facet
Elegant Salute Recap: Metamorphosis
Exhibitions: All Creatures Great and Small
Donor Spotlight: Carl Mullis
www.georgiamuseum.org
Spring 2011
1
From the Director
Department of Publications Hillary Brown and Mary Koon Publications Interns Michael Tod Edgerton Kaitlin Springmier
My last letter to you was a cascade of names, a listing of every one of our donors to Phase II, and in some ways this one will be no different,
Design The Adsmith
but I promise fewer names and a bit more prose. Our reopening ceremonies, which lasted a week and a half, all things considered, could not have been more of a success. The marathon round of ribboncuttings on Friday, Jan. 28, kicked off the celebrations and lasted all day, followed by Elegant Salute XII: Metamorphosis the next evening, when we were joined by 371 of our supporters and President Michael Adams to reopen the new building officially. That Sunday featured a preview for our loyal Friends members, with angelic song by the Georgia Children’s Chorus. Receptions and days devoted to UGA faculty and staff, UGA Physical Plant workers and UGA students followed. The latter provided some of the most thrilling moments of the week when 2,053 students showed up for our “Reopening Remixed” evening, from 7 p.m. to
Georgia Museum of Art
midnight. They were everywhere in the galleries, enthusing over the art
University of Georgia
and the space, discussing it with their classmates and putting on quite a fashion show. It was an amazing infusion of youth and a reminder that academic purpose does not have to mean stuffiness. We had wonderful lectures by artists Beverly Pepper and Anthony Goicolea (a graduate of UGA and a former student at the museum) as well, and the week
90 Carlton Street Athens, GA 30602-6719 www.georgiamuseum.org Admission: Free ($3 suggested donation)
finished up with a classy performance by Modern Skirts organized by the Young at Art committee of the Friends and a massive Family Day
HOURS
that drew 662 visitors.
Galleries: Open to classes and school
I thank everyone who attended all the events and, even more so,
groups by appointment only, Monday and
all those who made them happen: my dedicated staff, our devoted
Tuesday. Open to the public Wednesday,
volunteers, those who assembled the tents and mopped the floors, our
Friday and Saturday, 12–5 p.m.;
team of architects (Gluckman Mayner of New York, Stanley Beaman &
Thursday, 12–9 p.m.; Sunday, 1–5 p.m.
Sears of Atlanta and the Office of University Architects), Holder Construction, Grant Collaborative (in Canton, Ga., who designed our new
Our reopening ceremonies, which lasted a week and a half, all things considered, could not have been more of a success.
First floor lobby, Jane and
banners and coined the phrase “Art
Harry Willson Sculpture Garden:
Expands”), the university administration,
Tuesday, Wednesday, Friday and Saturday,
especially the Office of the Senior Vice
10 a.m.–5 p.m.; Thursday, 10 a.m.–9 p.m.;
President for External Affairs, every
Sunday, 1 p.m.–5 p.m. Closed on Mondays.
single donor to Phase II and many more. No doubt, you have already noticed
Museum Shop: Tuesday, Wednesday,
the new look of our newsletter, now dubbed Facet, both to evoke the different faces of a gemstone or work of art and to
Friday and Saturday, 10 a.m.–4:45 p.m.;
call to mind the word’s roots in the process of making objects. Our website (now www.georgiamuseum.org) has been
Thursday, 10 a.m.–8:45 p.m.; Sunday,
updated as well, both by The Adsmith, and we admire their care and aesthetics in crafting print and web materials
1 p.m.–4:45 p.m. Closed on Mondays.
that match our new space in sleekness, beauty and functionality. As I said at Elegant Salute, this building symbolizes our dedication to the proposition that the essential mission of an art museum, the core of its raison d’être, is that
Ike & Jane at the Georgia Museum of Art:
indefinable connection, that experience of one man, one woman, one child and one work of art. Sadly, one of those
Tuesday–Saturday, 10 a.m.–4 p.m.
individuals is no longer with us. Boone Knox, a great patron of this museum passed away Jan. 13. His philanthropy was well known throughout the state, and we are truly sad he was not able to see the culmination of a project to which
706.542.GMOA (4662)
he gave so much. Our condolences to George-Ann and her family.
Fax: 706.542.1051
One last bit of news: if you have not already received notice of them, please jot down our new hours, which, due
Exhibition Line: 706.542.3254
to an ever-shrinking allotment of state funding, include fewer in which our galleries are open to the public. Fortunately, we have our sculpture garden and more with which to keep our visitors busy from 10 a.m. until the galleries open at
Mission Statement
noon, and we are still open to classes and school groups Monday and Tuesday by appointment.
The Georgia Museum of Art shares
It truly is a new era for the Georgia Museum of Art, one in which we will refashion the museum, as we have the building, into a 21st-century agora of ideas, objects and people.
the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as
William U. Eiland, Director
a repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret
The staff join me in thanking the board of the Friends of the Georgia Museum of Art for all their help not only
significant works of art.
during the planning of Metamorphosis and its lovely conclusion but for so many other instances of its members’ support. The Friends Board truly forms the core of the community that surrounds the Georgia Museum of Art.
Partial support for the exhibitions and programs at the Georgia Museum of Art
GMOA facet | Spring 2011
is provided by the W. Newton Morris
2
Board of Advisors Mr. B. Heyward Allen Jr. Dr. Amalia K. Amaki Mrs. Frances Aronson-Healey Turner I. Ball, M.D. Mr. Fred D. Bentley Sr. Mr. Richard E. Berkowitz Mrs. Devereux C. Burch Mr. Robert E. Burton Mrs. Debbie C. Callaway Mr. Randolph W. Camp Mrs. Shannon I. Candler, past chair Mrs. Faye S. Chambers Mr. Harvey J. Coleman Mrs. Martha T. Dinos Mrs. Annie Laurie Dodd Ms. Sally Dorsey Professor Marvin Eisenberg
Ms. Carlyn F. Fisher Mr. James B. Fleece Mr. Edgar J. Forio Jr. Mr. Harry L. Gilham Jr. Mr. John M. Greene Mrs. Helen C. Griffith Mrs. M. Smith Griffith Mrs. Marion E. Jarrell Professor John D. Kehoe Mrs. George-Ann Knox Mrs. Shell H. Knox Mr. David W. Matheny Ms. Catherine A. May Mrs. Helen P. McConnell Mr. Mark G. McConnell Mrs. Marilyn McMullan Mrs. Marilyn D. McNeely Mrs. Berkeley S. Minor Mr. C.L. Morehead Jr.
