Gmoa facet sum12

facet

Exhibitions: Chakaia Booker

New Acquisitions: The New York Collection for Stockholm

Docent Spotlight: Berkeley Minor

www.georgiamuseum.org

Summer 2012

1

From the Director

Department of Publications Hillary Brown and Mary Koon Publications Interns Noah Adler and Sarah Schatz Design

H

aving just returned from a couple of professional conferences, I

The Adsmith

have had numbers in mind for the past few weeks. I emphasize

to the staff the importance of experiences with peers and colleagues in such organizations as the American Association of Museums (AAM) or the International Council on Museums (ICOM) and, closer to home, the Georgia Association of Museums and Galleries (GAMG) because from their meetings we learn where we stand vis-a-vis our sister institutions. We are able to gauge our practices and standards with suitable benchmarks from other museums and universities and colleges, both larger and smaller, richer and poorer. With such information, we better serve our audiences and bolster our mission to encourage teaching and scholarship through the visual arts.

Numbers and statistics are useful in telling us where we stand in relation

Georgia Museum of Art

not only to our professional communities but to our lay ones as well. I want

University of Georgia

to share some of those statistics with you so that you, too, will see where the

90 Carlton Street

Georgia Museum of Art “stands” in relation to its peers and to its communi-

Athens, GA 30602-6719

ties of service and how it uses such numbers:

www.georgiamuseum.org

• ICOM estimates that one-third of all humans on earth today are

Admission: Free ($3 suggested donation)

“wired.” With that thought in mind, we are constantly searching for means to connect to all of them as well as to the “unwired,” through any means

HOURS

necessary, from Twitter to snail-mail.

Galleries: Tuesday, Wednesday, Friday and Saturday, 10–5 p.m.; Thursday, 10–9 p.m.;

• AAM tells us that there are more than 850 million museum visits

Sunday, 1–5 p.m. Closed on Mondays.

in the United States annually. In that light, in our truncated first year of being open since the construction of the new wing, the 67,000-plus visitors

Museum Shop: Tuesday, Wednesday, Friday

we welcomed augur well. Our strategic plan reflects our aspiration to more

and Saturday, 10 a.m.– 4:45 p.m.; Thursday, 10 a.m.–8:45 p.m.; Sunday, 1 p.m.–4:45

than 100,000 visits within each of the next two academic years.

p.m. Closed on Mondays.

• According to AAM, roughly 400,000 people work in the museum field. Our staff includes 31 full-time employees and

Ike & Jane at the Georgia Museum of Art:

36 part-timers. We have more than 350 dedicated volunteers, including 48 docents. Our strategic plan calls for all those

Tuesday–Friday, 10 a.m.–2 p.m. (summer

numbers to be augmented within the next few years as circumstances permit.

hours), 10 a.m.–4 p.m. (regular hours)

• AAM estimates that there are some 17,500 museums of all kinds in the United States.

• From the Association of Academic Museums and Galleries (AAMG) we learn that in the United States, there are

706.542.GMOA (4662) Fax: 706.542.1051 Exhibition Line: 706.542.3254

1,739 academic museums and galleries, 242 academic art museums and 669 academic art galleries (galleries do not collect, but function as Kunsthalle).

• AAMG also put together a report I requested that reveals that there are 84 academic art museums in the Southeast

Mission Statement

(defined as the Old South, without Texas, sorry Longhorns) and 116 academic art galleries in the region.

The Georgia Museum of Art shares the mission of the University of Georgia

The chair of our Board of Advisors, Carl Mullis, believes, as we do, that we have much to learn from our colleagues

to support and to promote teaching,

in those institutions—most far-flung; some close to home. Thus, our last meeting of the board was at Emory’s

research and service. Specifically, as a

Michael C. Carlos Museum and a future one will be at the Yale University Art Gallery.

repository and educational instrument

The staff here at the museum know also what valuable information these numbers hold, even though, fundamentally,

of the visual arts, the museum exists

we are most interested in providing the best possible interpretative, aesthetic, joyous or provocative experience through

to collect, preserve, exhibit and interpret

the presentation of each object, whether temporary or permanent, to our audiences, collectively and singly. In other words,

significant works of art.

in the final analysis, the numbers that matter most are the interactions within our walls between one man, one woman, one child and one work of art.

Partial support for the exhibitions and programs

William Underwood Eiland, Director

at the Georgia Museum of Art is provided by the W. Newton Morris Charitable Foundation, the Friends of the Georgia Museum of Art and the Georgia Council for the Arts through the appropriations of the Georgia General Assembly.

The Council is a partner agency of the National

GMOA facet | Summer 2012

Endowment for the Arts. Individuals, foundations

2

and corporations provide additional support

Board of Advisors

Mr. Todd Emily

Mr. B. Heyward Allen Jr., chair-elect

Ms. Carlyn F. Fisher*

Dr. Amalia K. Amaki

Mr. James B. Fleece

Mrs. Deborah L. O'Kain

Dr. Brenda Taggart Thompson

Foundation. The Georgia Museum of Art is

Mrs. Frances Aronson-Healey

Mr. Edgar J. Forio Jr.*

Dr. Randall F. Ott

Mrs. Barbara Auxier Turner

ADA compliant; the M. Smith Griffith Auditorium

Mrs. June Ball

Mr. Harry L. Gilham Jr.

