Facet – Autumn 2014

facet

Exhibitions American Alliance of Museums &Southeastern SoutheasternMuseums Museums Conference

Volunteer Spotlight

Elegant Salute

www.georgiamuseum.org

Fall 2014

1

Board of Advisors

Department of Publications

Mr. B. Heyward Allen Jr., chair

Hillary Brown

Dr. Amalia K. Amaki Mrs. Frances Aronson-Healey Mrs. June M. Ball Dr. Linda N. Beard

Publications Intern Sara Adams

Ms. Karen L. Benson Mr. Fred D. Bentley Sr.*

Design

Mr. Richard E. Berkowitz

The Adsmith

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 Mrs. Martha T. Dinos** Mrs. Annie Laurie Dodd*** Ms. Sally Dorsey

From the Director Adapted from the commencement speech given at the Lamar Dodd School of Art in May 2014 by director William U. Eiland

Obviously, the invitation to speak came as a reflection of my position as director of the museum across the quad here. Yes, I was close. Yes, I was available. But I believe Gene Wright had other issues in mind when he invited me to address this class of graduates from the Lamar Dodd School of Art. You are among the first graduates here to reap the full benefits of collaboration and cooperation among the schools of art and music, the Performing Arts Center and the museum. Envisioned in the concept and eventual establishment of this part of campus was the notion that fine-arts education is essential to both individual and corporate achievement, something that is becoming clear to business leaders.

Critics see this kind of economic view as inimical to the artistic temperament, a kind of coarsening of the aesthetic. On one level, I agree wholeheartedly that we are in danger of cheapening the ineffable by conjoining art with money. On another, I say, “Oh grow up!! And face the reality of dwindling resources and intense competition for sustainable practice in the fine and visual arts.” I hope you will be equally ambivalent and deliberate in choosing between the Scylla of underemployment as an artist or art historian and the Charybdis of “selling out.”

I am not going to belabor these points, but I shall remind you of what distinguished professor emeritus Jim Herbert proposed as a riddle to a gathering of young artists: “What is the difference between an artist and an artisan?” Blank stares. Finally, he answered, “The artisan can do it twice.” I urge you to take that definition to heart as you prepare yourselves for careers in the visual arts: learn to be an artisan as well as an artist, a stylist as well as a writer, a designer of words. Artists, be not dismissive of your colleagues in art history, art criticism and art education: they are important to your future. Listen to them and learn because you can’t be cutting edge if you don’t know where the edge is.

This past weekend, I had the remarkable experience of traveling with a group of my overachieving college friends, all of whom have made considerable marks on this world of ours. My friends hold dear to this day those ideals of the late 1960s and 1970s, and this trip through the Black Belt of Alabama was to rekindle our long-held beliefs that poverty and ignorance are not foregone conditions prescribed for mankind by immutable fate.

Our pilgrimage took us to the Rural Heritage Center in Thomaston where ladies fearful of the demise of their blighted community make pepper jelly and sell it to raise funds to save beloved landmarks. Next, we moved on down the road to the Rural Studio, one of the most remarkable educational enterprises I have encountered so far in a life of travel and study. We marched across the Edmund Pettus Bridge in Selma and attended church at Dexter Avenue Baptist, Martin Luther King Jr.’s first pastorate. We stood before Maya Lin’s civil rights monument and read aloud the names of Viola Gregg Liuzzo and Jimmie Lee Jackson, martyrs whose graves we had visited earlier. Finally, we listened to one of our number tearfully acknowledge that, while our bodies have suffered the slings and arrows of age and infirmity, our illusions, thank God, are intact.

Professor Marvin Eisenberg* Mr. Howard F. Elkins Mr. Todd Emily Ms. Carlyn F. Fisher* Mr. James B. Fleece Mrs. Phoebe G. Forio

GMOA facet | Fall 2014 2

And so, I wish you blessings every day of your lives. I hope for you the joy and satisfaction of following the good council of your now alma mater in urging you to “to teach, to serve, and to inquire into the nature of things.” What does that mean, you ask? I will tell you. Do not settle for the meretricious and the mediocre. Do not just muddle through. Abandon carelessness. Write great sentences. Teach important truths. Make objects beautiful in aspect and design as well as in meaning and symbol. Aspire to the sublime. Do good work. Yes, do good.

William Underwood Eiland Director

University of Georgia

Mr. John M. Greene**

90 Carlton Street

Mrs. Helen C. Griffith

Athens, GA 30602-6719

Mrs. M. Smith Griffith*

www.georgiamuseum.org

Mrs. Judith F. Hernstadt Mrs. Marion E. Jarrell Mrs. Jane Compton Johnson* Mrs. George-Ann Knox* Mrs. Shell H. Knox Mr. David W. Matheny

Admission: Free HOURS Tuesday, Wednesday, Friday and Saturday,

Ms. Catherine A. May

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

Mr. Mark G. McConnell

Sunday, 1–5 p.m. Museum Shop closes 15

Mrs. Marilyn M. McMullan

minutes prior.

Mrs. Marilyn D. McNeely Mrs. Berkeley S. Minor Mr. C.L. Morehead Jr.* Mr. Carl W. Mullis III, immediate past chair Mrs. Betty R. Myrtle

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

706.542.4662

Mrs. Deborah L. O’Kain

Fax: 706.542.1051

Dr. Randall S. Ott

Exhibition Line: 706.542.3254

Dr. Gordhan L. Patel Mrs. Janet W. Patterson Ms. Kathy B. Prescott Mr. William F. Prokasy Mr. Rowland A. Radford Jr.* Ms. Margaret A. Rolando Mr. Alan F. Rothschild Jr., chair-elect Mrs. Dorothy A. Roush*

Mission Statement

Mrs. Sarah P. Sams**

The Georgia Museum of Art shares the

Mr. D. Jack Sawyer Jr.

mission of the University of Georgia to

Mrs. Helen H. Scheidt**

support and to promote teaching,

Mr. Henry C. Schwob**

research and service. Specifically, as a

Ms. Cathy Selig-Kuranoff** Mr. S. Stephen Selig III** Mr. Ronald K. Shelp

repository and educational instrument of the visual arts, the museum exists to

Mrs. Margaret R. Spalding

collect, preserve, exhibit and interpret

Mrs. Dudley R. Stevens

significant works of art.