Ms. Jane C. Mullins Mr. Carl W. Mullis III, chair Mr. Donald G. Myers Mrs. Betty R. Myrtle Dr. John Nickerson Mrs. Deborah L. O’Kain Mrs. Janet W. Patterson Ms. Kathy B. Prescott Dr. William F. Prokasy IV Mr. Rowland A. Radford Jr. Ms. Margaret A. Rolando Mr. Alan F. Rothschild Jr. Mrs. Dorothy A. Roush Mrs. Sarah P. Sams Mr. D. Jack Sawyer Jr. Mrs. Helen H. Scheidt Mr. Henry C. Schwob Mrs. Ann C. Scoggins Ms. Cathy Selig-Kuranoff
Mr. S. Stephen Selig III Mrs. Dudley R. Stevens Mrs. Carolyn W. Tanner Mrs. Judith M. Taylor Mrs. Barbara Auxier Turner Mr. C. Noel Wadsworth Ms. Kathleen E. Walker Mr. G. Vincent West Ex-officio Ms. Karen L. Benson Mrs. Linda C. Chesnut Dr. William U. Eiland Mr. Tom Landrum Professor Jere W. Morehead Dr. Libby V. Morris Ms. Georgia Strange
Charitable Foundation, the Friends of the Georgia Museum of Art and the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional support through their gifts to the Arch Foundation and the University of Georgia Foundation.The Georgia Museum of Art is ADA compliant; the M. Smith Griffith Auditorium is equipped for the hearing-impaired.
Contents FEATURES
04
06
08
10
Elegant Salute Recap
Exhibitions
Donor Spotlight
Publication Spotlight
Elegant Salute Recap
04
Exhibitions
06
Donor Spotlight: Carl Mullis
08
Publication Spotlight: “Tracing Vision: Modern
10
Drawings from the Georgia Museum of Art” Collections
11
Calendar of Events
12
Museum Notes/Gifts
14
Event Photos
14–15
On the cover: Pots on extended loan from the Carl and
www.georgiamuseum.org
Marian Mullis Collection. See page 8 for more information.
3
Elegant Salute: Metamorphosis Recap This year’s Elegant Salute grossed more
based in Brooklyn, N.Y., and his work is currently
than $178,000 through ticket sales
on display in one of the museum’s five new
d’oeuvres as guests trickled in to the gala. Dinner,
and sponsorships, much of which will go
special exhibitions.
provided by Epting Events, was served in the new
GMOA facet | Spring 2011
toward educational programming. The
4
The theme, Metamorphosis, was fully embodied
The night began with cocktails and hors
magnificent M. Smith Griffith Grand Hall. The
fundraising committee was led by Athens
through meticulous details and decorations.
tables were decorated with whimsical centerpieces
architect David Matheny and supported
Guests entered the event through a white tent
made of wooden tree stumps, brightly colored
by a host of volunteers including Atlanta
lit by chandeliers where they were greeted
flowers and a handmade butterfly sculpture, fitting
fundraising co-chairs Carolyn Tanner and
with hand-cut butterflies labled with their table
the evening’s theme.
Sally Dorsey. Metamorphosis set records
assignment. A motif of origami butterflies was
in both fundraising and attendance, with
strung throughout the museum, and table linens
and Harry Willson Sculpture Garden to music
more than 370 guests, including Georgia
were stamped with the images, which also
by local band Grogus. Guests enjoyed tours of
native and UGA alumnus Anthony Goicolea.
adorned the invitations, the evening’s program
the galleries and were encouraged to explore the
Goicolea is an internationally renowned artist
and the note cards guests took home as a favor.
new Georgia Museum of Art throughout the night.
Dinner was followed by dancing in the Jane
Clockwise from top left: M. Smith Griffith Grand Hall,
Photos on page 5 top to bottom:
UGA President Michael Adams, event co-chairs Rinne Allen
1. Left to right: Becky Matheny, David Matheny, Martha Daura
and Betsy Dorminey (photo: GMOA), GMOA banner and
2. Left to right: Gary Bertsch, Joni Bertsch, Bill Willson, Jane Willson, Susan Willson
decorations, Cameron and Patrick Garrard and Gary Thompson.
3. Left to right: Jim Cooper, Will Power, Amburn Power 4. Left to right: Sally Westmoreland, Betty Stephens 5.
Paula Lavin
All photography by Zoomworks unless otherwise noted.
Special thanks to our sponsors: Alfred Heber Holbrook Society
Don and Susan Myers
Mrs. M. Smith Griffith
Mr. and Mrs. Edgar B. Myrtle
Boone and George-Ann Knox
Dr. and Mrs. Randall Ott
Mr. C.L. Morehead Jr. and
Dr. and Mrs. William L. Power
Flowers, Inc. Wholesale Ms. Kathy B. Prescott and Mr. Grady Thrasher
Dr. and Mrs. William F. Prokasy IV Mr. and Mrs. Rowland A. Radford Jr. R.E.M./Athens LLC Mr. and Mrs. Walter A. Sams
Benefactor
Mr. and Mrs. John D. Scoggins
Mr. and Mrs. Peter M. Candler
Mr. Lee Smith and Ms. Rinne Allen
Mrs. Helen C. Griffith
Mr. and Mrs. Billy S. Smith
Mr. and Mrs. Dennis O’Kain
Honorable and Mrs. Homer M. Stark
Mr. and Mrs. Alex Patterson
Mr. and Mrs. Kurt Strater
Mrs. Dorothy A. Roush
Mr. and Mrs. W. Rhett Tanner
Mrs. Dudley Stevens
Judy and Tom Taylor
Mr. and Mrs. Ian Walker
UGA Alumni Association
1
David and Cecelia Warner Patron
Mr. and Mrs. Gerry Whitworth
Mr. and Mrs. B. Heyward Allen Jr.
Wimberly, Lawson, Steckel,
Ms. Karen Benson and Mr. Howard Scott
Schneider & Stine PC Zoomworks
Chris and Hillary Bilheimer Mr. and Mrs. E. Davison Burch
Additional Gifts
Burman Printing/Walton Media
Mr. Walter Allen
Mr. and Mrs. W. Edward Chambers
Mr. and Mrs. Denny Galis
Dr. and Mrs. Mark Ellis
Mr. and Mrs. David Hally
John and Martha Ezzard,
Ms. Gail Hutchins
Tiger Mountain Vineyards
Mr. and Mrs. Joseph R. Knappenberger
Heyward Allen Motor Compay
Mrs. Barbara Laughlin
Holder Construction Company
Dr. and Mrs. H.C. McLeod III
Mrs. Lidwina Kelly
Mr. Michael McQueen
Mr. Matt Kendall,
Ms. Vonceil Payne
The Kendall Collection
Ms. Anne Wall Thomas
Dr. and Mrs. D. Hamilton Magill
Mrs. Amanda Thompson
Mr. and Mrs. David Matheny
Mrs. Patricia Wright
2
John and Marilyn M. McMullan Mr. and Mrs. Carl W. Mullis III
and to our committee members:
Mrs. Doris Ramsey Jack Sawyer and Bill Torres
Rinne Allen, event co-chair
Stanley Beaman & Sears
Betsy Dorminey, event co-chair
Mr. and Mrs. Robert Winthrop II Drs. Norman J. and Mary M. Wood
Fundraising Committee David Matheny (chair)
Director’s Circle
Buddy Allen
Mr. and Mrs. Richard E. Berkowitz
Karen Benson
Bernstein Funeral Home
Devereux Burch
Mr. and Mrs. Robert E. Burton
Sally Dorsey
Dr. and Mrs. Harvey Cabaniss
Doris Ramsey
Dr. and Mrs. Samuel B. Carleton
Chris Peterson
Chastain and Associates
Ann Scoggins
Dr. and Mrs. James W. Cooper Jr.
