Facet – Summer 2014 by Georgia Museum of Art

facet

Exhibitions American Alliance of Museums &Southeastern SoutheasternMuseums Museums Conference

Donor Spotlight

Curator of Decorative Arts

www.georgiamuseum.org

Summer 2014

Department of Publications Hillary Brown Board of Advisors

Publications Interns

Mr. B. Heyward Allen Jr., chair

Kate Douds

Dr. Amalia K. Amaki

Elizabeth Fontaine

Mrs. Frances Aronson-Healey Mrs. June M. Ball Dr. Linda N. Beard Ms. Karen L. Benson

Design The Adsmith

Mr. Fred D. Bentley Sr.* Mr. Richard E. Berkowitz Mrs. Jeanne L. Berry Mrs. Devereux C. Burch Mr. Robert E. Burton** Mrs. Debbie C. Callaway** Mr. Randolph W. Camp Mrs. Shannon I. Candler,* executive committee, past chair Mrs. Faye S. Chambers Mr. Harvey J. Coleman

r o t c e r i D the

Bill Eiland shows off a pair of shoes during Bella Notte.

From

Over the past few months, I have been thinking about three words that begin with the letter A: The first two are “auxiliary” and “ancillary,” both of which sometimes (too often) appear before another A-word, “academic,” in describing our type of museum. My concern lately has been that the first two overpower the latter as suitable categories for university museums and galleries.

Mrs. Martha T. Dinos**

Georgia Museum of Art

Mrs. Annie Laurie Dodd***

University of Georgia

Ms. Sally Dorsey Professor Marvin Eisenberg*

90 Carlton Street

Mr. Howard F. Elkins

Athens, GA 30602-6719

Mr. Todd Emily

www.georgiamuseum.org

Ms. Carlyn F. Fisher* Mr. James B. Fleece

Admission: Free

Mrs. Phoebe G. Forio Mr. John M. Greene**

HOURS

Mrs. Helen C. Griffith

Tuesday, Wednesday, Friday and Saturday,

Mrs. M. Smith Griffith* Mrs. Judith F. Hernstadt

10 a.m.–5 p.m.; Thursday 10 a.m.–9 p.m.;

Mrs. Marion E. Jarrell

Sunday 1–5 p.m. Museum Shop closes 15

Mrs. Jane Compton Johnson*

minutes prior.

Mrs. George-Ann Knox* Mrs. Shell H. Knox Mr. David W. Matheny Ms. Catherine A. May Mr. Mark G. McConnell

Ike & Jane at the Georgia Museum of Art Tuesday–Friday, 10 a.m.–2 p.m.

Mrs. Marilyn M. McMullan

706.542.4662

Mrs. Marilyn D. McNeely

Fax: 706.542.1051

For example, at the University of Georgia and within the state of Georgia’s classifications for such entities, the campus museum is identified as an auxiliary service. To me and to my staff, the Georgia Museum of Art is anything but ancillary to the education of our students, faculty and staff at the University of Georgia, those coming to visit us in increasing numbers from surrounding colleges and universities, and all the students—pre-K; public, private and home schoolers; and, of course, lifelong learners—who make up our 100,000 visitors a year on site. We believe that all audiences deserve the best teaching we can deliver, through labels, publications, tours, films, lectures and myriad other ways in which we deliver visual-arts education. It is, however, the primary audience here in the academic village that is of especial importance in stressing that we are an essential contributor to the mission of the University of Georgia, to wit:

Mrs. Berkeley S. Minor

Exhibition Line: 706.542.3254

Mr. Alan F. Rothschild Jr., chair-elect

research and service. Specifically, as a

Mrs. Dorothy A. Roush*

repository and educational instrument of

Mrs. Sarah P. Sams**

the visual arts, the museum exists to

Mr. D. Jack Sawyer Jr.

collect, preserve, exhibit and interpret

We have about 50 students per year as volunteer interns and as employees at the museum. We “follow” our students; we help them get into graduate and professional schools; we help them get jobs. We serve classes from all disciplines, schools and departments at the university. We open our building and share our collections willingly with faculty and students.

Mr. C.L. Morehead Jr.* Mr. Carl W. Mullis III, immediate past chair Mrs. Betty R. Myrtle Mrs. Deborah L. O’Kain Dr. Randall S. Ott Dr. Gordhan L. Patel Mrs. Janet W. Patterson

Mission Statement

Ms. Kathy B. Prescott

The Georgia Museum of Art shares the

Mr. William F. Prokasy Mr. Rowland A. Radford Jr.* Ms. Margaret A. Rolando

Mrs. Helen H. Scheidt** Mr. Henry C. Schwob**

mission of the University of Georgia to support and to promote teaching,

significant works of art.

Ms. Cathy Selig-Kuranoff** Mr. S. Stephen Selig III** Mr. Ronald K. Shelp Mrs. Margaret R. Spalding

Our curators and professional staff are non-tenured faculty. Academic professionals at the university used to be described as “non-teaching faculty,” a classification that I think has mercifully disappeared. Our curators teach classes, advise and counsel undergraduate and graduate students and serve on thesis and dissertation committees. I hold them to the same standards as tenure-track faculty; in other words, they are expected to teach, to publish their research and to serve Georgia’s citizens throughout the state (and our other constituents nationally and even internationally). Our audience count bears out the numbers of students who are using this museum, some 35 percent of our total attendance. It is a high number and one of which we are justifiably proud.