Mrs. Carolyn W. Tanner Dr. Brenda A. Thompson Mrs. Barbara Auxier Turner Mr. C. Noel Wadsworth* Mrs. W. Harry Willson Dr. Carol V. Winthrop

Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the

Ex-Officio

Georgia Council for the Arts through appropria-

Mrs. Linda C. Chesnut

tions of the Georgia General Assembly. The

Dr. William Underwood Eiland

I asked my friends while we stood on the steps of the state capitol in Alabama what I should tell you. One said that you graduates will have to find your own way to happiness and to fulfillment, to a meaningful philosophy of life, as you will be fighting throughout your life the invasion and destruction of your privacy. Another hoped fervently that I would tell you that the bane of our current and future existence, unless we unite as all God’s creatures, is wanton, senseless violence. Others hoped you would use your artistry and intelligence to combat hunger and any other number of ills. Finally, one said, “too depressing all this; tell them to find happiness their own way on this glorious occasion of their maturity. They’ll figure it out.” And so you shall, for hers was the best advice, to which I will add a prayer that you succeed in finding contentment in living well.

Georgia Museum of Art

Mrs. Julie Roth *Lifetime member **Emeritus member ***Honorary member

council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is ADA compliant; the M. Smith Griffith Auditorium is equipped for the hearing impaired.

Contents FEATURES

04

09

11

15

Exhibitions

Elegant Salute

Curator of American Art

Event Photos

Exhibitions

04

Elegant Salute

09

Volunteer Spotlight

10

Curator of American Art

11

Calendar of Events

12

Museum Notes

14

Event Photos

15

On the front cover:

On the back cover:

Braniff hostess wearing a pink Pucci uniform, 1967.

Screamers 7-inch bootleg featuring a logo designed by Gary Panter.

Braniff Airways Collection, History of Aviation

Private collection.

Collection, Special Collections Department, Eugene

www.georgiamuseum.org

McDermott Library, The University of Texas at Dallas.

3

4

Group photo of early Emilio Pucci hostess uniforms for Braniff. Braniff Airways Collection, History of Aviation Collection, Special Collections Department, Eugene McDermott Library, The University of Texas at Dallas.

GMOA facet | Fall 2014

5

from the collection of Phoenix Art Museum will demonstrate

how Pucci’s experience in the U.S. inspired his preference for

comfortable, easy-to-wear fashion.

University of Georgia in 1935, this exhibition celebrates the

Italian designer’s time in the United States and his 100th

birthday. It will include information about Pucci’s ties to UGA;

visual culture that helped define the collective.

Sponsors: The W. Newton Morris Charitable Foundation and the

Friends of the Georgia Museum of Art

his flight attendant uniform designs for Braniff Airlines; and

his design for NASA’s Apollo XV space patch. A selection of

www.georgiamuseum.org

Both Braniff Airways Collection, History of Aviation Collection, Special Collections Department, Eugene McDermott Library, The University of Texas at Dallas.

(right) Braniff hostess modeling in a pink Pucci uniform holding an umbrella standing in the front part of a jet engine.

(left) Detail view of a Braniff hostess wearing a bubble helmet designed by Emilio Pucci.

album covers, along with other examples of the

Galleries: Charles B. Presley Family and Lamar Dodd Galleries

Foundation and the Friends of the Georgia

Sponsors: The W. Newton Morris Charitable

Holbrook Galleries

Galleries: Rachel Cosby Conway and Alfred Heber

European Art

Curator: Lynn Boland, Pierre Daura Curator of William Cullen Hart (American, b. 1971) Black Foliage Acrylic on canvas 37 x 37 inches Collection of Marc Sommer

and Terry Rowlett.

David Barnes, Mangum, Steve Keene, Jill Carnes

Museum of Art

exhibitions exhibitions

Artists with work in the exhibition include Hart,

component will include works of art used for

Curator: Mary Koon; independent curator

U.S. manufacturers, including White Stag and Formfit Rogers;

Athens Celebrates Elephant Six. The museum’s

citywide series of art exhibitions and events:

stage presences. This exhibition is part of a

album covers and show posters to theatrical

defining role in the collective’s activities, from

music, the visual arts have always played a

Although Elephant Six is best known for its

the Gerbils and Of Montreal.

uniforms for the Reed College ski team; his collaborations with

his work in Portland, Ore., where he designed his first clothes,

quintessential Pucci gowns, lingerie, sportswear and swimwear

Inspired by Emilio Pucci’s brief tenure as a student at the

Emilio Pucci in America October 18, 2014–February 1, 2015

collective grew to include Elf Power, Music Tapes,

momentum they brought were inspiring, and the

many of them sharing members. The energy and

Olivia Tremor Control and Neutral Milk Hotel,

of the Athens aesthetic, with such bands as the

scene that would come to characterize much

friends soon joined them. They formed an artistic

moved to Athens, Ga., later that year, and other

the Apples in stereo. Doss, Hart and Mangum

their first 7-inch EP in 1993, by Schneider’s band,

the Elephant Six Recording Company, releasing

recorders. In the early 1990s, the friends formed

much of their youth making music on four-track

Mangum grew up in Ruston, La., spending

Robert Schneider, Will Hart, Bill Doss and Jeff

The . . . of E6, part of Athens Celebrates Elephant Six October 4, 2014–January 4, 2015

exhibitions Boxers and Backbeats: Tomata du Plenty and the West Coast Punk Scene October 4, 2014–January 4, 2015 David Xavier Harrigan, a.k.a., Tomata du Plenty (1948–2000), was one of the founders of Seattle’s early-1970s punk scene with the Ze Whiz Kidz counterculture theatre troupe and fronted acclaimed L.A. synth-punk band the Screamers. In 1982, Du Plenty found an old set of paints and brushes in an alley behind Hollywood Boulevard and began to paint. He also appeared as an art critic on the public access cable television show “What’s Bubbling Underground?” in the late 1980s and early 1990s.

This exhibition features a series of portraits of boxers and musicians that Du Plenty painted in the mid-1990s, donated to the museum by Gordon W. Bailey. Prints and zines by other artists of the West Coast punk scene provide background: Gary Panter designed the Screamers logo, Mark Vallen was known for his fanzines and album covers, Winston Smith was the designer for the Dead Kennedys in San Francisco, and Raymond Pettibon designed the logo and other graphics for Black Flag and the Minutemen. These and many other visual and cultural sources informed Du Plenty’s paintings. As Du Plenty once quipped, “Punk rock, especially in the early days, . . . these people had library cards.”