Carolyn Tanner
Dr. and Mrs. John R. Curtis
Carol Winthrop
3
Mr. and Mrs. A. Blair Dorminey Mr. and Mrs. Bertis E. Downs IV
Decorations Committee
Dr. and Mrs. Thomas G. Dyer
Lucy Gillis (co-chair)
Dr. and Mrs. Mark F. Ellison
Wendy Hanson (co-chair)
Mr. Todd Emily
Hillary Bilheimer
Dr. Mary Erlanger
Amy Flurry
Mr. and Mrs. Edgar J. Forio Jr.
Cameron Garrard
Col. and Mrs. Thomas N. Gibson III
Gena Knox
Mr. and Mrs. Harry L. Gilham Jr.
Hollis McFadden
Mr. and Mrs. Richard Hathaway
Michael Montesani
Ms. Clementi L-B Holder
Lori Paluck
Mr. and Mrs. Frank Jarrell
Tami Ramsay
Ms. Marylin Johnson
Allyn Rippin
Mr. Thomas Edward Kurtz
Tabatha Tucker
Mr. and Mrs. Mark McConnell Marilyn DeLong McNeely
Seating
Mr. and Mrs. H. Daniels Minor
Ann Scoggins
4 THE DONORS WHO NAMED the galleries and other spaces received a medal commemorating the museum’s reopening, custom-made in Crawford, Ga., by sculptor Beverly Babb. Welded in steel, the medallion features rebar (one of Babb’s signature materials) trim, elements, and a leaf representing the American hornbeam, the native trees planted as memorials in the Jane and Harry Willson Sculpture Garden. Babb also made individual hornbeam leaves for GMOA staff members, given in appreciation for their hard work and dedication. 5
www.georgiamuseum.org
which reflects the museum’s industrial design
5
Exhibitions
Dalí Illustrates Dante’s “Divine Comedy” April 10–June 19, 2011 Organized by the Las Cruces Museum of Art in New Mexico, this exhibition includes all 100 prints from Salvador Dalí’s “Divine Comedy” Suite and is part of a 10-city national tour developed and managed by Smith Kramer Fine Art Services. In 1957, the Italian government commissioned Salvador Dalí to illustrate Dante Alighieri’s “Divine Comedy.” Dalí’s 100 watercolors were to be reproduced as wood engravings and released as a limited-edition print suite in honor of the 700th anniversary of Dante’s birth. When the project was announced to the public, Italians were outraged that a Spaniard had been chosen for it and the commission was rescinded. Dalí, confident that a publisher could be found, continued to work. In order to translate Dalí’s watercolors into printed plates, two artists hand-carved 3,500 blocks, a process that lasted five years. French publishers Éditions les Heures Claires and Éditions Joseph Horet jointly produced the “Divine Comedy” Print Suite in 1964. Dalí considered this project one of the most important of his career. The catalogue of the exhibition is available for purchase in the Museum Shop. Galleries: Virginia and Alfred Kennedy and Philip Henry Alston Jr. Galleries Sponsors: Shannon and Peter Candler in honor of Dr. Peter M. Candler Jr. and Matthew Warren Candler, the W. Newton Morris Charitable Foundation and the Friends of the
GMOA facet | Spring 2011
Georgia Museum of Art
6
American Watercolors from the Permanent Collection May 14–August 7, 2011 This exhibition features American watercolors from the mid-19th century to the
technique and enjoying its immediacy and spontaneity. Robert Bechtle’s “Palm
1970s from the permanent collection of the Georgia Museum of Art. Paintings
Spring Chairs” (1975) is a highly detailed and meticulously painted watercolor that
by Jasper Francis Cropsey, William Stanley Haseltine and Frederic Remington
has the feel of a vacation snapshot of a motel pool.
demonstrate the importance of the medium in American 19th-century art while American moderns Charles Burchfield, John Marin and Andrew Wyeth represent
Gallery: Lamar Dodd Gallery
true masters of watercolor. Some American painters used the medium to create
Sponsors: Kathy Prescott and Grady Thrasher, YellowBook USA,
drawings or compositional studies, including Elaine de Kooning in her sketch of a
the W. Newton Morris Charitable Foundation and the Friends of
sculpture in Paris. Others used it to make a final, finished product, emphasizing
the Georgia Museum of Art
The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art May 14–August 7, 2011 This selection of 53 works on paper produced in the 16th, 17th and 18th centuries by such renowned artists as Giovanni Battista Piranesi and Parmigianino draws largely on the collection of Giuliano Ceseri, on long-term loan to the Georgia Museum of Art. Guest curators Robert Randolf Coleman and Babette Bohn chose prints and drawings that demonstrate the importance of disegno, or drawing, as an essential skill for artists of the period. As paper became more widely available, drawing was used as a preparatory stage for more finished works of art and prints enabled artists to disseminate their work more widely. A full-color companion catalogue is available for purchase in the Museum Shop. Galleries: Boone and George-Ann Knox I, Rachel Cosby Conway, Alfred Heber Holbrook and Charles B. Presley Family Galleries Sponsors: Mrs. M. Smith Griffith, Boone and George-Ann Knox, C.L. Morehead Jr., YellowBook USA, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art
All Creatures Great and Small April 2011–April 2012 Hartsfield-Jackson Airport, Atlanta Part of the Airport Art Program, Department of Aviation, Hartsfield-Jackson International Airport, this special exhibition from the Georgia Museum of Art’s permanent collection and the collection of Atlanta collector Carl Mullis features works of art depicting animals created by American self-taught artists. Paintings, sculptures and mixed-media creations by such folk masters as Howard Finster and Mose Tolliver and by such outstanding but relatively unheralded contemporary artists as Jim Lewis and Ted Gordon will be on display in the Atlanta airport’s T gates for a year. The majority of artists featured have spent their lives in the South, including the following artists from Georgia: Michael Crocker, Finster, Willie Jinks, R.A. Miller and O.L. Samuels.