Mrs. Dudley R. Stevens Mrs. Carolyn W. Tanner Dr. Brenda A. Thompson

at the Georgia Museum of Art is provided by the

Mrs. Barbara Auxier Turner

W. Newton Morris Charitable Foundation and

Mr. C. Noel Wadsworth*

the Friends of the Georgia Museum of Art.

Mrs. W. Harry Willson

Individuals, foundations and corporations

Dr. Carol V. Winthrop

provide additional support through their gifts to the University of Georgia Foundation. The

Ex-Officio

Georgia Museum of Art is ADA compliant; the

Mrs. Linda C. Chesnut

M. Smith Griffith Auditorium is equipped for the

Dr. William Underwood Eiland Mrs. Julie Roth Dr. Hugh Ruppersburg *Lifetime member

GMOA facet | Summer 2014

**Emeritus member

In April, I spoke to a class in Museum Studies at George Washington University, and I was struck by the commitment of the faculty and students there to mastering best practices and to promoting the highest standards in our field. No less so at the Georgia Museum of Art, where we share that goal but go even further in advocating the integral role of the campus museum in the academic enterprise, and for us that is an Absolute. William Underwood Eiland Director

Partial support for the exhibitions and programs

***Honorary member

hearing impaired.

Contents FEATURES

Exhibitions

Curator of Decorative Arts

Calendar of Events

Event Photos

Exhibitions

Donor Spotlight

From the Development Office: Curator of Decorative Arts

Calendar of Events

Museum Notes

Event Photos

On the front cover:

On the back cover:

Alice Neel (American, 1900–1984) Portrait of William D. Paul Jr., 1975 Oil on canvas 60 x 40 1/4 inches Georgia Museum of Art, University of Georgia; Gift of Richard, the artist’s son, and Nancy Neel GMOA 1978.3795

William Merritt Chase (1849–1916) Lady in Pink, ca. 1892 Oil on canvas 24 x 20 inches Westmoreland Museum of American Art, Greensburg, PA; Gift in memory of G.

www.georgiamuseum.org

Albert Shoemaker by his wife, Mercedes, 1995.23

www.georgiamuseum.org

of Art

Foundation and the Friends of the Georgia Museum

Sponsors: The W. Newton Morris Charitable

Henry Alston Jr. Galleries

Galleries: Virginia and Alfred Kennedy and Philip

European art

In-House Curator: Laura Valeri, associate curator of

Robert Henri and Harriet Frishmuth.

ranging from Charles Willson Peale to Mary Cassatt,

tempera paintings and bronze sculptures by artists

of American art. The exhibition features oil and

represented in this exhibition serve as a survey

still-life, landscape and narrative painting, the artists

world. Seen through the subject areas of portraiture,

came into its own as the cultural capital of the

times to the mid-20th century, as the United States

spans 200 years of American art, from colonial

permanent collection make up this exhibition that

Fifty-seven works from the Westmoreland’s

of Art

Foundation and the Friends of the Georgia Museum

Sponsors: The W. Newton Morris Charitable

Galleries: Permanent Collection Galleries

Michael Lachowski

Curators: Lynn Boland, Betty Alice Fowler and

Athens’ international significance.

helped shape the vibrant local culture and mark

other works, highlighting many of the artists who

on view will be reinterpreted and augmented with

from the museum’s permanent collection already

music scene of the 1970s and 1980s. Paintings

Ciné and others in celebrating the Athens art and

Dodd School of Art, the Lyndon House Arts Center,

the UGA Special Collections Library, the Lamar

As part of Art Rocks Athens, the museum will join

Shapes That Talk to Me: The Athens Scene, 1975–85 May 24–September 28, 2014

Picturing America: Signature Works from the Westmoreland Museum of American Art June 14–August 24, 2014

Museum of Art

Foundation and the Friends of the Georgia

Sponsors: The W. Newton Morris Charitable

Alexander Roush Galleries

Galleries: Martha Thompson Dinos and Dorothy

In-House Curator: William U. Eiland, director

Curator: Stephen Goldfarb

career by curator Stephen Goldfarb.

of Kirk’s etchings and an essay on her life and

Museum of Art Bulletin that includes images

is accompanied by an issue of the Georgia

reproductions of her prints. The exhibition

and to two memoirs that are illustrated with

in Decatur, Ga., of which she was a graduate,

to her duties as a trustee of Agnes Scott College,

medium by the 1950s and turned her attention

the course of her career, she gave up the

Kirk produced approximately 80 etchings over

countryside in the 1930s and 1940s. Although

etchings are finely detailed renderings of the

Neither romantic nor gritty and social realist, her

some of the lowly charm that surrounded them.”

pictorial record of them, and to try to capture

pass from the scene it seems fitting to make a

Before these relics of an older day completely

disappearing from the Southern landscape.