In his art, as in his life, Tomata embraced his outsider status, saying he would rather sell 100 pictures for $25 each than one picture for $2,500. Today, his bold portraits of those he admired are powerful testaments to the vitality of the scene he helped form.

Curator: Lynn Boland, Pierre Daura Curator of European Art Gallery: Boone and George-Ann Knox Gallery I Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

(top left) Tomata du Plenty (b. David Xavier Harrigan) (American, 1948–2000) Henry Armstrong, 1996 Mixed media on paper Georgia Museum of Art, University of Georgia; Gift of Gordon W. Bailey in honor of R.E.M. Michael Stipe, Peter Buck, Mike Mills and Bill Berry GMOA 2012.214 (top right) Tomata du Plenty Rolando LaSerle, 1996 Mixed media on paper Georgia Museum of Art, University of Georgia; Gift of Gordon W. Bailey in honor of R.E.M. Michael Stipe, Peter Buck, Mike Mills and Bill Berry GMOA 2012.219

GMOA facet | Fall 2014

(left) Tomata du Plenty Al Singer, 1995 Mixed media on wood Approx. 14 x 21 inches Georgia Museum of Art, University of Georgia; Gift of Gordon W. Bailey in honor of R.E.M. Michael Stipe, Peter Buck, Mike Mills and Bill Berry GMOA 2012.209

6

The Nightmare Transported into Art: Odilon Redon’s “St. Anthony” November 1, 2014–January 25, 2015 Odilon Redon (French, 1840–1916) made three series of prints based on Gustave Flaubert’s “Temptation of St. Anthony.” Inspired by Pieter Bruegel the Elder’s image of the early Christian ascetic being tempted repeatedly by the devil, Flaubert crafted a play-like work that provides ample material for Redon’s typical mysterious and fantastical imagery. This exhibition consists of the complete set of Redon’s third series (1896) illustrating Flaubert’s work.

Curator: Laura Valeri, associate curator of European art Galleries: Dorothy Alexander Roush and Martha Thompson Dinos Galleries Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art (top right) Odilon Redon Je suis toujours la grande Isis! Nul n’a encore soulevé mon voile! Mon fruit est le soleil! (I am still the great Isis! Nobody has ever yet lifted my veil!

My fruit is the Sun!) Lithograph on thick wove paper Georgia Museum of Art, University of Georgia; Gift of James B. Anderson GMOA 1984.18.15 (bottom right) Odilon Redon Saint-Antoine: Au secours, mon Dieu! (Saint Anthony: Help me, O my God!) Lithograph on thick wove paper Georgia Museum of Art, University of Georgia; Gift of James B. Anderson GMOA 1984.18.1

(above) Odilon Redon La Mort: C’est moi qui te rends sérieuse; enlaçons-nous (Death: It is I who makes you serious; let us embrace) Lithograph on thick wove paper. Georgia Museum of Art, University of Georgia; Gift of James B. Anderson GMOA 1984.18.19

(above) Do Women Have to Be Naked to Get Into the Met Museum?, 1989–2011 Digital print on fabric 96 x 216 inches

“Not Ready to Make Nice” illuminates and contextualizes

the group’s philosophy and conceptual approach to arts

Curator: Neysa Page-Lieberman

the important historical and ongoing work of the Guerrilla

activism. Documentary material includes ephemera from

In-House Curators: Lynn Boland, Pierra Daura Curator

Girls, highly original, provocative and influential artists

famous actions, behind-the-scenes photos and secret

of European Art, and Sarah Kate Gillespie, curator of

who champion feminism and social change. Focusing

anecdotes that reveal the Guerrilla Girls’ process and the

American art

primarily on recent work from the past decade, the

events that drive their incisive institutional interventions.

Galleries: Virginia and Alfred Kennedy, Philip Henry Alston

exhibition features rarely shown international projects that

This multimedia, expansive exhibition illustrates that the

Jr. and Alonzo and Vallye Dudley Galleries

trace the collective’s artistic and activist influence around

work of the anonymous, feminist-activist Guerrilla Girls is

Sponsors: The W. Newton Morris Charitable Foundation

the globe. In addition, a selection of iconic work from the

as vital and revolutionary as ever.

and the Friends of the Georgia Museum of Art

1980s and 1990s illustrates the formative development of

www.georgiamuseum.org

Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond December 6, 2014–March 1, 2015

7

exhibitions

Terra Verte May 31, 2014–May 31, 2015 Scottish artist Patricia Leighton has been making art

architecture. Leighton’s installation in the museum’s

Curator: Annelies Mondi, deputy director

in the public realm for more than 25 years, creating

sculpture garden consists of six “growing cubes,” elevated

Gallery: Jane and Harry Willson Sculpture Garden

large-scale permanent commissions that relate to the

frameworks of steel filled with living vegetation, sited

Sponsors: The W. Newton Morris Charitable Foundation

history of a given site and relevant environmental and

throughout the three tiers of the space. “Stone Levity,” a

and the Friends of the Georgia Museum of Art

ecological conditions. She views the integration of art

sculpture by Leighton’s husband, Del Geist, is installed

and site as a collaborative process and works in tandem

in the Performing and Visual Arts Complex quad, in front

with a diverse creative team of professionals from fields

of the Performing Arts Center. Leighton will speak at the

such as ecology, engineering, architecture and landscape

museum Thursday, Sept. 25, at 5:30 p.m.

An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab September 13–December 7, 2014 In 2005, Professor Katherine Schwab, professor of art

sustained mythological narratives. Schwab’s drawings

history at Fairfield University, began experimenting with

combine artistic ability and archaeological expertise,

graphite and pastel on paper to develop a new method of

and, through the process of drawing, she has made new

recording her observations of the East and North metopes

observations and discoveries. This exhibition is organized

on the Parthenon, the most prominent temple on the

by the Bellarmine Museum of Art at Fairfield University,

Athenian Acropolis, in Greece. A metope (pronounced

Creighton University and the Timken Museum of Art.

