Facet – Spring 2011 by Georgia Museum of Art

facet

Elegant Salute Recap: Metamorphosis

Exhibitions: All Creatures Great and Small

Donor Spotlight: Carl Mullis

www.georgiamuseum.org

Spring 2011

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

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

Elegant Salute Recap

Exhibitions

Donor Spotlight

Publication Spotlight

Elegant Salute Recap

Exhibitions

Donor Spotlight: Carl Mullis

Publication Spotlight: “Tracing Vision: Modern

Drawings from the Georgia Museum of Art” Collections

Calendar of Events

Museum Notes/Gifts

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.

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

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

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

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

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

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

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.

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

GMOA facet | Spring 2011

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 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

kaolin slip decoration

bichrome slip decoration

Georgia Museum of Art, University of Georgia;

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;

GMOA 2010.15E

Extended loan from Carl and Marian Mullis

GMOA 2010.11E

GMOA 2010.12E

3. Center: Foreman Pottery Company

Donor Spotlight

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

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

Georgia Museum of Art, University of Georgia;

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

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

Calendar : Spring 2011

Special Events Keepin’ It Surreal: Student Night at GMOA Thursday, April 21, 7 p.m.–Midnight

April Sun

All students are invited to this GMOA Student Association–sponsored event. The evening will Mon

Tue

Wed

Thu

Fri

Sat

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

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

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

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

Spotlight Tour: Highlights from the Permanent Collection Sunday, April 10 and May 22, 3 p.m. Join docents for a tour of highlights from

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.

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.

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.,

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

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

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