Don’t miss: The American Scene on Paper: Prints and Drawings from the Schoen Collection
Steinunn Thórarinsdóttir’s “Horizons”
“snowscape”
Jane and Harry Willson Sculpture Garden
A photo mural and video installation by
Boone and George-Ann Knox I, Rachel Cosby
On view through June 30
Anthony Goicolea. Patsy Dudley Pate Balcony and Alonzo and Vallye Dudley Gallery
Conway, Alfred Heber Holbrook, Charles B. Presley Family and Lamar Dodd Galleries
Stone and Steel: Small Works by Beverly Pepper
On view through May 1
Dorothy Alexander Roush and Martha
On view through July 31
Thompson Dinos Galleries On view through July 29
Salvador Dalí
Jasper Francis Cropsey
Giambattista Tiepolo
O.L. Samuels
(Spanish, 1904–1989)
(American, 1823–1900)
(Venetian, 1696–1770)
(American, b. 1931)
The Waterfall of the Phlegethon
The Palisades, Hudson River, 1891
Death Giving Audience,
Stormy Weather, n.d.
Inferno, Canto 34
Watercolor on paper
from the Capricci, 1743–49
Painted wood and wig
Color woodblock print
12 7/8 x 20 7/8 inches
Etching on off-white laid paper
Approx. 60 1/2 x 52 x 16 1/2 inches
13 x 10 inches
Georgia Museum of Art, University
5 3/4 x 7 1/8 inches (sheet)
Collection of Mr. and Mrs.
© 2008 Salvador Dalí, Gala-Salvador
of Georgia; Museum purchase with
Georgia Museum of Art, University
Carl W. Mullis III
Dalí Foundation/Artists Rights
funds provided by the W. Newton
of Georgia; Museum purchase with
Society (ARS), New York
Morris Charitable Foundation
funds provided by the bequest of
GMOA 2003.15
Leighton Ballew GMOA 1998.38
(A detail of this image appears on
(A detail of this image appears
the back cover of this newsletter.)
on page 3 of this newsletter.)
www.georgiamuseum.org
Works of Art view left to right, top to bottom
7
1
2
3
GMOA facet | Spring 2011
4
8
1. Left: Dave Drake or “Dave the Potter”
2. Left: Collin Rhodes (1811–1881,
2. Right: Collin Rhodes (1811–1881,
3. Left: Lucius Jordan (1816–ca. 1880,
(ca. 1780–ca. 1883, active Edgefield County,
active Edgefield County, South Carolina)
active Edgefield County, South Carolina)
active Washington County, Georgia)
South Carolina)
Jug, ca. 1850
Jug, ca. 1847
Storage jar, ca. 1850
Storage jar, ca. 1830–60
Stoneware with alkaline glaze and
Stoneware with alkaline glaze and
Stoneware with alkaline glaze
Stoneware with alkaline glaze
kaolin slip decoration
bichrome slip decoration
Georgia Museum of Art, University of Georgia;
Georgia Museum of Art, University of Georgia;
Georgia Museum of Art, University of Georgia;
Georgia Museum of Art, University of Georgia;
Extended loan from Carl and Marian Mullis
Extended loan from Carl and Marian Mullis
Extended loan from Carl and Marian Mullis
Extended loan from Carl and Marian Mullis
GMOA 2010.13E
GMOA 2010.10E
GMOA 2010.50E
GMOA 2011.1E
1. Right: Dave Drake or “Dave the Potter”
2. Center: Thomas Chandler (1810–1854,
2a. Page 9, top: Detail showing incised signature,
(active Lanier County, Georgia, 1885–1910)
(ca. 1780–ca. 1883, active Edgefield County,
active Edgefield County, South Carolina)
“C. Rhodes Maker 1847.” (Detail also appears on
Pot with lid, or “bean pot,” ca. 1890
South Carolina)
Storage jar, ca. 1850
page 3 of this newsletter.)
Stoneware with alkaline glaze
Jug, ca. 1830–60
Stoneware with alkaline glaze and
Georgia Museum of Art, University of Georgia;
Stoneware with alkaline glaze
kaolin slip decoration
Extended loan from Carl and Marian Mullis
Georgia Museum of Art, University of Georgia;
Georgia Museum of Art, University of Georgia;
GMOA 2010.15E
Extended loan from Carl and Marian Mullis
Extended loan from Carl and Marian Mullis
GMOA 2010.11E
GMOA 2010.12E
3. Center: Foreman Pottery Company
Donor Spotlight
2a
AS LUCK WOULD HAVE IT: Carl Mullis and the Gift of Art I’m standing in the newly opened
and as he writes in his essay in the
appreciates that these objects had a
made in 1847. What makes it unique,
galleries of the Georgia Museum of Art,
exhibition catalogue “Amazing Grace:
utilitarian value, yet remain beautiful works
he explained, is the presence both of
having just perused the various works of
Self-Taught Artists from the Mullis
of art. He explained that pottery glazes
Rhodes’s signature and the decorative
folk art given by Carl and Marian Mullis,
Collection,” “I was lucky—lucky to
once contained lead and told me how
element. On the front is a flower, whose
including R.A. Miller’s “All the Devils,” and
go college at Yale University, where there
South Carolina potters learned to make
large leaves spread out like wings and
such objects of decorative art on extended
is great art; lucky to have a scholarship
alkaline glaze out of wood ash, a process
remind Mullis of an eagle or angel taking
loan from the Mullises as a 19th-century
job at the Yale Art and Architecture Library
they read about in a book by a 16th-cen-
flight. Serendipity played a large part in
tury missionary, who detailed the process
his acquisition of this cherished piece. As
as practiced in China, where it had been
Mullis tells it, he just happened to be in
Originally from a small town in South
used for centuries.
the right place at the right time to buy it
Carolina, Mullis started collecting
pots by David Drake, an enslaved potter
30-odd years. Within an hour of speaking
and poet who was literate during a time
with him, Mullis had acquired it.
pottery from the Edgefield County,
when it was illegal for slaves to learn to write. Adjunct curator of decorative arts
a passion for art that has led Mullis to
South Carolina, area, and other works
Dale Couch had put a work by Drake “at
build his amazing collection. According to
the top of the wish list,” never expecting to
Couch, “Without the Mullis Collection on
of decorative art from around the
showcase it in the Odum Gallery for the
extended loan, the common people of our
museum’s reopening. As luck would have
state’s history—the folk—would go
country in 2009.