MEH-ta-pee) is a rectangular section of the frieze that runs around the top of many Doric-era or classically influenced

Curator: Mark Abbe, assistant professor of ancient art,

buildings, and the ones on the Parthenon include

Lamar Dodd School of Art

particularly well-known but very damaged sculptural

In-House Curator: Laura Valeri, associate curator of

reliefs. A tension emerges in Schwab’s drawings between

European art

what is preserved and what has been lost, creating a

Gallery: Boone and George-Ann Knox Gallery II

theme of presence within absence. They let us reimagine

Sponsors: The W. Newton Morris Charitable Foundation

the Parthenon metopes in our time and experience their

and the Friends of the Georgia Museum of Art

GMOA facet | Fall 2014

Katherine A. Schwab Parthenon North Metope 25: Eros and Aphrodite protect Helen as she runs to a statue of Athena, 2009 Graphite on paper Bellarmine Museum of Art, Fairfield University

8

Don’t Miss The Prints of Mary Wallace Kirk

Shapes That Talk to Me: The Athens

XL

Tristan Perich: “Machine Wall Drawing”

Through October 12, 2014

Scene, 1975–85

Through November 16, 2014

Through November 18, 2014

Martha Thompson Dinos and Dorothy

Through October 19, 2014

Virginia and Alfred Kennedy and Philip

Patsy Dudley Pate Balcony

Alexander Roush Galleries

Permanent collection galleries

Henry Alston Jr. Galleries

Elegant Salute Planning Continues With Elegant Salute XIV, “An Elegant Salute to Georgia,” coming up on January 31, we are in full-on planning mode,

(left to right) Greg Barnard, Airee Edwards, Gloria Ricks Taylor, Maggie Hancock, Devereux Burch, David Matheny and Michael Montesani

with save-the-dates going out before we head to press and formal invitations being mailed this fall.

Volunteers:

This event takes 12 to 18 months of planning by the various committees, which focus on everything from

Event Chairs:

décor to fundraising. These wonderful volunteers make

David Matheny

this event a success every time, and we greatly appreciate

Michael Montesani

their hard work and commitment.

Committee Chairs: After-Party:

“ The museum is a treasure of Georgia, and we want to share it with the personalities who are also treasures of Georgia.”

Airee Edwards Everett Long Décor: Maggie Hancock Maggie Hancock’s sketch for a floral arrangement.

Flowers: Lucy Allen

This year’s theme means an about-face from the previous Elegant Salute, which focused on minimalism and a strict black-and-white décor, and one of the things that makes the event such a special one is how much it changes each time. Warm greens and peaches will evoke the agriculture of the state, and hosts David Matheny and Michael Montesani aim to celebrate Georgia’s heritage as well as the role of the museum in the state.

Director William U. Eiland always says, “we’re not the museum of Georgia art; we’re the Georgia Museum of Art,” but that status as the official art museum of the state of Georgia and our presence on the campus of the state’s flagship university means we have an important outreach component and a responsibility to help tell the story of Georgia through works of art created in the state or by Georgia artists. Matheny and Montesani also plan to invite prominent Georgians to form an informal host committee for the event in the hope of raising the museum’s profile statewide. As new director of membership

Michele Turner puts it, “The museum is a treasure of Georgia, and we want to share it with the personalities

Food:

who are also treasures of Georgia.”

Kate Lynch

The evening will consist of a cocktail reception followed

Fundraising:

by a formal dinner and an after-party, with two tiers of

Greg Barnard

tickets (full event or after-party only), to encourage

Gloria Ricks Taylor

philanthropy in younger generations. Guests will enter and sign in at the heated tent in the Jane and Harry Willson Sculpture Garden, where the cocktail reception will take place. Seating for dinner, which will be catered by Epting Events, will be in the M. Smith Griffith Grand Hall, named in honor of the woman who, appropriately enough, founded Elegant Salute. Following dinner, guests will return to the sculpture garden to enjoy dessert and dancing to tunes by DJs Alfredo and Zdog during the after-party, which takes the exhibition “Emilio Pucci in America” as its theme.

Alicia Muzzy Intern, Department of Communications

Logistics: Lori Scott Publicity: Cheri Leavy Social: Devereux Burch Amburn Power

: t h g i l t o p S r e e t n Volu

e l t r y M Betty out telling a b a ll a is t r a , e or Betty Myrtl llectors for o C e th f o ir a ch story. And, as ental in m u tr s in n e e b rs, she has the last 12 yea ontinues c y r to s ’s m u e e mus making sure th itions to is u q c a d n a s r fundraise through trips, e’s making h s , w o N . n o ti t collec the permanen r the reins. e v o d n a h to s plan

F

Art has always been a part of Betty’s life. After she and her husband lived in Virginia and Delaware, they settled in Athens, and her husband, Ed, became the president of the Friends of the Georgia Museum of Art. At one meeting of the Friends board, she was asked to head the newly re-created Collectors group.

“They asked me if I would do it,” she recalls. “And I’ve been excited about it ever since. After all, that’s what friends are for!”

Betty, who was the 2011 Georgia Association of Museums and Galleries Volunteer of the Year, highlights all of the interesting aspects that come with the role: trips to places such as Vienna and Paris, one-of-a-kind visits to art collectors and all of the true friends she has made along the way. Most important, she loves learning, whether it’s about new places, new people or new acquisitions.

Over the years, Betty and the Collectors have helped add hundreds of objects to the museum’s permanent collection. Through Betty’s dedication, events such as this year’s Bella Notte have helped raise the funds necessary to augment the museum’s reputation, not only in Georgia, but in the overall museum community. But Betty remains humble as she discusses the monumental contributions she has made.

GMOA facet | Fall 2014

“There are so many people I am indebted to,” she says. “There are so many people who have made this work. I have a lot of good friends.”

10

commended her for her help in building the museum’s collection.

Director William U. Eiland could not begin to praise Betty’s service to the museum enough. He said, “Betty Myrtle, who serves on our Board of Advisors and our Board of the Friends (whew, already), has been the long-serving head of our Collectors’ group (double whew!). Years ago, frustrated over our inability to make acquisitions of significance and merit, given our paltry funds for buying art, I decided to disband the Collectors and start over, and then I asked Betty to revivify the group. And, boy, did she!”

He continued, “Due to Betty’s hard work, her lively imagination and her firm commitment, the Collectors are the group to whom I go first to buy objects.

