,r{?olette in o ?eni Tlorld April 5 - June r5, rg97
CO-CURATORS:
Patrtcia Phagan, Georgia Museum of Art
Annette Hatton, The Georgia Reaiew
,rtfrnowledgements fffihe Georgia Museum of Art is pleased to join The Georgia Review in celell brating its fiftieth anniversary. The exhibition, A Palette in a Pen's Woild, JL bri.rgr together a diverse group of artists, all with one common feature. Works
from each of these artists have graced the pages of The Georgia Reoiez.a over the past tlventy-tvvo years, and each has gone on to establish himself or herself on regional and national levels. Long considered one of the best literary journals in the United States, The Reaiew has brought the visual arts into its pages as a testament to the ties that bind thre beaux-ayts to belles-lettres. Just so, in its recent history, the Georgia Museum of Art has been pleased to welcome poets and novelists, those literary artists who have done with words what the painters, sculptors, printmakers, and craftspeople have done in their media to give meaning to the shared human struggle. This exhibition and accompanying publication benefit from the generous support of the Office of the Vice President for Academic Affairs and from the donation of printing services by Network Press in Acworth, Georgia. The staff of the Georgia Museum of Art join me in acknowledging the two curators of this exhibition: Patricia Phagan, curator of prints and drawings at the Georgia Museum of Art, and Annette Hatton, managing editor at The Georgia Reviezo. They have worked with meticulous care to ensure that this project is a proud reflection of its two sponsoring organizations. They have been joined by the staff of both The Reztiew and the museum in realizing this exhibition and publication, and I am grateful to both groups. Ms. Hatton and Ms. Phagan have shown us that, indeed, together the pen and the palette are twice as mighty as the sword.
WILLIAM U. EII-AND Director
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1\ n apt title invented by Annette Hatton, 'A Palette in a Pen's World" deftly A\ describes this retrospective exhibition of selected works reproduced in The A. )LGeorgia Rez,iezo, which this year celebrates its fiftieth anniversary. A nationally known literary journal begun in 1947, The Reaiew began irregularly publishing artist portfolios, sections reproducing art independent of the text, only in ry74. Stanley W Lindberg, editor since rg77, has made this feature a regular component of each issue, and has sought to publish diverse works by both established and emerging artists. Published quarterly in March, June, September, and Decembeq The Reaiewbegan as a regional publication of special concern to Georgians. There were no reproductions of art in the periodical until the Winter r95r issue, when documentary photographs accompanied an article, "Salem Camp Meeting: Symbol of an Era," by Webb B. Garrison, about the religious campground near Covington, Georgia. Documentary photographs joined other illustrations of articles and reviews to become regular ingredients in the pages of The Reaiew during most of the remainder of the r95os. No illustrations appeared from rg59 until r965, however, and only a few repro-
ductions-photographs and line engravings-appeared in the journal from 1966 until the Fall r974 issue. Throughout these later years, new editors of The Georgia Reztiew initiatedchanges in the literary and visual content of the journal. With the appointment of James B. Colvert, announced in the Fall 1968 issue, the quarterly began opening its pages to contributions that were non-Southern in nature. With the Fall ry74 issue, under the new editorship of John T. Irwin, the independent portfolio first appeared with "Ten Graphics by John Schnell," a series of black-and-white reproductions of popinspired, sharp-edged paintings by this New York artist. When Lindberg became editor, he announced in the Fall 1977 volume his intention to continue The Rez.tiezts's "tradition of publishing.the best in contemporary American thought and literature:" an "eclectic blend of essays and reviews," together with stimulating poetry and fiction. With the Spring r978 issue, the new editor initiated the use of color reproductions on the cover, newly re-designed by Ronald E Arnholm, professor of art at the University of Georgia. Ten years lateq beginning with the paintings of Willie Nash in the Winter r g88 volume, portfolios in color finally appeared, and now are featured regularly in The Reaieu issues. This exhibition reaches back to rg7s, a year after the artist portfolio was established in The Georgia Reaiew. Like the journal of the past two decades, with its emphasis on diversiry the exhibition presents a mix of varied art forms and styles, a cross-section that begins with black-and-white photographs of Flannery O'Connor's Milledgeville