it, Couch reports, it was only a few months
underrepresented in our collection. He
later when “Carl called me and asked me
has tirelessly supported our programs in
to examine two Drake pieces he obtained
many different ways; his enthusiasm is
Among these objects are two exquisite
from a collector who had owned it for
It is both luck and skill, a keen eye and
cupboard, both crafted by unidentified
where I was exposed to art books, art
at auction in South Carolina—I was
both contagious and admirable. Working
makers in Georgia (and more precious still
students and artists; lucky to have several
delighted.” As Couch explains, “When I
with Carl has been a high point of my
for having original, unrestored surfaces),
friends and classmates who were art
began planning the Odum Gallery, I
tenure at GMOA.”
when none other than Carl Mullis, whose
majors. Through simple osmosis I began
wished to emphasize the decorative arts of
reign as chair of the museum’s board of
to acquire a love for art.”1
ordinary people of our state and region to
Michael Tod Edgerton
present the aesthetic dimension of
Publications intern
advisors has been dubbed “the era of
After agreeing to chat with me, Mullis
‘Carl the Magnanimous’” by museum
led me directly into the Martha and
19th-century Georgians. Perhaps the
director Bill Eiland, walks into the new
Eugene Odum Gallery of Decorative Arts
pinnacle of vernacular craft in the lower
1
Carl Mullis, “Notes from a Collector,” in
wing. I approached him for a brief
and over to the cases of stoneware.
Southern Piedmont is represented by the
Amazing Grace: Self-Taught Artists from
interview and he congenially agreed.
Originally from a small town in South
important alkaline stoneware produced
the Mullis Collection, exh. cat. (Athens:
Carolina, Mullis started collecting pottery
there.”
Georgia Museum of Art, 2007), 11.
It turns out that Mullis, an avid collector and art lover, had never even set
from the Edgefield County, South Carolina,
foot in a museum before he entered
area, and other works of decorative art
one of the most special objects in his
college. As he told me that afternoon,
from around the country in 2009. He
collection, is the one Collin Rhodes
3. Right: Billy Bryant (late 19th century,
4. Right: Nelson Bass (1846–1918,
active Crawford County, Georgia)
Lincoln County, North Carolina)
Storage jar, ca. 1880
Storage jug, or “syrup jug,” ca. 1880
Stoneware with alkaline glaze
Stoneware with alkaline glaze
Georgia Museum of Art, University of Georgia;
Georgia Museum of Art, University of Georgia;
Extended loan from Carl and Marian Mullis
Extended loan from Carl and Marian Mullis
GMOA 2010.14E
GMOA 2010.6E
4. Left: Unidentified maker (probably a mid-19th-century member of the Fox or Webster families of the eastern Piedmont of North Carolina) Storage jug, or “syrup jug,” ca. 1850 Stoneware with salt glaze Georgia Museum of Art, University of Georgia; Extended loan from Carl and Marian Mullis GMOA 2010.7E
Mullis’s favorite jug, he told me, and
www.georgiamuseum.org
haint-blue yellow-pine quilt frame and
9
Publication Spotlight three-dimensional formats and was beginning to exhibit in New York and elsewhere.2 After settling in Macon, Buchanan received increasing attention for her sculptures, arrangements of textural, blocky forms in cast cement suggestive of ruins, and in 1980 she was awarded Guggenheim and National Endowment for the Arts fellowships. In the mid- to late 1980s, she developed her now familiar series of shack sculptures and drawings, the drawings beginning near the end of the decade. In 1985, Buchanan moved to Atlanta and then settled in Athens, Ga., in 1987. Although she still maintains a home in Athens, her primary residence is in Ann Arbor, Mich.3 In her three-dimensional pieces, Buchanan adopts a more specific, individualized approach to subjects than in her drawings. Although the Georgia Museum’s composition was inspired by Jamestown, a small South Carolina community, the artist notes that her depiction largely represents “a composite of coastal South Carolina towns.”4 Buchanan’s drawings of those places are imaginative and highly poetic. Typically, her shacks have an anthropomorphic vitality reminiscent of Charles Burchfield’s small-town structures. In “Jamestown”, the houses, stilted to protect them from floodwaters, appear to shamble together to communicate. Buchanan extends the energy of the buildings’
B E V E R LY B U C H A N A N
warped contours and skewed boarding into actively
An excerpt from “Tracing Vision: Modern Drawings from
Nature and human presence seem conjoined in this
the Georgia Museum of Art,” edited by Carol A. Nathanson
sketched surroundings in which red predominates. In the lower area, deep-toned red joins a riot of other colors to describe tall sea grasses in frenzied strokes. vibrant composition.5 The work’s odd shapes and colors give the familiar a sense of fantasy and mystery, an effect reinforced by the houses’ closed-in appearance.6 The artist’s naïve-looking images and the immediacy
BEVERLY BUCHANAN’S WORKS ON THE THEME OF SOUTHERN SHACK ARCHITECTURE draw upon her memories and on buildings she has discovered in Georgia and the Carolinas. Her pieces include mixedmedia sculpture, large-scale oil pastels and photographs (which also serve as source material for her other work). Their subjects speak to marginal existence and the will to survive. As an African American growing to maturity in the South, Buchanan had opportunity to develop a special sympathy for blacks experiencing those conditions, although the artist emphasizes that her concerns operate more universally, transcending issues of race.1 Her work also celebrates the shack dwellers’ colorful personalities and their ingenuity and creativity in building, as well as documents a type of structure
Beverly Buchanan’s works on the theme of southern shack architecture
GMOA facet | Spring 2011 10
early-20th–century Expressionists, who took inspiration from children’s and folk art. For late-20th–century Neo-Expressionists like Buchanan, an important source is street art, appealing in its multicultural authorship and narratives. Buchanan’s work also displays a contemporary insistence (encouraged by Abstract
draw upon her memories
Expressionist practice) on transgressing media “purity.”
and on buildings she has
painting, devote equal attention to graphic notation
discovered in Georgia and the Carolinas.
that often falls victim to decay and area development. Although Buchanan’s own childhood in the South was
of her execution continue approaches adopted by
In 1977, Buchanan, who had been working in New
Her drawings, executed on a scale associated with and color, their oil pastel medium contributing to their hybrid existence. Work in traditional pastel chalks is often described in terms of its relationship to both drawing and painting and has even been regarded as a form of painting. “Tracing Vision: Modern Drawings from the Georgia Museum of Art” is for sale in the Museum Shop, located in the museum
not deprived, she had frequent contact with hardscrab-
Jersey in public health education, abandoned her
ble life, especially in accompanying her father, dean of
plans to become a doctor and moved to Georgia to
the agricultural school at South Carolina State College,
pursue a career in art. She had been creating Abstract
on trips to advise those struggling to cultivate land.
Expressionist paintings and experimenting with more
1. See Buchanan’s statement in 1991 to Trinkett Clark: “One
October 26, 2010.