Moreover, our Collectors not only raise money for the museum and have fun doing so on trips and at gatherings in homes, museums and galleries, but they also learn about and even study in some depth art of all kinds and of all periods. Betty insisted that we must both acquire art for the collections and educate our patrons in doing so. Thus, you see why I consider asking Betty Myrtle to serve as the leader of the Collectors to be among the smartest things I have done as the director of this museum. It was also among the easiest things I have done in my tenure: because of her love for the museum, all I had to do was ask.”

There is no denying Betty’s essential role in building the museum into what it is today. She has personally helped enrich the collection, donating significant pieces of silver.

This testament indicates the legacy Betty leaves behind as she steps down as chair of the Collectors.

Though she will enjoy the extra time for traveling and revisiting her old antiques business, she won’t be going too far.

Curator of decorative arts Dale Couch specifically mentioned that he relies on Betty’s expertise regularly, especially when it comes to silver, and

“It has been 12 years. I just need a little bit of time to do something else. Besides,” she jokes, “I’m sure the museum will have something else for me to do!”

Betty has devoted the last several years to making sure the stories of artists, paintings and individual art collectors are told, preserved and made public.

And through her selfless dedication and unwavering adherence to the Collectors’ mission of acquisitions and connoisseurship, she has made sure future visitors to the museum can enjoy all of the art she holds so dear.

Jessica Hennenfent Intern, Department of Communications

“There are so many people I am indebted to,” she says.

“There are so many people who have made this work. I have a lot of good friends.”

Curator Sarah Kate Gillespie Joins the Museum

Much as she loves the scholarly side of the job, she also expresses great enthusiasm for the role museums play in the community...

When asked what the role of museums is, she responds, “to be open” and “to show the public art and let them engage with it in an accessible way but without dumbing it down too much.” She says that making museums feel welcoming is an important aspect of curatorial practice and that “going to museums shouldn’t feel like an art history class.” Not that there’s anything wrong with art history. Gillespie received her doctorate in that field from The Graduate Center, CUNY, in 2006, a master’s degree in it from the George Washington University and a bachelor’s degree in it from Mount Holyoke College. She just wants to be clear that you

don’t have to understand everything you see in a museum to enjoy the experience of visiting one. It’s her responsibility to provide information without making visitors feel like they’re going to be tested on what they learn.

Her museum experience includes serving as Luce Curator of Fine Arts at the Brooklyn Historical Society, where she reinstalled the permanent collection (one of her first tasks here, too), organized an exhibition on family portraits, conducted research, published on 19th-century drawings by William Moore Davis that focused on African American life in Dutch Colonial Brooklyn and worked with high school students to help them organize an exhibition for which they served as curators. She seems particularly enthusiastic about being on a university campus and the many opportunities the location brings to work with students, stressing how valuable it is for them to have contact with real objects, especially if they’re in fields other than art and art history.

Gillespie says she feels the position is a “meaty” one, with a great “diversity of responsibilities,” which is part of what attracted her to it. Athens was a perfect blend of small town (she and her husband have a running joke that everything is a 7-minute drive away) and the cultural opportunities of a larger city.

She’s also a great appreciator of good food and live music, both of which we have in abundance.

Her research interests have focused most strongly on early photography, producing her book “‘One Thing New Under the Sun’: Crosscurrents in the Early American Daguerreotype, 1839-51,” forthcoming from MIT/Smithsonian Press in the fall of 2015.

When she presented a talk at the museum as part of her interview process, she spoke on the photographer Doris Ulmann, a New Yorker who made regular trips to Appalachia in the early 20th century to document its denizens and traditional crafts, and she hopes to organize a major exhibition of Ulmann’s work here in the near future.

Gillespie has ideas already for the upcoming reinstallation of the permanent collection, including the incorporation of many more works on paper and, as you’d expect, photography. She’s also committed to making connections across disciplines and putting together shows that do the same, which makes her a perfect fit with the museum’s philosophy.

Hillary Brown Director of Communications

www.georgiamuseum.org

After more than a year with no curator to shepherd the largest part of its collection, the Georgia Museum of Art added Sarah Kate Gillespie as its new curator of American art July 1. Gillespie most recently served as assistant professor of art history at York College, City University of New York (CUNY), where she taught classes on 19th- and 20th-century American art, African American art and the history of photography, but she says she was eager to get back to museum work and out of the ivory tower. Much as she loves the scholarly side of the job, she also expresses great enthusiasm for the role museums play in the community and for their ability to engage different kinds of audiences. She can’t pick a favorite part about putting together an exhibition, being torn between the conceptual/research phase and the nitty-gritty of making that vision a reality. The latter, she points out, is one of the things that separates museums from strict academia.

11

Special Events

calendar

All events are free and open to the public unless otherwise noted.

90 Carlton: Autumn Friday, October 10, 5:30–8:30 p.m.

October Sun

Mon

Tue

Wed

Thu

Fri

Sat

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

Mon

Tue

Wed

Thu

Fri

Sat

1 2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

Come to our free late-night art party and enjoy refreshments, access to all the galleries and music by a live DJ.

Third Thursday Thursday, October 16, November 20 and December 18, 6–9 p.m.

The museum, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel IndigoAthens, Ciné and ATHICA are open to showcase visualarts programming. Visit 3Thurs.org for a calendar of events.

Robin Osborne, of Cambridge University, will deliver the keynote speech, “The Parthenon as a Work of Art,” Friday at 5:30 p.m. Other speakers, scheduled for Saturday, include Eleni Aggelakopoulou, Acropolis Restoration Service; Barbara Barletta, University of Florida; Jasper Gaunt, the Michael C. Carlos Museum; Scott Pike, Willamette University; Peter Schultz, Concordia College; Katherine Schwab, Fairfield University; Giovanni Verri, the Courtauld Institute of Art/the British Museum; and Bonna Wescoat, Emory University. Free and open to the public.

Cosponsored by the Willson Center for Humanities and Arts, the William C. Devaux Fund of the Classics Department, the Lamar Dodd School of Art, the Ancient Polychromy Network and anonymous donors. In conjunction with the exhibition “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab.”

Andrew Ladis Trecento Symposium Thursday–Saturday, October 23–25

30

Free and open to the public. Visit our website for a complete schedule. Sponsored by the Samuel H. Kress Foundation.