taken by Barbara McKenzie and published in r975, and a screenprinted word portrait of Ezra Pound by John Sokol, published in ry79. Though not an announced theme, identity emerges as an important issue in many works in the exhibition, whether literary, social, racial, cultural, or autobiographical. Regional identity, the raison d'Afue of the early years of the quarterly, has become one issue among many. Works on view span over two decades of The Reoiew, the large-scale watercolor by Seattle-based artist Patti Warashina being reproduced in the Spring r997 issue. Beyond the literary parallels found in the works by McKenzie and Sokol, there lies a field of choices tended toby The Georgia Reoiew that speak to the pluralistic nature of American art in the past twenty years or more. The range of mediums in the exhibition, from film stills to oil paintings, is indicative of this more inclusive approach, as
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of concerns that preoccupy artists. James Herbert, for instance, has been experimenting with making independent films since the late r96os, when avant-garde filmmaking experienced a resurgence of interest. The University of Georgia art professor creates his film stills by rephotographing footage from his original films with a movie camera that can zoofii or tilt across a projected image, an arena not unlike that of his large, abstract expressionist paintings where his gestures animate the canvas. These primarily formal and aesthetic concerns contrast with the pronounced social and autobiographical issues presented in the works of so many of the artists in this exhibition. For instance, African-American culture and heritage are major themes in the works of Charles White, Lois Mailou Jones, and Carrie Mae Weems, well-known black artists, as rn'ell as in the photographs and prints of Herb Snitzer and George Davidson, which celebrate the African-American roots of jazz and blues music. Observations arising from one's daily life are of central concern for Mary Porter in her warm, vivid watercolors of her home in Athens, while autobiography also informs the large and ambiguous self-portraits of Lynn Davison, a painter from is the range
Florida, and the spiritually anxious drawings of Lilly Rosa, a first-generation Californian. Mary Jernigan, who lives in Arkansas, creates miniature gouaches of comfortable, middle-class interiors cast with sexual tension. Floridian Akiko Sugiyama, who moved to the U.S. from Japan in 1974, constructs sculptural collages of shaped, painted paper, often with themes addressing her emotional transition from one society to another. Trisha Orr, of Charlottesville, Virginia, also alludes to autobiography through her intricately detailed still life paintings that picture glass vases, boldly patterned fabrics, and other familiar items from her personal life. Other concerns abound in the works on view. Saturated, contrasting colors are essential to Rodger Kingston's Cibachrome photographs of storefronts, billboards, and signs, urban images honed by this Massachusetts-based artist. Nude, gesticulating figures caught in a performance of their own making are central to the largescale watercolor by ceramist Warashina, who in this work on paper expresses her profound feelings against the exploitation of nature. Finally, human attributes are crucial for Frank Fleming's white porcelain sculptures of clothed animals, sitting or standing, telling tales, and imparting wisdom. Both Warashina and Fleming, an artist from Birmingham, Alabama, are indebted to the ceramic sculpture movement in California of the rg5os through r97os, and especially to the unorthodox work of Robert Arneson. The writer appreciates the generous loan of works to the exhibition and thanks the institutions, collectors, and artists for their cooperation and assistance. I also commend my volunteer staff of museum interns-Julia Featheringill, Mary Koon, Marissa Vivona, Madonna Smith, Amy Bardakjy, Stephanie Lathan, and Rachel Ferrel-who provided invaluable support through their library research and writing of wall texts. The museum staff at the Georgia Museum of Art, especially Annelies Mondi, associate registrar, and Patricia Wright, secretary to the curator of prints and drawings, have been indispensable in the organization of this exhibition. Lastly, it was a pleasure working with the staff of The Georgia Rettiew, and I hope that this small publication will serve them and the reader as a stimulating record of the rich visual past of the journal. PATRICIA PHAGAN Curator of Prints & Drawings
t6l
Tn oJeraice of ,2(0rud und
ffiort
High is our calling, friend! Cyeatiae An (Whether the instrument of zaords slte use, Or pencil pregnant zlith ethereal hues ) Demands the service of a mind and heart, Though sensitiae, yet, in their weakest part,
Heroically fashioned.