“Cabins, especially log cabins, are rapidly

cabins and other humble dwellings. She wrote,

rural surroundings of her home, especially

her work, which takes for its subject the mostly

exhibition is the first since her death to address

she studied etching with Harry Sternberg. This

at the Art Students League in New York, where

unknown today as an artist, despite her training

life, Mary Wallace Kirk (1889–1978) is virtually

A resident of Tuscumbia, Ala., for nearly all her

The Prints of Mary Wallace Kirk July 19–October 12, 2014

n o i t i b i

s n o i t i b

i h ex

GMOA facet | Summer 2014

Women, Art and Social Change: The Newcomb Pottery Enterprise May 17–August 31, 2014

Organized by the Newcomb Art Gallery and the

flora and fauna of the Gulf South. Each piece is one of a

and textiles with text that draws from new scholarship to

Smithsonian Institution Traveling Exhibition Service,

kind—and collectively they create a distinctive southern

explore the history of the Pottery and its importance as a

“Women, Art and Social Change: The Newcomb Pottery

art form. In 1895, the H. Sophie Newcomb Memorial

social and artistic experiment.

Enterprise” is the largest presentation of Newcomb arts

College, Tulane University’s women’s coordinate college,

and crafts in more than 25 years. Works from various

established the Newcomb Pottery in New Orleans, and

In-House Curators: Dale Couch, curator of decorative arts,

periods examine the role that the enterprise played in

conceived it as part artist collective, part social experiment

and Annelies Mondi, deputy director

promoting art for the betterment of women, and in turn,

and part business enterprise initiative under the auspices

Galleries: Boone and George-Ann Knox I, Rachel Cosby

New Orleans’ business and cultural communities, still

of an educational program. The art school faculty

Conway, Alfred Heber Holbrook, Charles B. Presley

struggling from the effects of the Civil War. The exhibition

incorporated the philosophies and tenets of the English

Family and Lamar Dodd Galleries

features significant examples of the iconic pottery,

Arts and Crafts movement into their curriculum to teach

Sponsors: The Henry Luce Foundation and the National

including a daffodil motif vase by Harriet Joor, as well as

southern women self-reliance by way of an education and

Endowment for the Arts, Art Works

lesser known textiles, metalwork, jewelry, bookbinding

to gain financial independence through the sale of their

Local Sponsors: Dr. and Mrs. George Rives Cary;

and historical artifacts. The exhibition offers new insights

wares. The Pottery thrived until 1940.

Ceramic Circle of Atlanta, Inc.; the Piedmont Charitable

into the Newcomb community—the philosophy, the

Foundation; the W. Newton Morris Charitable Foundation

friendships, the craftsmanship and the women who made

Today these remarkable, distinctive art objects continue

an enduring mark on American art and industry.

to be critically acclaimed and highly sought-after, and the Newcomb program is a rich mine for academic

Produced by one of the most significant American art

research. “Women, Art and Social Change: The

potteries of the 20th century, Newcomb works are a

Newcomb Pottery Enterprise” showcases a striking

graceful union of form and decoration inspired by the

collection of Newcomb pottery, metalwork, bookbinding

and the Friends of the Georgia Museum of Art

The Lithographs of Carroll Cloar May 17–August 10, 2014 Although formally trained in New York, Carroll Cloar (1913–1993) spent most of his career in Memphis, Tenn., creating works of art based on his memories of his childhood in Earle, Ark. In addition to the hundreds of paintings and drawings Cloar created, he made lithographs in the 1930s and 1940s, all printed in editions of 25. Borrowing from a private collection and the University of Memphis, this exhibition brings together these 31 prints in a single gallery. These lithographs, like Cloar’s paintings, lend a surrealist tone to subjects based on stories of people and places from Cloar’s childhood, biblical narratives and popular culture. Unlike his colorful paintings and linear drawings, the prints’ strong contrast of black-and-white forms and painterly lines create a hauntingly different atmosphere. Curator: Carissa DiCindio, curator of education Gallery: Boone and George-Ann Knox Gallery II Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

An Archaeologist’s Eye: The Parthenon Metope Drawings of Katherine A. Schwab September 13–December 7, 2014 In 2005, Professor Katherine Schwab, professor of art history at Fairfield University, began experimenting with graphite and pastel on paper to develop a new method of recording her observations of the east and north metopes on the Parthenon, the most prominent

Tristan Perich is a contemporary artist and composer based in New York City who recently had work included in the exhibition “Soundings” at the Museum of Modern Art. “Machine Wall Drawing” occupies a 60-foot wall on the museum’s Patsy Dudley Pate Balcony and is creating itself over the course of 6 months. Perich writes code that operates the machine, but the interaction of the digital and physical elements make the work unique, introducing randomness into a tightly controlled order.

temple on the Athenian Acropolis, in Greece. A metope (pronounced MEH-ta-pee) is a rectangular section of the frieze that runs around the top of many Doric-era or classically influenced buildings, and the ones on the Parthenon include particularly well-known but very damaged sculptural reliefs. A tension emerges in Schwab’s drawings between what is preserved and what has been lost, creating a theme of presence within absence. They let us reimagine the Parthenon metopes in our time and experience their sustained mythological narratives. Schwab’s drawings combine artistic ability and archaeological expertise, and, through the process of drawing, she has made new observations and discoveries. This exhibition is organized by the Bellarmine Museum of Art, Fairfield University, Creighton University and the Timkin Museum of Art. Curator: Mark Abbe, assistant professor of ancient art, Lamar Dodd

Curator: Lynn Boland

School of Art

Gallery: Patsy Dudley Pate Balcony

In-House Curator: Laura Valeri, associate curator of European art

Sponsors: The W. Newton Morris Charitable Foundation

Galleries: Boone and George-Ann Knox Gallery II

and the Friends of the Georgia Museum of Art

Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

www.georgiamuseum.org

Tristan Perich: “Machine Wall Drawing” March 20–November 18, 2014

Terra Verte May 2014–May 2015 Jane and Harry Willson Sculpture Garden

Artist’s ren

dering of h

er proposed

installation

(detail).