December Sun

Museum Mix Thursday, October 16, 8:30 p.m.–midnight

Symposium: Rethinking the Parthenon: Color, Materiality and Aesthetics Friday and Saturday, October 17 and 18

November Sun

The Friends of the Georgia Museum of Art present a quarterly reception featuring the fall exhibitions. Enjoy light refreshments by Epting Events, gallery activities, door prizes and “Ask the Experts” at 7 p.m. Free for members. $5 nonmembers. Call 706.542.4662 for more details.

“Adwords/Edward” Wednesday, November 12, 3:30 p.m.

Mon

Tue

Wed

Thu

Fri

Sat

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

Make It an Evening Thursday, November 13, 6–8 p.m.

21

22

23

24

25

26

27

28

29

30

31

Enjoy coffee, dessert and a gallery tour by Pierre Daura Curator of European Art Lynn Boland at the museum before the Russian State Symphony Orchestra’s performance in Hodgson Hall. Jittery Joe’s coffee and Cecilia Villaveces’ cakes $5 per person. Purchase tickets for the concert at pac.uga.edu.

Experience the first composition inspired by, composed for (by Kevin Ernste of Cornell University), and performed on Google Glass. Commissioned by Cynthia Johnston Turner, the Hugh Hodgson School of Music’s new professor of conducting and director of bands, “Adwords/ Edward” musically explores the ramifications of wearable technology. Refreshments will be served.

GMOA facet | Fall 2014

Student Night Thursday, November 13, 8–10:30 p.m.

12

Schedule a Visit to the Georgia Museum of Art To schedule a class visit or student assignment at the Georgia Museum of Art, please call us at 706.542.4662 at least two weeks prior to the visit.

Scheduling in advance enables us to prepare for your visit whether it is a docent-led tour, a selfguided visit led by an instructor or students who will be coming on their own to complete an assignment.

Inclement Weather The Georgia Museum of Art follows the inclement weather policies of the University of Georgia. When the university is closed, the museum is closed as well.

Announcements are posted to www.uga.edu and www.uga.edu/news, appear on Athens Charter cable channel 15 and can be heard on Athens radio stations 880, 960 and 1340 (AM) and 88.9, 90.5, 91.7, 97.9, 102.1, 103.7 and 106.1 (FM).

Join the Student Association of the Georgia Museum of Art for a night of music, food, fun and DIY projects.

Student night is generously sponsored by UGA Parents & Families Association.

Holiday Book Sale Tuesday–Friday, December 2–5 Come shop for your loved ones at the museum’s annual holiday book sale, featuring new and used publications in all genres. We take credit cards! If you have books you’d like to donate, please contact us at 706.542.4662. We’ll even come pick them up and give you a donation form for your taxes.

Shouky Shaheen Lecture: The Parthenon Metope Sculptures: Reimagining the Lost Narratives Thursday, October 2, 5:30 p.m.

The Shouky Shaheen Lecture brings a distinguished nationally or internationally recognized artist or scholar to present a lecture at the University of Georgia’s Lamar Dodd School of Art each year. This year’s lecture, “The Parthenon Metope Sculptures: Reimagining the Lost Narratives,” will be held at the Georgia Museum of Art and presented by artist and professor Katherine Schwab, in conjunction with the exhibition “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab.”

Alfred Heber Holbrook Lecture: Carl Strehlke Thursday, October 23, 5:30 p.m.

Carl Brandon Strehlke, adjunct curator, John G. Johnson Collection, Philadelphia Museum of Art, will deliver the keynote speech of the Andrew Ladis Trecento Symposium: “Curating the Renaissance.”

Gallery Talk Thursday, November 6, 5:30 p.m.

Join Lynn Boland, Pierre Daura Curator of European Art, for a tour of the exhibitions “Boxers and Backbeats” and “The . . . of E6.”

Family Days 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.

From the depths of a bunker comes one man’s musical send off to the world’s last empire. A twisted history lesson from punk favorite Tomata du Plenty (The Screamers) featuring members of Los Lobos, Vampira, the notorious El Duce (Kurt and Courtney), Fluxus artist Al Hansen and his Grammy-winning grandson Beck, among many others. 1986, NR, 72 min.

“Abbott Pattison: Celebrating 60 Years of the Iron Horse” Friday, November 7, 4–5:30 p.m.

UGA Special Collections Libraries auditorium This year marks the 60th anniversary of the installation of renowned sculptor Abbott Pattison’s “Iron Horse” sculpture on UGA’s Myers Quadrangle, the riot after its placement and its removal. The Brown Media Archives preserves all the interview materials and prints of Atlanta filmmaker Bill VanDerKloot’s award-winning 1980 documentary, “Iron Horse,” which recounts the events through interviews with alumni who were involved. Join us for a free screening of the film with a discussion by VanDerKloot and faculty from the Lamar Dodd School of Art and the Georgia Museum of Art. Reception follows.

Happy Birthday, GMOA! Saturday, November 8, 10 a.m.–1 p.m.

Celebrate the 66th anniversary of the day the Georgia Museum of Art opened its doors to the public in this special extended Family Day, presented in cooperation with the Performing Arts Center. Explore highlights of the museum’s permanent collection with a scavenger hunt, design a birthday card inspired by your favorite work of art and create your own button to take home. Refreshments will be served.

Pucci Holiday Celebration Saturday, December 13, 10 a.m.–noon Explore the colorful, funky fashion of designer Emilio Pucci in the exhibition “Emilio Pucci in America,” then create your own Pucci-inspired marbled holiday ornaments in the Michael and Mary Erlanger Studio Classroom. Enjoy a special holiday performance by the Meridian Women’s Choir. Refreshments will be served.

Films Music on Film Series Presented in conjunction with the exhibitions “Boxers and Backbeats” and “The . . . of E6.”

“The Past is a Grotesque Animal” Thursday, November 6, 7 p.m.

This 2014 documentary is a personal, accessible portrait of an artist—frontman Kevin Barnes of the Athensbased band Of Montreal—whose pursuit to make transcendent music at all costs drives him to value art over human relationships. 2014, NR, 77 min.

Led by Mary Koon, independent curator.

Tour at Two: “American Landscapes in the Permanent Collection” Tuesday, November 11, 2 p.m.

Led by Sarah Kate Gillespie, curator of American art.

Director’s Tour Wednesday, November 12, 2 p.m.

Join William U. Eiland, director of the Georgia Museum of Art, for a tour of the permanent collection.

Artful Conversation Thursday, November 13, 2 p.m.