-WILLIAM
WORDSWORTH
Georgia Retiew was founded in 1947, it was envisioned as a \f X /hen Thejournal regional of arts and letters in the broadest sense. No mention was V \\/ V V made at the time for incorporating visual art, and-except for a few line-
drawing engravings-the journal continued to be devoted to the printed word for
over twenty-five years. In some ways, The Reaiew's changing covers tell much of the story. The first quarterly issues appeared in "Confederate gray,, covers, which the
journal continued to employ for over twenty years. Then Jam"s B. Colvert redesigned the format and began using covers of different "diior colors, rotated on a seasonal basis, a practice that continued under the editorship of Edward Krickel. After 1974, however, editor John T. Irwin's new design once again called for look-alike issues-this time in light brown-and for the next three years the major difference in appearance from issue to issue was in the listing of authors on the front cover. when I became editor in rnid-ry77,I chose to retain the brown covers to complete that volume year but enlisted the talent of Ronald E Arnholm, an art professor at the University of. Georgia, to reformat the rnagazine and to create a new cover design that could incorporate art of varying dimensions to let each issue visually announce its unique existence and yet simultaneously signal continuity by p.ese.rting our logo in a fixed position. I wanted to make the outside of the journal as inviting and engaging as its textual contents. Arnholm came up with the now familiar split-spine, wrap-around cover design that-ever since Andr6 Derain,s Landscape zuith Huntsman and Bathers graced the Spring rg78 cover-has served The Georgia " Reoiew so well (and has been imitated by so many other publications). But rnagazine covers seldom tell the whole story about anything. The truth is that visual art had actually begun appearing on a fairly regular basis within the issues of The Reaiew well before rg78-mainly as an illustration or film clip accompanying text, but sometimes as a subject in its own right. And there was no d.amatic change ln this practice in 1978, for my primary focus was still directed toward presenting tf,e highest possible quality of thought and writing. Although the ry7g volume featured three individual artist portfolios-the screenprinted portraits of authors by John Sokol, the r88o documentary photographs of william E. wilson, and the first-ever rnagazine focus on the paintings of Mattie Lou O'Kelley-most of the inside art throughout the early r98os served to illustrate essays. One reason The Georgia Reaiew may have been reluctant to embrace visual art sooner can be traced to the journal's primary method of printing. From the start, The Reoiew has been typeset in hot lead on Linotype machines and then letterpress printed-a technology still preferred by many who recognize and, appreciate the
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beauty of such printed texts, but one with distinct disadvantages in dealing with visual images. For a number of years, those technical limitations, which essentially meant that we could offer only black-and-white reproductions, were a major factor influencing our selection of art. The quality of our images improved significantly when we began running art features in separate offset signatures, but the major improvement came in rg88, when increased university funding perrnitted The Reoiew to present full-color portfolios inside our issues, thus opening up considerably the range of art we could consider and properly present. As editor, I must make the final decisions on everything that enters the pages of The Reoiew-including, of course, the art-but during the past twenty years I have received good advice from many different people. For the first ten years or so, Ronald Arnholm served as my primary advisor on art, eventually being joined by editorial board members Judith McWillie and Jim Herbert, as well as Rick Johnson from the Lamar Dodd School of Art. Each of them has also directed us to -all artists whose work we ended up publishing, as have authors Leon V. Driskell, Charles East, Jim Kilgo, Susan Ludvigson, Bin Ramke, and Paul Zirnrner. And there has obviously been a great deal of worthy input from my colleagues on the staff of The Georgia Reoiez.u, especially from managing editor Annette Flatton, whose advisory role has grown in recent years and who has been instrumental in assembling this anniversary exhibition. Informing the selection process throughout my tenure has been the search for quality and diversity. Since The Georgia Reoiew has limited space for art, we try to use it primarily to introduce new work of distinction, whether by an artist already established or one as-yet unknown. Although we have featured a few retrospective looks at exceptional but under-recognized careers-Mattie Lou O'Kelley, Robert Gwathmey, Charles White, and Lois Mailou Jones-most of our portfolios of art make no effort to show all that an artist has attempted but focus instead on some of his or her recent efforts, often thematically related, that merit serious consideration and appreciation. And from the start we have tried to capture some of the rich diversity of art being created today. From intricate wood sculptures to photographs of American jazz greats and dazzhngly designed quilts, from graphite drawings and watercolors to rephotographed film stills, wood and linocuts, and mixed-media presentations-all of these and more have been featured at different tirnes in The Georgia Reoieus.