Scottish artist Patricia Leighton has been making art in the public realm for more than 25

Britain and Europe viewing ancient sacred sites like the Ring of Brogar in Orkney or

years, creating large-scale permanent commissions that relate to the history of a given

Hagar Qim in Malta, I have experienced first-hand a sense of timelessness and hidden

site and relevant environmental and ecological conditions. She views the integration of

mysteries. I seek to capture this sense of presence in my work and the intrinsic echoes

art and site as a collaborative process and works in tandem with a diverse creative team

of the landscape.” Leighton has created work in Scotland; England; Wales; South Korea;

of professionals from fields such as ecology, engineering, architecture and landscape

Bulgaria; and, in the United States, in New York City; Charlotte, N.C.; and Roosville, Mont.

architecture. Leighton’s installation in the museum’s sculpture garden will consist of a number of “growing cubes,” elevated frameworks of steel filled with living vegetation,

Curator: Annelies Mondi, deputy director

sited throughout the three tiers of the space. She said, “Having grown up surrounded

Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia

by Scottish hills and mountains of ever-changing color, texture and light; having traveled

Museum of Art

XL September 13–November 16, 2014 A famous art school joke, attributed to graphic designer Paul Rand, reads, “If you can’t make it good, make it big.” “XL” shows you can do both. This exhibition features large contemporary paintings, prints and sculpture from the collection of the Georgia Museum of Art or on long-term loan to the museum. Artists with work in the exhibition include Sandro Chia, Gregory Gillespie, Andy Warhol, Terry Winters and Jack Youngerman. Curator: Lynn Boland Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art Galleries: Virginia and Alfred Kennedy and Phillip Henry Alston Jr. Galleries

Gregory Gillespie (American, 1936–2000) Wheel of Life, 1992 Mixed media on panel 96 1/2 x 96 inches Georgia Museum of Art, University of Georgia; Gift of Robert and Cheryl Fishko GMOA 1999.42

Page 4

GMOA facet | Summer 2014

Thomas Hovenden (1840–1895) Death of Elaine, 1882 Oil on canvas 46 x 71 inches Westmoreland Museum of American Art, Greensburg, PA; Gift of the Mary Marchand Woods Memorial Fund, 1985.25

Page 5 (top left) Mary Stevenson Cassatt (1844–1926) Mother and Two Children, ca. 1905 Oil on canvas Tondo, 37 1/2 inches Westmoreland Museum of American Art, Greensburg, PA; Anonymous Gift, 1979.1

(bottom left) Robert Croker Portrait of Richard Olsen, 1972 Charcoal on paper 26 1/8 x 40 1/16 inches Georgia Museum of Art, University of Georgia; Gift of Ronald and Nancy Lukasiewicz, Athens, Georgia GMOA 1979.3976 (right) Mary Wallace Kirk (American, 1889–1978) R.F.D., n.d. Etching on paper 6 15/16 x 4 3/4 inches Collection of the Daniel B. Rather Family

Page 6 (top left) Newcomb Pottery (Esther Huger Elliot, decorator; Joseph Meyer, potter) Lamp with shade and Duplex burner, ca. 1902 “Cat’s claw” design Newcomb Art Collection, Tulane University (bottom left) Newcomb Pottery (attributed to Miriam Levy) Brooch, ca. 1915–20 Green sardonyx set in hand-wrought silver pin Private collection

(right) Newcomb Pottery Silver necklace with moonstone and pendant, ca. 1929 Hand-wrought chain with cut out “NBM” (Nellie Mae Bartlett) monogram Newcomb Art Collection; gift of Nelle Mae “Jack” Bartlett Kelleher, Tulane University, New Orleans, LA

Page 7 (top left) Carroll Cloar (American, 1913–1993) Making of a Drawing (also known as The Ingredients), n.d. Lithograph Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art GMOA 2009.100

(bottom left) Tristan Perich, view of “Machine Wall Drawing” in progress at Georgia Museum of Art. (right) Katherine A. Schwab Parthenon East Metope 2: Dionysos, accompanied by a panther and snake, pursues a fleeing giant, 2005 8 7/8 x 11 1/4 inches Pastel on paper On loan from the Bellarmine Museum of Art, Fairfield University

Donor Spotlight:

n a p s n e e r Phil G As Georgia Museum of Art deputy hil director Annelies Mondi puts it, “P print Greenspan makes the hunt for a an adventure for everyone.”

Although he is best known for his work as a professor and research scientist in pharmaceutical and biomedical sciences, Greenspan has a keen interest in art. As opposed to donating a large number of works at once, Greenspan has slowly augmented the museum’s print collection over the past 17 years. He has established relationships with professionals within the field and never let his curiosity flag. “He saw an opportunity to help the collection of Old Master prints, was very bold in asking questions and went out and got the pieces he thought would most benefit the museum,” says Patti Phagan, curator of prints and drawings at Vassar College and formerly in the same position at the Georgia Museum of Art. In addition to Phagan’s guidance, Greenspan has sought the help of Mark Callahan, a printmaker and faculty member of Lamar Dodd School of Art.