Join Carissa DiCindio, curator of education, for an in-depth discussion of Howard Thomas’s painting “Little Grand Canyon Yellow” (1964).

Tour at Two: “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab” Friday, November 14, 2 p.m.

Led by Mark Abbe, assistant professor of ancient art history, Lamar Dodd School of Art.

“Earth Red: Howard Thomas Paints a Gouache” Thursday, November 13, 5:30 p.m.

Tour at Two: “Emilio Pucci in America” Thursday, December 3, 2 p.m.

Join us for special screenings of Jim Herbert’s first film, dating from 1964. Introduced by Margaret Compton, media archives archivist. Cosponsored by the Walter J. Brown Media Archives & Peabody Awards Collection, University of Georgia Special Collections Libraries and

Led by Mary Koon.

the Lamar Dodd School of Art. Films are generously sponsored by:

Art and Music Saturday, October 11 and 18, 10 a.m.–noon Learn how art and music intertwine by exploring the exhibitions “Boxers and Backbeats” and “The . . . of E6.” for inspiration, then head down to the Michael and Mary Erlanger Studio Classroom to create your own band poster.

Tour at Two: “Emilio Pucci in America” Friday, November 7, 2 p.m.

Tours Tour at Two: Highlights from the Permanent Collection Wednesday, October 1, November 5 and 19, 2 p.m.

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

Join Carissa DiCindio, curator of education, for an in-depth discussion of Elaine de Kooning’s painting “Bacchus #81” (1983).

Tour at Two: “The Nightmare Transported into Art: Odilon Redon’s ‘St. Anthony’” Wednesday, December 17, 2 p.m.

Led by Laura Valeri, associate curator of European art.

Workshops & Classes

Led by docents.

Tour at Two: “Boxers and Backbeats” and “The . . . of E6” Wednesday, October 8, 2 p.m.

Led by Lynn Boland, Pierre Daura Curator of European Art.

Artful Conversation Wednesday, October 15, 2 p.m.

Join Carissa DiCindio, curator of education, for an in-depth discussion of Andrée Ruellan’s painting “Crap Game” (1936).

Spotlight Tour: Highlights from the Permanent Collection Sunday, October 19 and December 14, 3 p.m.

Led by docents.

Tour at Two: “Aspects of Modernism: American Art of the 1920s and 1930s” Wednesday, October 22, 2 p.m.

Join Sarah Kate Gillespie, curator of American art, for a tour of the permanent collection.

Tour at Two: “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab” Wednesday, October 29, 2 p.m.

Led by Chiara Tondi Resta, University of Georgia undergraduate honors classics student.

Tour at Two: “The Nightmare Transported into Art: Odilon Redon’s ‘St. Anthony’” Thursday, November 6, 2 p.m.

Led by Laura Valeri, associate curator of European art.

Lunch and Learn: Feminism and the Guerrilla Girls Friday, October 3, 12:30–1:30 p.m.

UGA faculty and staff are invited to join Lynn Boland, Pierre Daura Curator of European Art, and Sarah Kate Gillespie, curator of American art, for a look ahead at the upcoming exhibition “Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond.” Lunch will be provided, but space is limited. Please email Carissa DiCindio, curator of education, at cdicindi@uga.edu to reserve a space.

Drawing in the Galleries Thursday, October 16, November 20 and December 18, 5–8 p.m.

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

Teen Studio Thursday, November 6, 5:30–8:30 p.m.

Teens ages 13–18 are invited to explore art and music in this art workshop led by local artist and educator Hope Hilton. Participants will tour the exhibitions “Boxers and Backbeats” and “The . . . of E6,” then create their own music posters and album art. Pizza and drinks will be provided. This program is free, but space is limited.

Please call 706.542.8863 or email callan@uga.edu to reserve a spot.

Artbots November 12–14, open during museum hours Come experiment with art-making machines with the team from The Hatch, a makerspace in Athens. Cosponsored by The Hatch.

The University of Georgia will spotlight the arts during a nine-day festival in November when members of the UGA Arts Council will host events and activities that include concerts, theater and dance performances, art exhibitions, poetry readings, author panels and book signings, lectures and discussions on the arts and creativity and more. Look for on our calendar for Spotlight on the Arts events at the Georgia Museum of Art.

www.georgiamuseum.org

Lectures & Gallery Talks

“Population: 1” Thursday, November 20, 7 p.m.

13

Museum Notes Awards and Recognitions

The museum recently received two national awards for publications. The exhibition catalogue for “Exuberance of Meaning: The Art Patronage of

creativity and ability to represent an institution. Winners will be featured in a special section of the November/December issue of AAM’s bimonthly magazine, Museum.

Catherine the Great (1762–1796)” earned an honorable mention in the category of Art (Adult Nonfiction) at Foreword Reviews’ 2013 IndieFab Book Awards. Asen Kirin, associ-

The museum’s educational program Art Adventures was included in an exhibition titled

ate professor in and associate director of the Lamar Dodd School of Art, served as the

“Museums: pARTners in Learning” July 1–Aug. 29 in Washington, D.C., created through a

book’s primary author and the exhibition’s curator. Foreword Reviews’ IndieFab Book of

partnership between the Association of Art Museum Directors (AAMD) and the United

the Year Awards are judged by a select group of librarians and booksellers from across the

States Department of Education. The exhibition displayed student art and creative writing

country who evaluate over 1,500 entries in 60 categories to determine the best work from

resulting from AAMD member museums’ innovative educational programs offered in

today’s indie authors and publishers.

partnership with their local schools.