When individuals turn fifty, they are regarded by many as being in their prime, and certainly that's how I feel about The Georgia Reaiew as it celebrates this anniversary. The Reoiewhas never been stronget in my opinion, and one key reason for its strength derives from the more complete integration of its visual components with its prizewinning blend of literary contents. As is clear from the rich variety of art gathered for this exhibition-only a representative fraction of what we have published-the role of art in The Reaiew is far greater now than the founding editors could have imagined. It is a role likely to grow as The Georgia Reaiew moves into the next century.
STANLEY W. LINDBBRG Editoq The Georgia Rez;iez.a
t8l
@onsi dering
Qlu oresan t Oron ge
"There is no such thing as a bad color." -Ron Arnholrn s I was walking to a concert on campus recently, I realized the man on the path in front of me was carrying what was then the latest issue of The Georgia Reaiew with its unmistakable, fluorescent orange cover. I experienced a real feeling of pleasure in spotting something so familiar in an unexpected place-and as it turned out, carried by a man who lived in Stockbridge, Georgia, a good ways from Athens. Seeing this issue, and with the fiftieth anniversary celebration coming up, I started thinking about the colors of our covers and the kinds of art we have published, especially for the thirteen years I have worked at The Reoiew. One does not normally think of fluorescent orange as a cover color for a literary journal. Nor would one necessarily think of finding a cover drawing, entitled Self-Portrait, of a man mummified in newsprint, holding paint brushes, and peeking out from his wrappings with one eye. But it is just this element of difference, this tendency to be attracted to the unusual (a taste that one of our printers labels "bizarre"), which often pulls me to an artist or to a particular work. But as anyone reading The Reaiew and observing its art over the years knows, "bizane" may fit some but certainly not all of the art published in our pages. First of all, it is true that we still receive few unsolicited art submissions (though more than in the past). Some of the artists we have featured I have found through art publications or exhibitions. Others have been discovered by the editor or recommended to us by a previously featured writer or artist. Once, as we approached a publication date with no art in hand, I announced as I left for lunch that I was going off to find the art, and when I crossed the street to the art department, I found some wonderfully bizarre sculptures by Frank Fleming on display. While we have not had to scramble like that since, our pool of choices has been relatively small when compared to the tremendous overflow of poems and short stories sent to us each year. Artists seldom think about publishing their work, and even if they did, they would not necessarily think about publishing it in a literary journal. Even with a small number of potentially publishable artists, however, we are guided in our selections by several other factors, chief among them, of course, being quality. It would be easy enough to settle for recognized names or established artists as a route to "quality," but since there are so many excellent butunrecognized artists, we have often chosen the latter and have been very huppy with this approach. Another factor is eclecticism. We have deliberately remained open to a wide variety of media: Carol Shinn's machine-stitched desert scenes of the Southwest, for example, some as seen through side- and rear-view mirrors of cars and trucks, and the allwhite, semi-hysterical-looking, low-fire clay figures of Patti Warashina (who is included in this exhibition and the Spring 1997 issue of The Reoiew as well, but with newer and different work). In addition, The Rez;iew has published photography, Iinoleum cuts, paintings, drawings, collages, and sculpture. Up to the Winter r988 issue we were only able to print the inside portfolio in black and white, so we had to make our selections according to what would reproduce best, especially if the originals were in color. For this reason, we rarely selected art that was abstract or subtle in color. Since that time, however, we have been able to expand our repertoire to include such works as Paige Harvey's abstract paintings, Kathleen Holder's luminescent pastels, and Trisha Orr's complex still lifes. What showed up
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period-partly because it is a personal interest, but partly out of necessity-was figurative art, as exemplified by Charles White's drawings, paintings, and prints, Lilly Rosa's watercolors, and Bruce Carter's woodcuts. As I look back over the past thirteen years of art published in The Georgia Reaiew, I recognize that not all of it, especially the figurative art, has been easy to look at. As often during the black-and-white