“Most of our interaction is centered around the question, ‘would this print benefit UGA students?’ He has a special understanding of the museum as a part of the institution,” says Callahan. As Callahan explains, Greenspan’s varied interests and ongoing curiosity help describe the type of print collector he is. “Understanding prints is about more than identifying a beautiful object: it requires an understanding of history, technique, the life of the artists and the variations of the subject in other images.” Greenspan is both generous and humble. Mondi says she always knew when Phagan was on the phone with Greenspan when she heard her laughing from across the hall. Both Phagan and Mondi recall dinner parties hosted by Greenspan in which he literally opened up his home to museum staff. He and his wife, Juanita (an accomplished sculptor and gourmet cook), would invite guests to request prints from the walls of his home to donate to the museum at the end of the evening. Mondi explains that Greenspan is a “true teacher,” in the sense that he consistently inspires others to think about things instead of just handing them information. Even in learning, he encourages the growth of those around him. Kate Douds, Intern, Department of Communications

www.georgiamuseum.org

“He saw an opportunity to help the collection of Old Master prints, was very bold in asking questions and went out and got the pieces he thought would most benefit the museum”

hat being said, his work as a research scientist, art collector, professor, author and family man makes the term “renaissance man” a good fit. Greenspan, an enthusiastic collector of prints, has worked with the museum over many years to create and then donate as prints that fill particular voids in the museum’s collection. Greenspan has given more than 100 etchings and engravings to the museum.

From the : e c i f f O t n e m p o l e v e D

GMOA facet | Summer 2014

f o r o t Cura

s t r A e v i t a r o c e D

f o e n o t s o l t r A f o m u e s u M a i g r o . e n G e e e r h t G , s 4 e 1 t 0 a Y s e c n a r F y On April 3, 2 r a M . s r M , s n o r t a p d e t o v e d s it

ran was instrumental in the establishment of the decorative arts program at the museum and continued to support it faithfully throughout her lifetime. Dale Couch, curator of decorative arts, lamented her passing, saying, “Her loss is very sad as she was a living link to the formative generation of our field. I always valued her encouragement and support.”

Also in 2000, the University of Georgia created and funded a curatorial position for the decorative arts initiative. This curator directs the Henry D. Green Center and oversees the museum’s permanent collection of decorative arts, which includes works from throughout the world. In 2002, the museum presented its first symposium on the topic of the decorative arts and named it in honor of Henry D. Green. Since its inception, the symposium has generated many books of original scholarship on decorative arts and reached audiences of 340+ scholars, collectors, dealers, students and decorative arts enthusiasts from across the country. It is the second best-attended event of its type on the East Coast, and the published papers from the symposia of 2002, 2004 and 2006 earned a Merit Award from the Association of State and Local History. Stellar publications have continued to emerge from the symposia. Due to the financial downturn in 2008 and with the position of curator of decorative arts temporarily vacant, the university was no longer able to provide support for the position. In response, the museum sought private support to cover the position’s salary and benefits. We received a grant from the National Endowment for the Arts to fund it for two years as a part-time curatorial appointment. An anonymous donor then pledged to fund the position for an additional three years, ending in 2014. Endowing the position of curator of decorative arts is a most pressing need. Without a curator, the future of the decorative arts program is uncertain.

Endowing the position of curator of decorative arts is a most pressing need. Without a curator, the future of the decorative arts program is uncertain. As part of the University of Georgia’s overall billiondollar capital campaign, the Georgia Museum of Art is seeking $2,000,000 to endow the position, a further honor, we hope, for Henry and Fran Green. Establishing this endowment is our number-one priority. It will cover the salary and benefits for a full-time position in perpetuity, which is crucial considering the likely decrease in state support for the university in years to come. In addition to soliciting for private donations, the museum has applied for a challenge grant from the National Endowment for the Humanities for $500,000 to assist us in reaching our goal. Experienced museum professionals in the field of American decorative arts are scarce, yet in increasing demand. The abundant possibilities offered by the Green Center, combined with the prestige of an endowed curatorship, will enable the museum to attract the best applicants. The endowment of this position

Fran Green

will create a legacy for Henry and Fran Green, the Green family and the state of Georgia—its museum, its university, its people and its history. Before Mrs. Green passed away, I met with her on several occasions to discuss the endowment. She expressed her love for Henry, the museum and the decorative arts program during those conversations. She desired to see this endowment fulfilled and offered me advice and assistance. I consider it a privilege to have known her. She was an inspiration to me in the way that she lived her life and the joy that she shared with all who knew her. Without Fran’s support and encouragement, Henry would not have produced the scholarship he did, and the field of decorative arts in Georgia would not exist in its current form. “If Henry D. Green was the father of our field in Georgia,” said Couch, “then Fran Green was its godmother!” Henry and Fran Green were a team, and so we will honor them together through the creation of this endowment.

www.georgiamuseum.org

With the assistance of Mrs. Green, a center for the decorative arts was founded at the museum in 2000, bearing the name of her late husband, renowned scholar and pioneer collector Henry D. Green. Established to address a burgeoning interest in the decorative arts of Georgia and to promote scholarship, that center now comprises a library and extensive archival materials related to the decorative arts worldwide. In its brief history, the center has emerged as a major regional force in the southern field in particular, and it continually realizes Henry Green’s goal to represent Georgia decorative arts to a national audience continually through its scholarly programming.