“Cercle et Carré and the International Spirit of Abstract Art” earned an honorable mention

AAMD also highlighted the museum’s Fifth-Grade Tour Program in “Next Practices in Art

in the Exhibition Catalogue category of the American Alliance of Museums’ 2014 Publica-

Museum Education,” a resource that compiles information about AAMD member muse-

tions Design Competition. Designer Roy Brooks of Fold Four took the group’s commitment

ums’ innovative approaches to engaging the public with the arts through diverse learning

to modern design and abstraction as inspiration, choosing black-gilded edges and two

opportunities. The publication features 100 case studies of practices AAMD member

different text stocks, each used to represent a different section of the book. AAM’s

museums have designed and implemented, emphasizes the many forms art museum edu-

Museum Publications Design Competition has evaluated and awarded graphic design of

cation can take and provides practical and inspiring ideas for future programming at

museum publications for more than 25 years. Its panel of graphic designers, museum

institutions worldwide.

professionals and publishers judges publications based on overall design excellence,

New Docents

Staff In addition to bringing on board Sarah Kate Gillespie as our new curator of American art (you can read more about her elsewhere in this issue), we have hired Michele Turner as our new director of membership. Michele was already at the museum, working in special events, where her careful eye for detail and commitment to thinking about what could possibly go wrong in any situation served her well. We have no doubt she will use her formidable skills to continue to move membership in the right

Left to right: Sharon McDearis, Cece Warner, Beth Greenwell, Teresa Eckerman-Pfeil, Debra Thornton and Gail Baldwin

direction. Sarah George, our previous director of membership, left us at the end

The docent class of 2014 graduated at the annual docent end-of-year luncheon

of May to move back to the West Coast

in May, after a great year of learning about the collection and temporary exhibitions, as

with her husband, Brig.

well as how to engage audiences on tours. By the time you read this, the class of 2015 will be working on the same process.

Gifts

The Georgia Museum of Art received the following gifts between April 12 and July 31, 2014: Alfred Heber Holbrook Society Mr. and Mrs. Edward Chambers Mr. Robert and Dr. Carol Winthrop

Benefactor

Dr. Karen L. Prasse Mr. and Mrs. Bill Prokasy Dr. and Mrs. Ira Roth Ms. Peggy Jean Hoard Suddreth Mr. and Mrs. Chris G. Willett Drs. Norman and Peggy Wood

Sustaining Dr. and Mrs. Bruce King Mr. and Mrs. Edward W. Phares

Designated Sue O. Mann The W. Newton Morris Charitable Foundation In memory of Harry L. Gilham Jr. by Bettie S. Banks, Flossie and David Dodge and Ellen and Buck Wiley

Dr. Patricia Deitz

Patron Mr. and Mrs. Ted R. Ridlehuber

GMOA facet | Fall 2014

Director’s Circle

14

Mr. and Mrs. Brian S. Brown Dr. and Mrs. Samuel B. Carleton Drs. Bob and Claire Clements Dr. and Mrs. Scott A. Kleiner The Kole Family Foundation, Inc. Mrs. Erika C. Lewis Dr. Lars G. Ljungdahl Mr. and Mrs. Edgar B. Myrtle Dr. and Mrs. Randall S. Ott

In memory of Frances Yates Green by Emma Adler, Linda and Phil Allen, John G. Alston Sr., Margaret and Stanley Altman, Anonymous, Mr. and Mrs. Bonneau Ansley Jr., Mr. and Mrs. James F. Barger, Mr. and Mrs. Harold Barrett, Lola and Charlie Battle, James and Mary Bishop, Mr. and Mrs. William E. Blair, Barbara and Sonny Bonner, Byron B. Bower IV, Mr. and Mrs. Daniel H. Bradley, Sue L. Brase, Mrs. Carter B. Brown, Joy W. Butterfield, Margaret and Jerry Caldwell, Alla and Charles Campbell, Alice and Jim Carr, Evelyn Chamberlain, Linda and David Chesnut, Joan Cravey,

Archie Davis, Lonita and Corbin Davis, Mr. and Mrs. Philip H. Davis, David and Mynel Yates DuBose, Mary and Zach Everitt, Kitty and Clayton Farnham, Judge and Mrs. Kenneth B. Followill, Virginia and Clarence Foreman, James R. and Mary Graham Foster, Robert and Laura Fowler, Hunter and Sue Foy, Caroline M. Gilham, Carol Lanier Goodman, Henry and Kathryn Green, Lynda Harris Griffin, Amanda and Swinton Griffith, Mitzi and Paul Hagan, June D. Harrell, Josh and Adam Harris, Clayton W. Hilsman, Mr. and Mrs. David Hilsman, Meika and Hamilton Hilsman, Sally and Arnold Hoge, Louise and Harry Howard, Mrs. A. Felton Jenkins Jr., Betty M. Jones, Nardis Kellar, Shell and Wyck Knox, Mr. and Mrs. Reese Lanier, Penta B. Love, John and Nancy Ludwig, Robert and Ginger Mallis, Claudia M. Malone, Judy and Bill Maner, Carole B. Mason, Martha T. Moses, Homer S. Mullins, Catherine H. Newton, Irene Paul, Dudley G. Pearson, Jacquelyn Pennington, Carolyn and Louie Pittman, Adelaide Ponder and Douglas Ponder Suto, Paul and Jane Pressly, Eugene and Cynthia Rackley, Howard and Patricia Rugaber, Willou and Bill Smith, Mary R. Somerville, Jane Walker Stoner, Cynthia and Bill Tanner, Melinda Thomas, Martha Thurmond, Janet K. Tokos, Newell Tozzer, Wayne and Lee Harper Vason, Ida and Bill Walker, Ann and Baxter Webb, Lamar T.

Webb, Elizabeth Webster, Rodney White, Jim and Patti Wilkerson, Dorothy M. Yates, Elizabeth S. Young, the Employees of Charles Willis, Atlanta, and The Poker Club In memory of Jim Gurley Sr. by Jana and Bill McGee In memory of Thomas W. Mapp by Lynn Boland, Carol and Richard Dolson and Patty and John Whitehead In memory of Anne Frances McMullan by Betty Alice Fowler In memory of Ann Scoggins by Virginia Bondurant, Timothy Brown, Suzanne and Allen King and Sidney Rodebell In honor of Timothy Brown by Lanora Pierce Yates In honor of Dale L. Couch by Linda and Larry Beard and Cyndy Harbold In honor of William Underwood Eiland by the Alabama Club In honor of Lanora Pierce Yates by Timothy Brown

Event Photos

For more event photos see www.flickr.com/gmoa

MFA Opening

GMOA Logo - Wide

Family Day

Family Day

90 Carlton: Summer

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.

www.georgiamuseum.org

Family Day

15

90 Carlton: Summer

non-profit org. u.s. postage paid

UNIVERSITY OF GEORGIA 90 Carlton Street

athens, ga permit no. 49

Athens, Georgia 30602-6719 www.georgiamuseum.org address service requested

GMOA facet | Fall 2014

fall 2014

Exhibitions

Volunteer Spotlight

Curator of American Art