French painter Georges Braque said, " L'Art est Jait pour troubler [Art is meant to disturb]," and examples of this can easily be found in the paintings of Mary Jernigan, Lynn Davison, and Odette Col6n, the etchings of Alan Cober, and the charcoal drawings of Selma Waldman. When we reproduced the film stills of Jim Herbert, we were certain that we were going to disturb someone with his nude female and male
figures, and we probably did. But outside of a few ambiguous subscription cancellations, we did not receive the protests we had expected. Nor did we get any complaints about the half-nude lesbian couple in Ian McFarlane's photographs. Of course, we do not select art-just as we do not publish controversial essays, fiction, poetrysimply to elicit reaction. We do so because we believe in the work, whether written or visual. But neither do rve shy away from difficult art or work that may upset our readers' expectations. The Georgia Reoiew has come a long way since its early gray days when there was no cover art or inside art and the focus of the literature was regional. Even today not all nationally recognized literary magazines publish art. The inclusion of one or two artists in each of our issues, however, not only enhances the appearance of the magazine, but is part of the "conversation" that exists between its fiction, essays, and poetry in any particular number. Today it would be difficult to imagine The Reoiew without art-both on the cover and inside. In the planning stages of this exhibition, we realized that budgetary constraints would interfere with our original idea, which was to include at least one work by every artist we had ever published. While we regretted bowing to this economic necessity, we also realized that our original concept would have resulted in a very large and fragmented exhibition. The work in this show has been selected from the past twenty-two years of The Georgia Reoiew and, needless to say, the process of
selection was very difficult, given all the wonderful artists whose work we have included in our pages. The seventeen artists in A Palette in a Pen's World arc representative of all that we have published over the years. \Me are grateful, however, to all the artists who helped to make The Reztiew the visually appealing publication it is today; we hope they realize how important they are to us. I extend my thanks to the staff of the Georgia Museum of Art for taking on this fiftieth anniversary exhibition in all its complexities, and a special thanks to Patricia Phagan without whose expertise, patience, and meticulous attention to detail this exhibition would not exist.
ANNETTE HATTON Managing Editor, The Georgia Reztiew
[ ,o
]
Qhechlist of the â‚Źxh,ibition In
the
following, height precedes zpidth and,
Barbara McKenzie
The Georgia Reaiezo (Summer r976)
r. Untitled
6. Untitled
Silver gelatin print 9e4,, x 6'/" inches (image)
Silver gelatin print
rox8inches(sheet) Reproduced in Barbara McKenzie, "Flannery O' Connor Country, " The Georgia Reztiew (Summer r975) Collection of the artist, Durham, North Carolina
63/a
8
"Flannery O'Connor Country," The Georgia Reuiezt (Summer r975)
Film," The Georgia Rersiew Collection of the artist, Durham, North Carolina (American, b. ,S+Z)
7. Ezra Pound as "The Cantos" Screenprint in black ink on paper 247/ax r9% inches (composition and sheet)
Collection of the artist, Durham, North Carolina
Edition of 5o
3. Untitled
Reproduced on the cover of
Silver gelatin print
The Georgia Reaiew (Summer r979) of The Georgia Reztiew,
x geAu inches (image) 8 x ro inches (sheet) Reproduced in Barbara McKenzie, "Flannery O'Connor Country," The Georgia Retiew (Summer r975) 63/s
Collection
University oi Georgia
Collection of the artist,
Durham, North Carolina
4. Untitled
Siiver gelatin print
x
geAo
inches (image) (sheet)
Reproduced in Barbara McKenzie,
"Flannery O'Connor Country," The Georgia Redew (Summer 1975) Collection of the artist, Durham, North Carolina
5. Untitled
Silver gelatin print x geAt inches (image)
63/s
8
x ro inches
inches (image)
John Sokol
Reproduced in Barbara McKenzie,
x ro inches
geAo
(Summer r977)
Silver gelatin print 6sh x geAo inches (image) 8 x ro inches (sheet)
x
x ro inches (sheet)
Reproduced in Barbara McKenzie, "Flannery O'Connor Country on
z. Untitled
8
applicable, depth,
Collection of the artist, Durham, North Carolina
(American, b. ,S:+)
63/z
zohere
(sheet)
Reproduced in Barbara McKenzie, "Tintypes and Archetypes,"
I r,
]
Frank Fleming (American, b. r94o)
8. Goatman,
1977
Porcelain 17t/z
x r6 x r5 inches and
6xrzxginches
Reproduced in The Georgia Reaiew (Summer r985) Collection of Richard Bite, Birmingham, Alabama
g.
