunday, March 19, 2 – 4 p.m. 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.
why early American portraiture has served as a means to negotiate racial identities in both the past and the present. Elder is assistant professor of art history at American Univer- sity, where she specializes in North American art from the colonial period to the present, including African American art and the history of photography. This lecture is supported by the Terra Foundation for American Art. 90 CARLTON: SPRING Friday, March 24, 6:30 – 8:30 p.m. Join the Friends of the Georgia Museum of Art for a reception featuring the exhibition “Object Lessons in American Art: Selections from the Princeton University Art Museum.” Light refreshments, door prizes and more. Event Partners: Athens Printing Company, Barron’s Rentals, Epting Events, Guide 2 Athens and Perryander Studio. Not Yet Friends $15 per person; Friends of the Museum and Friend + Annual Fund Members (Supporter level) $10 per person; Friend + Annual Fund Members (Reciprocal level and above) complimentary. Advance registration is required. Visit bit.ly/90c-mar-23 to register. Not yet a Friend? Visit jointhemuseum.com to join today.
YOUTH AND FAMILY PROGRAMS
FILMS
WORKSHOPS AND CLASSES
“LONGLEAF: THE HEART OF PINE” Thursday, January 26, 7 p.m. Towering stands of old-growth longleaf pine once covered over 90 million acres while stretching from southern Virginia to eastern Texas. Today, the total acreage is about 2 million, with only about 2,000 of that consid- ered old growth. As the South was settled and northern timber supplies were exhausted, this incredible natural resource was very near- ly removed from the South’s landscape and collective consciousness. “Longleaf: The Heart of Pine,” produced by award-winning docu- mentarian Rex Jones, is a cultural and natural history of the South’s ancient primeval forest and how it might still be saved. Screening courtesy of the Southern Documentary Project at the University of Mississippi. 2015, 54 min. A discussion and Q+A with Jones will follow. “BLACK ART: IN THE ABSENCE OF LIGHT” Thursday, February 16, 7 p.m. Inspired by the work of the late artist and curator David Driskell, this illuminating docu- mentary spotlights the indelible contributions of some of the foremost African American artists in today’s contemporary art world, in- cluding Theaster Gates, Kerry James Marshall, Faith Ringgold, Amy Sherald and many more. 2021, TV-MA, 85 min.
Family Day is sponsored by Lucy and Buddy Allen and the Friends of the Georgia Museum of Art.
*CREATIVE AGING SEATED YOGA Thursday, January 12, 10:30 a.m.
FAMILY DAY: TRUE BLUE Saturday, January 21, 10 a.m. – noon The color blue is one of the museum’s favorite colors, and our love for sharing art near and far is true blue. Paintings, textiles and ceramics all use this color for different effects. Join us this month to celebrate blue with Art Cart activities in the galleries and make a blue-inspired work of art to take home. TODDLER TUESDAY Enjoy looking at art and storytime together in the galleries, then complete an art activity just for the little ones. This free program is designed for families with children ages 18 months to 3+ years. • Tuesday, January 24, 10 a.m. Colors and Shapes • Tuesday, February 14, 10 a.m. I Heart Art • Tuesday, March 7, 10 a.m. Still Life with Fruit FAMILY DAY: CELEBRATING A DECADE OF TRADITION Saturday, February 11, 10 a.m. – noon In 2012, Larry and Brenda Thompson gave 100 works of art by African American artists to the museum. This exhibition highlights some of these extraordinary masterpieces. Have fun in the galleries, complete Art Cart activities and create your own work of art to take home.
Join us in the galleries for gentle seated yoga led by Raquel Durden. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are wel- come. Creative aging programs are geared to ages 55+. YOGA IN THE GALLERIES Thursday, January 19, February 16 and March 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. Sanitized mats are provided. This program is available both in-person (spots are available on a first-come, first-served basis; tickets are available at the front desk starting at 5:15 p.m.) and via Zoom (see the calendar listing on our website for registration links). MORNING MINDFULNESS Friday, January 20, February 3 and 17, March 3, 17 and 31, 9:30 a.m. The Georgia Museum of Art invites you into the galleries to relax and recharge with guided mindfulness meditation, held every other Friday. Included is a variety of instructor-led meditation, movement and mindfulness tech- niques. No experience necessary.
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