Caroline Maddox, Director of Development 11

r a d n e l a C

. e noted

therwis unless o e public th to n ope ee and ts are fr All even

Third Thursday Thursday, July 17, August 21 and September 18, 6–9 p.m.

July Sun

Mon

Special Events

Tue

Wed

Thu

Fri

Sat

Six of Athens’ established venues for visual art hold “Third Thursday,” an event devoted to art in the evening hours, on the third Thursday of every month. GMOA, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné and ATHICA will be open from 6 until 9 p.m. on those nights to showcase their visual-arts programming. Visit 3Thurs.org

Museum Mix Thursday, July 24, 8 p.m.–midnight

Come to our free late-night art party and enjoy refreshments, access to all the galleries and DJ Michael Lachowski.

Lectures & Gallery Talks

for a calendar of events.

Gallery Talk: “The Prints of Mary Wallace Kirk” Thursday, August 14, 5:30 p.m. Join director William U. Eiland for a talk on this exhibition

August Sun

Mon

of works on paper.

Tue

Wed

Thu

Fri

Sat

Lecture: Sally Main, senior curator Newcomb Art Gallery Thursday, August 28, 5:30 p.m. In conjunction with “Women, Art and Social Change: The Newcomb Pottery Enterprise.”

Conversation with the Artist: Tristan Perich Thursday, September 18, 5:30 p.m.

September Sun

Mon

Tue

Wed

Thu

Fri

Sat

Filmmaker Russell Oliver will premiere his documentary on Tristan Perich’s “Machine Wall Drawings,” followed by a Q&A with Perich.

Page 9–11 works

GMOA facet | Summer 2014

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(top left) Michel Dorigny (French, 1617–1663) Mercury and the Three Graces, 1642 Etching on paper Georgia Museum of Art, University of Georgia; Gift of Phillip and Juanita Greenspan in honor of Brenda Wade GMOA 2011.566 (bottom left) Eugène André Champollion (French, 1848–1901) La poèm de la Vigne, after Gustave Doré (French, 1832–1883), 19th century Etching on paper Georgia Museum of Art, University of Georgia; Gift of Phillip and Juanita Greenspan GMOA 2011.504

(top right) Engraved by Rawdon, Wright, Hatch, and Smilie after a sketch by T. Addison Richards and a drawing by J. Smilie Rock or Stone Mountain from American Scenery Illustrated, 1854 Steel engraving on paper Georgia Museum of Art, University of Georgia; The Princess Pearl Collection, Gift of Phillip and Juanita Greenspan GMOA 2012.298

Page 10

Page 11

Attributed to John Smibert (American, b. Scotland, 1688–1751) Lady in Blue, ca. 1745 Oil on canvas 42 1/2 x 34 11/16 inches Georgia Museum of Art, University of Georgia; Gift of Henry D. and Frances Y. Green GMOA 2000.38

Unidentified maker (American, Piedmont Georgia, probably Augusta area) Blanket chest, ca. 1750–80 Sweet gum, poplar, yellow pine and white oak 33 1/2 x 38 x 16 inches Georgia Museum of Art, University of Georgia; Gift of the Atlanta History Center and Mr. and Mrs. Henry D. Green GMOA 2003.6

Family Days Family Day programs are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota, YellowBook USA

Led by docents.

and the Friends of the Georgia Museum of Art.

Picturing America Saturday, July 19, 10 a.m.–noon Learn about the history of the United States from colonial times to the mid-20th century by looking at works of art in “Picturing America: Signature Works from the Westmoreland Museum of American Art” and participating in interactive gallery stations. Then head down to the Michael and Mary Erlanger Studio Classroom to create your own work of art inspired by the exhibition.

Artful Conversation Wednesday, July 23, 2 p.m.

Visitors are invited to sketch in the galleries during these hours. No instruction provided. Pencils only.

Cinderella” (ca. 1926).

Teen Studio: Picturing America Thursday, August 21, 5:30–8:30 p.m.

Tour at Two: “Women, Art and Social Change: The Newcomb Pottery Enterprise.” Wednesday, August 6, 2 p.m. Led by Annelies Mondi, deputy director.

Investigate the many ways artists use color with a fun gallery guide and interactive stations in the permanent collection, then play with color to create your own multicolored sun catcher in the Michael and Mary

Teens (ages 13–18) are invited to participate in a special art workshop led by local artist Hope Hilton. Participants will tour the exhibition “Picturing America: Signature Works from the Westmoreland Museum of American Art” and then create their own works of art inspired by the exhibition. Pizza and drinks will be served. This program is free, but space is limited. Email callan@uga.edu to reserve a spot.

Lunch and Learn: 1-Bit Art and Music: Tristan Perich’s “Machine Wall Drawing” Friday, August 22, 12:30–1:30 p.m.

Erlanger Studio Classroom.