13. Jester's Head, ry87 Oil and fabric on Masonite 48 x z4 inches Reproduced in The Georgia Reaiew (Winter 1987) Collection of Gilbert and Jean Pokora, Port Charlotte, Florida (nxoeIecr)
14. The Stage Manager, rygt Oil and gold leaf on canvas 86 x 7z inches
The Wisdom KeePer
Reproduced in The Georgia Reoiew (Spring r99z) John and Mable Ringling
Porcelain
x r3'/, x t6'/n inches Reproduced on the cover of z6
Museum of Art, Sarasota, Florida; purchased with funds provided by Mr. and Mrs' JaY Crouse, the John E. Galvin
Tie Georgia Ret-tiew (Summer r985) Collection of Jim Sokol, Birmingham, Alabama
Charitable Trust, and the
Charles White (American, ryt8-ry79)
Ringling Museum of Art Investment Trust Fund
ro. Gideon, ry5r
MF 93.4
Lithograph on PaPer r33/a
x
to1/+ inches
Reproduced in The Georgia Reoieus (Summer r986)
Collection of Frances B. White; courtesy of SICA Fine Arts, Oakland, California
tt.
Mother Courage
II,
James Herbert (American, b. 1938)
r5. Untitled
Still-frame silver gelatin Print 16 x zo inches Reproduced on the cover of
rg74
Oil on canvas {g3/+ x 39% inches Reproduced in The Georgia Reaiew (Summer r986) National AcademY of Design, New York
The Georgia Review (SPring r989) CourtesY of Jackson Fine Art,
Atlanta, Georgia
r6. Untitled
Still-frame silver gelatin Print t6 x zo inches
Lynn Davison
Reproduced in The Georgia Rez-tiew (SPring r989) CourtesY of Jackson Fine Art, Atlanta, Georgia
Finalists in the Game of Musical Chairs, ry87 Oil on canvas (four Panels) 65 * 5: inches (24 x z6% inches [uPPer Panels]; 4t x z6f, inches [lower Panels]) Reproduced in The Georgia Reaiew (Spring r99z) Polk Museum of Art, Lakeland, Florida
(from the artist's
film "Hotel" [rg8+])
(American, b. rS+S)
e.
(from the artist's
film "Theatre" [r985])
r7. Untitled
(from the artist's
film "Trains" [r987])
Still-frame silver gelatin Print t6 x zo inches Reproduced rn The Georgia Reoiew (SPring r989) CourtesY of Jackson Fine Art,
Atlanta, Georgia
lrzl
Lilly
George Davidson
Rosa
(American, b. ,SSS)
(American, b. r95z)
t8. In
4.
the Praca de Republica, ry87 Ink and watercolor on Arches paper
g'/sxrr%inches
of The Georgia Reoiew (Summer r989)
Reproduced on the cover
Athens, Georgia
Courtesy of Galerie Cujas, San Diego, California
ry. The Sanctuary,
24. Thelonious Monk,
ry86 Linoleum cut on paper 8 x ro inches
:98T
Reproduced on the cover of
Ink and watercolor on
Arches paper
The Georgia Reaieut (Winter I99o)
4'/+ x 6 inches
Collection of the artist,
Reproduced in The Georgia Reuiezt (Summer r989) Courtesy of Galerie Cujas, San Diego, California
Athens, Georgia
25. Trumpet Thump,
ry88 Linoleum cut on paper 61/a x 5 inches
Reproduced in The Georgia Reoiew (Winter r99o)
Mary Jernigan
(American, b. ,sSS)
zo. Girl in the Bedroom,
Collection of the artist, Athens, Georgia
ry86
Gouache on illustration board 9t/+x6% inches
Akiko Sugiyama
Reproduced in The Georgia
(Japanese-American, b. rS+S)
Reaiew (Spring/Summer r 99o) Collection of Emilie S. Kilgore, Houston, Texas
26. I'm Almost U.S. Citizen, ts8s Paper collage, crayon, and watercolor z6t/+ x 4o'/n x 6f, inches Reproduced in The Georgia
Mary Porter (American, b. ,sSS)
zr.
Reaiezt (Spring r99r)
Litsing Room, tgSg
Collection of the artist,
Watercolor on paper zz x 30 inches Reproduced in The Georgia
Ormond Beach, Florida
Rezliew (Spring/Summer
r
zJ. Paradise) rggo Paper collage, crayon, watercolor, and pine needles
99o)
Private collection
zz.