Beverly Buchanan
important thing to clarify is that these shacks are not just about
4. Ibid.
(American, b. 1940)
black people. They are based on people that I knew growing up
5. Buchanan points up that interconnectedness in describing the
who were black. Once I became an adult I saw other people
shacks of this “middle southern coastal world” as “set in . . . their
Jamestown, 1992
living in similar conditions. . . . These are not necessarily black
own soup” (comments to Eleanor Flomenhaft, “Shack Portraiture:
or white structures” (Clark, Parameters, exh. broch. [Norfolk, VA:
An Interview with Beverly Buchanan,” in Flomenhaft and others,
Chrysler Museum, 1992], n.p.).
Beverly Buchanan: ShackWorks/A 16-Year Survey [Montclair, NJ:
2. Although Buchanan never enrolled in a studio degree
Montclair Art Museum, 1994], 14).
program, she did study in 1971 at the Art Students League
6. Not surprisingly, one of the artists with whose work Buchanan
with Norman Lewis, whose work she admired; he and Romare
feels a connection is Betye Saar (Flomenhaft interview, 14–15).
Bearden became important mentors to her.
Saar’s mixed-media assemblages, which often contain architec-
3. My thanks to Beverly Buchanan and to Jane Bridges, who
tural elements, reflect that artist’s strong interest in occult
provided information from the artist in an e-mail to me on
knowledge and practices, including voodoo.
lobby and online. Carol A. Nathanson will give a gallery talk and sign copies of her book on Thursday, April 7, at 5:30 p.m. See the calendar on page 12 for more information.
Oil pastel on paper 38 1/4 x 50 inches Georgia Museum of Art, University of Georgia; Gift of Mr. and Mrs. James Norton GMOA 1996.14 (A detail of this image appears on page 3 of this newsletter.)
Collections: NEW ACQUISITIONS
Joaquín Torres-García (Uruguayan, 1874–1949) San Rafael, 1928 Oil on panel Georgia Museum of Art, University of Georgia; Promised gift of Martha Randolph Daura GMOA 2010.47E
Torres-García was a prominent proponent of abstraction in Europe and Latin America, a friend and colleague of Pierre Daura and a fellow cofounder of the artists’ group Cercle et Carré. “San Rafael,” painted shortly before the founding of Cercle et Carré, marks an important moment in Torres-García’s development of his abstract style. This painting’s gridlike composition is indebted to Piet Mondrian’s theory of reconciling polar opposites, embodied in the meeting of vertical and horizontal lines. The artist also made frequent use of the golden section in his quest for pictorial perfection, what Torres called “Constructive Universalism.” The pictographic abstractions of people and buildings in “San Rafael” are one of the hallmarks of his mature style and show his interest in pre-Columbian objects and designs.
Camille Magnus (French, 1850–?) Boisière à l'orée du bois, n.d. Oil on canvas Georgia Museum of Art, University of Georgia; Gift of Frances Aronson-Healey in progress Accession number pending
Magnus was a member of the Barbizon school of painting, centered around the French town of Barbizon, near Fontainebleau Forest, south of Paris. The group is often considered a precursor to Impressionism because of the artists’ rejection of the school, this painting depicts, in loose, painterly brushstrokes, a moment of everyday rural life: here, a woman working at the edge of the woods.
www.georgiamuseum.org
of academic theory and tradition. As is typical
11
Calendar : Spring 2011
Special Events Keepin’ It Surreal: Student Night at GMOA Thursday, April 21, 7 p.m.–Midnight
April Sun
3
All students are invited to this GMOA Student Association–sponsored event. The evening will Mon
4
Tue
5
Wed
6
Thu
7
Fri
Sat
1
2
8
9
include live music, DIY crafting, photo booth, tours and the game Exquisite Corpse.
An Evening of Writing and Art Thursday, April 28, 7 p.m. M. Smith Griffith Auditorium UGA Professor Judith Ortiz Cofer’s advanced creative writing class presents an evening of creative writing
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
inspired by works of art in the museum’s permanent collection. A reception will follow.
The Collectors Fundraiser Celebrating Our Collectors: A 10th Anniversary Bash Friday, April 29, 6 p.m. Lyndon House Arts Center/GMOA The Collectors will gather at 6 p.m. at the Lyndon House Arts Center for an exhibition of the talented Peg Wood’s art and a champagne toast. Cocktails, dinner and a silent auction, which will include items from the fashionable Ms. Faye Chambers’ closet, will follow at 7 p.m. at the
May
Georgia Museum of Art. Collectors, $65 per person or $125 per couple; non-members, $80 per person or $150
Sun
Mon
Tue
Wed
Thu
Fri
Sat
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
per couple. Please respond to 706.542.GMOA (4662) by April 22.
Friends of the Georgia Museum of Art Annual Meeting Tuesday, May 17, 5:30–8 p.m. M. Smith Griffith Auditorium The Friends of the Museum will celebrate the past year’s achievements and announce the 2011 recipient of the “Smitty,” the M. Smith Griffith Volunteer of the Year Award. A reception will follow. This event is free and the
22
23
24
29
30
31
25
26
27
28
Tours Tour at Two: Highlights from the Permanent Collection Wednesday, April 6, April 13, May 4, May 11, May 18, June 1 and June 29, 2 p.m.
June Sun
public is invited.
Join docents for a tour of highlights from the permanent collection. Mon
Tue
Wed
Thu
Fri
Sat
1
2
3
4
Spotlight Tour: Highlights from the Permanent Collection Sunday, April 10 and May 22, 3 p.m. Join docents for a tour of highlights from
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
the permanent collection.
Tour at Two: “The American Scene on Paper: Prints and Drawings from the Schoen Collection” Wednesday, April 20, 2 p.m. Join docents for a tour of this exhibition of prints and drawings on view for the first time at GMOA.
Tour at Two: “Dalí Illustrates Dante’s ‘Divine Comedy’” Wednesday, April 27, 2 p.m. Join Lynn Boland, Pierre Daura Curator of European Art, for a tour of 100 illustrations of Dante’s “Divine Comedy”
GMOA facet | Spring 2011
by Salvador Dalí.
12
Schedule a Visit to the Georgia Museum of Art
Tour at Two: “American Watercolors from the Permanent Collection” Wednesday, May 25, 2 p.m.
To schedule a class visit or student assignment at the Georgia Museum of Art, please call
of American art, for a tour of significant watercolors
us at 706.542.GMOA (4662) at least two weeks prior to the visit. Scheduling in advance
from the museum’s holdings.
enables us to prepare for your visit whether it is a docent-led tour, a self-guided visit led by an instructor or students who will be coming on their own to complete an assignment.
Join Paul Manoguerra, chief curator and curator
Tour at Two: “The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art” Wednesday, June 8 and June 22, 2 p.m.