UGA faculty and staff are invited to learn about the work of artist, composer and programmer Tristan Perich with curator Lynn Boland. Lunch will be provided, but space is limited. Please contact Carissa DiCindio, curator of

Archaeologist’s Eye Saturday, September 13, 10 a.m.–noon Learn how artist and archaeologist Katherine Schwab experimented with graphite and pastels to create drawings of the Parthenon in the exhibition “An Archaeologist’s Eye: The Parthenon Metope Drawings of Katherine A. Schwab.” Participate in interactive activities in the gallery, then head downstairs to the Michael and Mary Erlanger Studio Classroom to make your own drawing.

PICTURING AMERICA FILM SERIES

Drawing in the Galleries Thursday, July 17, August 21 and September 18, 5–8 p.m.

Join Carissa DiCindio, curator of education, for an in-depth discussion of F. Luis Mora’s painting “Tale of

Exploring Color Saturday, August 23, 10 a.m.–noon

Films

Workshops & Classes

Spotlight Tour: Highlights from the Permanent Collection Sunday, July 13, August 10 and September 14, 3 p.m.

education, at cdicindi@uga.edu to reserve your space.

Artful Conversation Wednesday, August 13, 2 p.m. Join Carissa DiCindio, curator of education, for an in-depth discussion of selected works from the exhibition “Picturing America: Signature Works from the Westmoreland Museum of American Art.”

“Young Mr. Lincoln” Thursday, July 10, 7 p.m. In “Young Mr. Lincoln,” Henry Fonda gives one of the finest performances of his career, starring as the young president-to-be while he struggles with an incendiary murder case as a novice lawyer. Compassionate and assured, this film is an indelible piece of Americana.

November 6-14, 2014

Tour at Two: “Picturing America: Signature Works from the Westmoreland Museum of American Art.” Wednesday, August 20, 2 p.m. Led by Laura Valeri, associate curator of European art.

Directed by John Ford. 1939, NR, 100 min.

Concerts Comedy Drama Dance Opera Film Festivals Art Exhibitions Poetry Readings and more!

“Native Land” Thursday, July 17, 7 p.m. Featuring narration and songs by Paul Robeson, this beautifully shot and edited film exposes violations of Americans’ civil liberties and served as a call to action for exploited workers around the country. Scarcely shown since its debut, “Native Land” represents Robeson’s shift from narrative cinema to the leftist documentaries that would define the final chapter of his controversial film career. Directed by Leo Hurwitz and Paul Strand. 1942,

facebook.com/UGAarts twitter.com/UGA_arts

NR, 80 min.

Charlie Chaplin’s last outing as the Little Tramp puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine. With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, “Modern Times”—though made almost a decade into the talkie era and containing moments of sound and even song—is a timeless showcase of Chaplin’s untouchable genius as a director of silent comedy. 1936, NR, 87 min. Films are generously sponsored by:

Join Carissa DiCindio, curator of education, for an in-depth discussion of selected works in the exhibition “XL.”

Tours Tour at Two: Highlights from the Permanent Collection Wednesday, July 2, 9, 16 and 30; August 27; and September 3 and 24, 2 p.m. Led by docents.

Artful Conversation Wednesday, September 10, 2 p.m.

Tour at Two: Tristan Perich: “Machine Wall Drawing.” Wednesday, September 17, 2 p.m. Led by Lynn Boland.

ART ADVENTURES: BECOME A MUSEUM SUPERHERO!

JUNE AND JULY

Day camps, day cares and community centers are invited to the museum to take part in our special free summer program. Become a museum superhero by using your art superpowers to explore the exhibition “Women, Art and Social Change: The Newcomb Pottery Enterprise.” Includes an art-making activity. Call 706.542.8863 or email squinn@uga.edu to make a 13 reservation for your group. www.georgiamuseum.org

“Modern Times” Thursday, July 31, 7 p.m.

s e t o N Museum

AWARDS

ATHENS CULTURAL AFFAIRS COMMISSION On April 1, 2014, the Athens Mayor and Commission approved five new members of the Athens

large sculpture “Nest” in the Classic Center’s atrium and Harold Rittenberry’s metal benches at the Rocksprings Pool.

Cultural Affairs Commission (ACAC), including museum public relations

Coincidentally, ACAC awarded Arts in

coordinator Michael Lachowski. ACAC was

Community Grants (AICG) to both the

established to advise the Athens-Clarke

Athens Celebrates Elephant Six Project (in

County Unified Government on cultural

which the museum is a participant this

affairs and aesthetic development of the

October with “The . . . of E6: Part of Athens

built environment in accordance with provi-

Celebrates Elephant 6,” an exhibition

sions of planning, programming, procure-

organized by Lynn Boland and on view here

ment, installation, operation and mainte-

Oct. 11, 2014–Jan. 4, 2015) and ARTSwap

nance of public art projects and artworks.

2014. The latter is an artist trading cards

Projects ACAC has headed up include the

project for children spearheaded by Callan

mural and sculpture at the Athens-Clarke

Steinmann, associate curator of education

County Library on Baxter Street, the metal

at the museum, scheduled to take place at

panels installed on and banners that hang

this year’s AthFest, June 21 and 22 in

from the West Washington Street Parking

downtown Athens.

Deck in downtown Athens, Maureen Kelly’s

s t f gi

Left to right: Carissa DiCindio, curator of education; Annelies Mondi, deputy director; Eva Berlin; William U. Eiland, director.