4 Santa Fe, rggo Linoleum cut on paper rz x 9 inches Reproduced in The Georgia Reoiezo (Winter r99o) Collection of the artist,
Serious Dish
'Watercolor
z^3x32x6inches
Build-Up, ry8s
Reproduced on the cover
of
The
Georgia Reoiew (Spring r99r)
on paper inches x 22 30 Reproduced in The Georgia Rez;iew ( Spring/Summer r 99o)
Collection of Mr. and Mrs. Gary
Brown, Miami, Florida
Collection of the artist, Athens, Georgia
I r:
]
Rodger Kingston
32. Lester Young, Outside the Fiz;e Spot CaJi, New York
(American, b. ry4t)
28. Star Barber Shop, Nez.o Yorh, New York, Cibachrome print 13 %
City,
ryBz
x ro % inches (image);
r4 x ro 7/8 inches (sheet) Reproduced in The Georgia Rez-tieut
(Summer r99r)
Collection
of
The Georgia Reoiew,
y.
University of Georgia
Three Penny Opera Poster, Amtrak S tation, Wilmington, Delaware, r976 Cibachrome print r3Y+ x ro'/s inches (image) 14 x rot%o inches (sheet) Reproduced in The Georgia Reoiew (Summer rggr) Collection
of
t6 x zo inches Reproduced in The Georgia Rez;iew (Winter r99z) Collection of the arrist, St. Petersburg, Florida
34. Nina Simone, Philadelphia, rs5e Silver gelatin print 16 x zo inches Reproduced in The Georgia Reaieus (Winter r99z) Collection of the artist, St. Petersburg, Florida
The Georgia Reoiez.o,
University of Georgia
Lois Mailou Jones
(American, b. r9o5)
3o. Marchd, Haiti,
ry63
Polymer (acrylic) on board 333/+
Miles Daais, Newport Jazz Festixal, rygo Silver gelatin print
(covnn)
zg.
ry58
Silver gelatin print zo x 16 inches Reproduced in The Georgia Reaiew (Winter r992) Collection of the artist, St. Petersburg, Florida
x
zg1/s irrc}les
Reproduced in The Georgia Reaiez.a (Summer rggz) Courtesy of Sragow Gallery,
Carrie Mae Weems (American, b. ,gS:)
35. Untitled
(from the I{itchen Table series), r99o
Silver gelatin print z8%x z8% inches Reproduced in The Georgia Rez;iew (Winter 1994)
New York
Herb Snitzer
Private collection
(American, b. ry32)
3r. John Coltrane, Backstage at
36. Untitled
(from the Kitchen Table series), r99o
the Village Gate, Nezt: York City, ry6r Silver gelatin print zo x 16 inches Reproduced in The Georgia Rer.tiew (Winter r99z) Collection of the artist,
Silver gelatin print
z8t/sx z8% inches Reproduced in The Georgia Reztiezo
(Winter r 994)
Private collection
St. Petersburg, Florida
l r+)
of
(nnoNrrserncn)
Reproduced on the cover
37. Untitled
Georgia Reaiez.o (Summer rg95)
(from the Kitchen Table series), rggo
Collection of Mr. and Mrs. Kenneth E. Brown, Charlottesville, Virginia
Silver gelatin print z8Y+x z8% inches Reproduced in The Georgia Review (Winter r994)
Private collection
38. Untitled
Patti Warashina (American, b. r94o)
4o. Passionfor Papilio, rs95
(from the
Watercolor and gouache on paper 8z x 5z inches Reproduced in The Georgia Reoiew (Spring r997) Collection of the artist, Seattle, Washington
Kitchen Table series), r99o Silver gelatin print 281/cx z8% inches Reproduced in The Georgia Reoiez.u
The
(Winter 1994)
Private collection
Trisha Orr (American, b. r95r)
39. Still Life with Owl Teapot, r99z
Oil on canvas 4t x 36 inches
GEORGIAMUSEUM OFART Performing and Visual Arts Complex enerous support for this exhibition and publication were provided by the Office of
the Vice President for Academic Affairs and Network Press in Acworth, Georgia. Partial support for the exhibitions and programs for the Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations of the Georgia General Assembly and the National Endowment for the Arts. A portion of the museum's general operating support for this year has been provided through the Institute of Museum and
Library Services,
that offers general operating support to the nation's museums. Individuals, foundations, and corporations provide additional support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art's hours are ro a.m. to 5 p.m. Tuesday, Wednesday, Thursday, and Saturday; ro a.m. to g p.m. on Friday; and r p.m. to
S
a federal agency
p.m. on Sunday.
706.5+z.Gl/r)A
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CHECKLTST
NO. 14