Workshops & Classes
Docents will lead a tour of Italian prints and drawings,
Workshop: Drawing from Nature at the State Botanical Garden of Georgia Tuesday, April 26, 4–6 p.m. State Botanical Garden of Georgia Visitor Center, Classroom 1
many of which are on extended loan to the museum from the collection of Giuliano Ceseri.
Spotlight Tour: “The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art” Sunday, June 12, 3 p.m.
GMOA and the Just My Imagination statewide outreach program (sponsored by the Turner Family Foundation in memory of Nancy C. Turner) present a workshop on
Lectures & Gallery Talks
drawing from nature at the State Botanical Garden of Georgia. Join artist Toni Carlucci to learn some of the secrets to drawing plants, flowers and other objects of nature using techniques that are fun, effective and easy
Gallery Talk and Book Signing: Tracing Vision through Modern Drawings at the Georgia Museum of Art Thursday, April 7, 5:30 p.m. M. Smith Griffith Grand Hall
to practice at home. Open to children ages 8 and older.
Carol A. Nathanson, professor emeritus of art history at
Drawing in the Galleries Thursday, May 5, May 19, June 9 and June 23, 5–8 p.m.
This workshop is free, but pre-registration is required. Call the State Botanical Garden of Georgia at 706.542.6156 to reserve a spot.
Wright State University, will discuss drawings from the museum’s permanent collection on view in the Boone
Salvador Dalí
Visitors are invited to sketch in the galleries during these
and George-Ann Knox II Gallery and featured in her
(Spanish, 1904–1989)
hours. No instruction provided. Pencils only.
new book “Tracing Vision: Modern Drawings from the
The Waterfall of the Phlegethon
Georgia Museum of Art.” Nathanson will also sign copies
Inferno, Canto 34
of the book, available for purchase in the Museum Shop,
Color woodblock print
located in the museum’s lobby and online.
13 x 10 inches
Lecture: “Dalí and the Surrealists: An Introduction” Thursday, April 14, 4 p.m. Lynn Boland, Pierre Daura Curator of European Art M. Smith Griffith Auditorium
Dalí Foundation/Artists Rights
In conjunction with the exhibition “Dalí Illustrates Dante’s ‘Divine Comedy,’” organized by the Las Cruces Museum of Art, Las Cruces, N.M., Lynn Boland will provide a brief history of the Surrealist movement and its underlying theories along with an overview of Dalí’s art. Boland will also explore the turbulent relationship Dalí had with other Surrealists, which colored his later career.
© 2008 Salvador Dalí, Gala-Salvador
Day camps, day care centers and community centers are invited to the Georgia Museum of Art this summer for tours and related hands-on activities. Please call 706.542.GMOA (4662) to schedule your visit.
Society (ARS), New York
Films
This lecture, held in conjunction with the exhibition “Dalí Illustrates Dante’s ‘Divine Comedy,’” features two experts from the field: Saiber, scholar of Italian literature and the recipient of numerous fellowships and awards, including a Villa I Tatti Fellowship from the Harvard University Center for Renaissance Studies; and King, a leader in the critical study of the artist’s work after 1940 and guest curator of “Dalí: The Late Work,” a major exhibition recently on view at the High Museum of Art.
“Un Chien Andalou” and “L’Age D’Or” Thursday, May 12, 7 p.m. M. Smith Griffith Auditorium In conjunction with the exhibition “Dalí Illustrates Dante’s ‘Divine Comedy,’” the museum will screen two of the best-known Surrealist films of the avant-garde, both collaborations between Spanish filmmaker Luis Buñuel
Lecture: “Hyperdimensionality in Salvador Dalí’s Illustrations of Dante’s ‘Paradiso’” Thursday, April 21, 5:30 p.m. M. Smith Griffith Auditorium Arielle Saiber, associate professor of Italian and chair of the department of Romance languages at Bowdoin College, Brunswick, Maine, and Elliott King, lecturer in European modern art at the University of Colorado at Colorado Springs and the University of Denver. Co-sponsored by the Willson Center for Humanities and Art.
Family Days
and Salvador Dalí: “Un Chien Andalou” (1929), a silent film (French with English intertitles, 16 minutes) and “L’Age D’Or” (1930), Buñuel’s first feature film (French with English subtitles, 63 minutes).
Family Day: Make it Shine! Saturday, April 2, 10 a.m–noon Visit the Phoebe and Ed Forio Gallery and the Martha and Eugene Odum Gallery to see GMOA’s collection of silver. After working with docents on a fun gallery activity, come to the first-floor classroom to make beautiful shiny objects of your own. Young musicians from UGA’s Community Music School will perform at 10:45. Refreshments will be served.
“Herb and Dorothy” Thursday, June 16, 7 p.m. M. Smith Griffith Auditorium “Herb and Dorothy” (2008) tells the extraordinary story of Herbert Vogel, a postal clerk, and Dorothy Vogel, a librarian, who managed to build one of the most important contemporary art collections in history with very modest means. Directed by first-time filmmaker Megumi Sasaki, the film received the Golden Starfish Award for
Family Day: Go Figure! Saturday, June 4, 10 a.m.–noon Visit the Jane and Harry Willson Sculpture Garden to see the installation “Horizons” by Icelandic sculptor Steinunn Thórarinsdóttir. Next, come to the first-floor classroom to create your own figurative sculpture. Refreshments will
the Best Documentary Film and Audience Award from the 2008 Hamptons International Film Festival. (English, 89 minutes).
Films are generously sponsored by the UGA Parents & Families Association.
be served.
Arielle Saiber
Check our website for the most recent information on events: www.georgiamuseum.org All events are free and open to the public unless otherwise noted. Family Day programs are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota, YellowBook USA and the Friends of the Georgia Museum of Art and are free and open to the public. The Georgia Museum of Art would like to thank those who generously sponsored GMOA on the Move events while the museum was closed for construction: Ashford Manor, Athens-Clarke Heritage Foundation, The National, Dr. Richard Neupert, Robert C. Williams Paper Museum, Stan Mullins Studio, State Botanical Garden of Georgia, Terrapin Brewery, Tiger Mountain Vineyards, Town and Gown Players, Tim Walsh and Lamar Wood. The Georgia Museum of Art wishes to thank those who made Art Expands, the museum’s reopening celebration, possible: The Adsmith, Big City Bread, Jenny Broadnax, Ann Cabaniss, Dondero’s Kitchen, Earthfare, Five & Ten, Five Star Day, Flowers, Inc., the Friends of the Georgia Museum of Art, Grant Design Collaborative, Hotel Indigo Athens, Ike & Jane, Jimmy John’s, Jittery Joe’s Coffee, Marti’s at Midday, Moe’s Southwest Grill, The National,
Elliott King
Speakeasy, UGA Office of the Senior Vice President for External Affairs, White Tiger Gourmet and Zoomworks.
www.georgiamuseum.org
The Athens Blur Magazine, Brick House Studio, Ciné, Flagpole, Lyndon House Arts Center, Mirko Pasta, C.L. Morehead Jr.,
13
NOW OPEN!