Eva Berlin, Georgia Museum of Art Student Association president, received the Louis T. Griffith Student of the Year Award at our annual student appreciation celebration. Lucy Rowland, volunteer librarian, who has spent more than 3 years getting our Louis T. Griffith Library back in order following the expansion and remodeling, took home the M. Smith Griffith Volunteer of the Year Award (the “Smitty”) at the Friends Annual Meeting May 1.

The Georgia Museum of Art received the following gifts between February 4 and April 11, 2014:

DIRECTOR’S CIRCLE Jeanne L. Berry David R. Mulkey

SUSTAINING Mr. and Mrs. B. Heyward Allen Jr. Drs. Benjamin Brainard and Kira Epstein Judge and Mrs. Homer Stark

DESIGNATED Mr. and Mrs. B. Heyward Allen Jr. Athens First Bank & Trust Co. Athens-Clarke County Ceramic Circle of Atlanta Mr. and Mrs. James R. Chambers Mrs. M. Smith Griffith Heyward Allen Motor Company Heyward Allen Toyota The Mildred Miller Fort Foundation Inc. Mr. and Mrs. Alan F. Rothschild Jr.

In memory of Paul Cassily by William Underwood Eiland and Patricia and Tom Wright In memory of Zack Cravey by William Underwood Eiland and Rowland and Letitia Radford In memory of Edgar J. Forio Jr. by William Underwood Eiland, Caroline Maddox and Jana McGee In memory of Harry L. Gilham Jr. by Al Braxton and Peggy Matthews, Shannon and Peter Candler, Wright and Alison Caughman, Linda and Dean Copeland, Lavona Currie, Jack and Jolane Edwards, William Underwood Eiland, Phoebe Forio, Betty Alice Fowler, Anne Frierson, Julie Jenkins, Margaret and Jack Langford, Caroline Maddox, John Mershon, Kathy Prescott and Grady Thrasher, Rowland and Letitia Radford, Neal and Diane Ray, Jack Rooker, Early and Bill Smith, Dudley Stevens, Carolyn and Rhett Tanner, Marshall

In the Shop

Wellborn, Homer Whitman and Patricia and Tom Wright In memory of Mary Frances Yates Green by Dr. and Mrs. Joseph Ansley, McAlpin H. Arnold, Judith M. Atkins, Russ and Jean Carpenter, Katherine Chisholm, Dennis C. Coole Jr., Pamela Devenney, Downey & Cleveland, LLP, Dr. Thorwald Eros, Vivian B. Fisher and Jim Newcome, Faye and Rob Foster, Mr. and Mrs. William A. Hanger, Jean C. Harrell, Mynell G. Harris, J.H. Hilsman, M.D., David and Deana Johnson, Freeman and Helen Jones, Bengt and Elisabeth Leopold, Caroline Maddox, Catherine C. Maier, Barbara F. Martin, Helen D. Moore, Virginia O’Connor, Elizabeth C. Parker, Kathy Pennington, Dorothy C. Porter, William P. and Erma K. Portman, Elizabeth L. Reppert, Edyth Shadburn, Tom and Becky Sherwood, Betty A. Slaton, T. Marion Slaton, Dr. and Mrs. Luther David Stacy, Brooke and Rees Sumerford, Joyce S. Thomas, Brenda Wade and Amanda and Alan Yates

In memory of Helen P. McConnell by Betty Alice Fowler In memory of Dorothy Paul by Patricia and Tom Wright In memory of Ann L. Scoggins by Winfield and Jinx Baldwin, Shannon and Peter Candler, Sally Benson Cavanaugh, William Underwood Eiland, Betty Alice Fowler, Alexander Hill, Caroline Maddox, Jana McGee, John and Marilyn McMullan, John and Nancy Mullins, Kathy Prescott and Grady Thrasher, Carolyn and Rhett Tanner and Patricia and Tom Wright In honor of Richard and Lynn Berkowitz by Dr. and Mrs. Stuart Rudikoff In honor of William Underwood Eiland by Irene and Billy Smith and The Alabama Club In honor of William F. Voyles by Carolyn and Rhett Tanner

The artistic flavor of the works seen in our current exhibition “Women, Art and Social Change: The Newcomb Pottery Enterprise,” was largely inspired by the worldwide Arts and Crafts Movement. Led by English artist and writer William Morris, this decorative arts philosophy celebrated traditional craftsmanship and natural forms as a response to the mechanization of the burgeoning GMOA facet | Summer 2014

Industrial Revolution. The Museum

Shop offers a wide range of jewelry, gifts and accessories that celebrate this aesthetic ideal. Copper and mother-of-pearl earrings ($30; $27, members of the Friends) Oxidized lily necklace ($38; $34.20, members of the Friends) Rose ribbon cloche ($80; $72, members of the Friends) William Morris coloring book and notecard folio ($7.95 and $10.95; $7.16 and $9.86, members of the Friends)

event

photo s

Museum Mix/Athens Fashion Collective

Bella Notte

5th-Grade Tours

www.georgiamuseum.org

OI JJOIN BECOME A MEMBER OF THE FRIENDS OF THE GEORGIA MUSEUM OF ART.

Support our programming and exhibitions.

Join on our website, www.georgiamuseum.org, or call 706.542.0830.

Family Day 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 facet | Fall 2013

summer 2014

Exhibitions

Donor Spotlight

Curator of Decorative Arts