Museum Notes
Ike & Jane at the Georgia Museum of Art!
WEDDINGS
AWARDS
Curator of Education Cecelia Hinton and David
GMOA received six awards at the Georgia
Warner eloped in December and were married at St.
Association of Museums and Galleries annual conference
Alban’s Episcopal Church in Davisdon, N.C., by Cece’s
held in Cartersville January 19–21. The museum’s out-
brother, the Reverend David Buck, Rector of St. Albans.
reach program Art Adventures won Education Program of
We are happy to present Mr. and Mrs. David Warner!
the Year; “Echoes from the Continent: Franco-Germanic
The popular Normaltown café and bakery is now serving fresh-made coffee, sandwiches and baked goods in the new museum lobby.
Chairs in Georgia,” won Museum Exhibition of the Year (budget < $100,000); Cecelia Warner (neé Hinton) won Museum Professional of the Year; the “Corpus of Early Italian Paintings from North American Public Collections:
NEW PUBLICATIONS Be sure to pick up copies of our new collections
The South” won Special Project of the Year; and Betty Myrtle took home the award for Volunteer of the Year.
Tuesday–Saturday 10 a.m.–4 p.m.
Congratulations to Warner and Myrtle and also to Carissa DiCindio, curator of education; Dale Couch, adjunct cura-
catalogues, “One Hundred American Paintings,” by chief
tor of decorative arts; and Cynthia Payne, special project
curator and curator of American art Paul Manoguerra,
editor for the “Corpus.”
Have breakfast, lunch or a snack, enjoy a spectacular view of the Jane and Harry Willson Sculpture Garden and support the museum.
and “Tracing Vision: Modern Drawings from the Georgia Museum of Art,” edited by Carol A. Nathanson, in the Museum Shop, located in the museum lobby and online. Both catalogues were published to coincide with the museum’s grand reopening and feature essays accompanied by full-color reproductions of works in the museum’s
(Ike & Jane generously donates 10 percent of profits from its
permanent collection.
Gifts
GMOA location to the Friends of the Georgia Museum of Art!)
Event Photos
In addition to the gifts received for Elegant Salute, listed on page 5, the Georgia Museum of Art received the following gifts between Oct. 22, 2010, and Feb. 4, 2011: ALFRED HEBER HOLBROOK SOCIETY
REOPENING EVENTS
Mr. and Mrs. William E. Chambers Ms. Martha Thompson Dinos Mr. and Mrs. Edgar J. Forio Mr. and Mrs. Harry Gilham Mrs. Frances Yates Green Mrs. M. Smith Griffith Don and Susan Myers Ms. Kathy B. Prescott and Mr. H. Grady Thrasher III Mr. and Mrs. Levon C. Register Sanford H. and Barbara H. Orkin Foundation BENEFACTOR Ms. Beverly Bremer Mr. William Darrell Moseley PATRON Mr. and Mrs. Robert E. Burton Ms. Margaret A. Rolando Mr. and Mrs. Alan Rothschild Drs. Norman J. and Mary M. Wood DIRECTOR’S CIRCLE
Ribbon Cuttings
Drs. Wyatt and Margaret Anderson Ms. Latrelle F. Brewster
Jim and Rene Nalley dedicate the Marilyn Overstreet Nalley Galleries.
Dr. and Mrs. W. Harvey Cabaniss Jr. Mr. and Mrs. Harry T. Catchpole Mr. and Mrs. Robert B. Currey Mr. and Mrs. James Fleece Mrs. Mary Ann Griffin Mrs. Julie Green Jenkins Mrs. Sue Weems Mann Mr. and Mrs. Alex Roush Mr. and Mrs. Walter A. Sams III The Selig Foundation Mrs. Patricia G. Staub Ms. Peggy Hoard Suddreth The Georgia Museum of Art received the following gifts between Dec. 14, 2010, and Feb. 16, 2011:
GMOA facet | Spring 2011
In memory of Mrs. James Omar Cole by Mr. and Mrs. Cole Kelly
14
In memory of Ann Mullin Fowler by Ann Whatley Mullin In memory of Samuel Lawton Haygood by Mr. and Mrs. Cole Kelly In memory of Boone Aiken Knox by Dr. and Mrs. William L. Clark and Mr. and Mrs. Edgar J. Forio In memory of Andrew Ladis by Patricia Wright and Shelley Zuraw In memory of Eloise Ellis Simons by Mr. and Mrs. Edgar J. Forio In honor of William U. Eiland by Peggy Suddreth and Patricia Wright In honor of Hannah Harvey on her birthday by Lyssa and Jonathan Harvey In honor of Annelies Mondi by Patricia Wright In honor of Carl Mullis III by his buddies at B.N.O. In honor of Carolyn and Rhett Tanner by Dr. and Mrs. Hugh McLeod III
Family Day Kids explore the Jane and Harry Willson Sculpture Garden.
Membership
Beverly Pepper Beverly Pepper stands in front of her sculpture “Ascension.”
JOIN JOIN THE NEW GMOA!
Not a member? Join the museum during one of the
most exciting moments in its history! Join on our website,
Friends Preview
www.georgiamuseum.org, or call 706.542.0437.
Martha Daura speaks to members of the Georgia Children’s Chorus about “Martha at Thirteen,” the portrait her father, Pierre Daura, painted of her in 1943–44.
Top: Student docent Elizabeth Perry discusses Elizabeth Jane
Parking for the Georgia Museum of Art is available in the Performing Arts
Gardner’s “La Confidence” while other students (bottom photo)
Center (PAC) parking deck, which is located at the rear of lot E11 off River Road
visit the Byrnece Purcell Knox Swanson Gallery.
(see map). There is no free visitor parking on campus during regular business hours. Parking in the PAC deck is free on Saturdays and Sundays and after 5:30 p.m. on weeknights with a valid UGA ID or permit, unless there is a special event. Free parking
For more event photos see www.flickr.com/gmoa
(that is, parking without a permit) is available in surface lot E11 on Saturdays and Sundays and after 4 p.m. on weekdays.
www.georgiamuseum.org
Student Night
15
non-profit org. u.s. postage paid athens, ga
UNIVERSITY OF GEORGIA
permit no. 49
90 Carlton Street Athens, Georgia 30602-6719 www.georgiamuseum.org address service requested
GMOA Lorem Ipsum | Spring 2011
spring 2011
f a c e t ƌƌƌ
Elegant Salute
Donor Spotlight
Tracing Vision
16