Mrs. Janet W. Patterson

Mr. C. Noel Wadsworth*

is equipped for the hearing-impaired.

Dr. Linda N. Beard

Mr. John M. Greene**

Ms. Kathy B. Prescott

Dr. Carol V. Winthrop

Ms. Karen L. Benson

Mrs. Helen C. Griffith

Mr. Fred D. Bentley Sr.*

Mrs. M. Smith Griffith*

Mr. Richard E. Berkowitz

Mrs. Marion E. Jarrell

Mrs. Devereux C. Burch

Professor John D. Kehoe

Mr. Robert E. Burton

Mrs. George-Ann Knox*

Mrs. Dorothy A. Roush*

Mrs. Debbie C. Callaway**

Mrs. Shell H. Knox

Mrs. Sarah P. Sams**

Mr. Randolph W. Camp

Mr. David W. Matheny

Mr. D. Jack Sawyer Jr.

Dr. Libby V. Morris

Mrs. Shannon I. Candler,* past chair

Ms. Catherine A. May

Mrs. Helen H. Scheidt**

Karen W. Prasse, M.D.

Mrs. Faye S. Chambers

Mrs. Helen P. McConnell*

Mr. Henry C. Schwob**

Ms. Georgia Strange

Mr. Harvey J. Coleman

Mr. Mark G. McConnell

Mrs. Ann C. Scoggins

Mrs. Martha T. Dinos**

Mrs. Marilyn M. McMullan

Ms. Cathy Selig-Kuranoff**

*Lifetime member

Mrs. Annie Laurie Dodd***

Mrs. Marilyn D. McNeely

Mr. S. Stephen Selig III**

**Emeritus member

Mrs. Berkeley S. Minor

Mr. Ronald K. Shelp

***Honorary member

Ms. Sally Dorsey

Professor Marvin Eisenberg*

Mr. C.L. Morehead Jr.*

Mr. Howard Elkins

Ms. Jane C. Mullins*

Mr. Carl W. Mullis III, chair

Mrs. Carolyn W. Tanner

Mrs. Betty R. Myrtle

Mrs. Judith M. Taylor

through their gifts to the University of Georgia

Dr. William F. Prokasy IV

Mr. Rowland A. Radford Jr.*

Ex-officio

Ms. Margaret A. Rolando

Mrs. Linda C. Chesnut

Mr. Alan F. Rothschild Jr.

William Underwood Eiland

Mrs. Margaret R. Spalding Mrs. Dudley R. Stevens

Mr. Tom S. Landrum

Professor Jere W. Morehead

Contents

04 Chakaia Booker

07 The Epic and the Intimate

9

15

New Acquisitions

Event Photos

Exhibitions

04

New Acquisitions

09

Research

10

Docent Spotlight

11

Calendar of Events

12

Museum Notes

14

Event Photos

15

On the front cover:

On the back cover:

De Wain Valentine (American, b. 1936)

Gerald L. Brockhurst (American, b. England, 1890–1978)

Red Circle, 1970

Charles Claude Carpenter, Esq., C.B.E., D.Sc., 1931–32

Polyester resin

Etching on paper

70 x 70 x 5 inches

11 5/8 x 19 3/16 inches

Private collection

Collection of Daniel and Rosalyn Jacobs

www.georgiamuseum.org

FEATURES

3

Exhibitions

Remixing History: Manolo Valdés April 30, 2012–April 30, 2013 Born in Spain and currently living and working in New York and Madrid, Manolo Valdés is known for his paintings, prints, drawings and sculptures, which draw heavily from Spanish art history through appropriating and simplifying familiar forms. Many of his subjects reveal art historical motifs. “Caballero V,” for example, which depicts a man on horseback, alludes to the works of Diego Velázquez, the famed 17th-century Spanish court painter. “Regina II” and “Ada,” both busts of women with elaborate headdresses, relate to the paintings of Henri Matisse. Their expressionless, blank faces contrast with the swirls of metal that recall botanicals and galaxies. These three freestanding sculptures’ size and regal presence command attention on UGA’s East Campus. According to Valdés, “The success of the sculpture does not depend on how I envision them when I create them; it is about how the environment creates the sculptures.”

Curator: Annelies Mondi, deputy director Gallery: Jane and Harry Willson Sculpture Garden Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Defiant Beauty: The Works of Chakaia Booker April 30, 2012–April 30, 2013 Referred to as a “radial radical,” the African American contemporary artist Chakaia Booker used tires as her primary material in constructing these large-scale sculptures on loan from Marlborough Gallery, Chelsea, N.Y. Spiky, dark, imposing and beautiful, these works interact with the museum’s peaceful, minimalist sculpture garden in new ways. Booker, who received her MFA from the City College of New York, has work in the collections of the Metropolitan Museum of Art, the Studio Museum in Harlem and the National Aeronautics and Space Administration (NASA), among many others. She also designs clothing and accessories from rubber and creates headpieces from unconventional materials.

Curator: Annelies Mondi, deputy director Gallery: Jane and Harry Willson Sculpture Garden Sponsors: The W. Newton Morris Charitable

GMOA facet | Summer 2012

Foundation and the Friends of the Georgia Museum of Art

4

Prints and Drawings by Gerald L. Brockhurst from the Daniel and Rosalyn Jacobs Collection June 30–September 16, 2012 In partnership with the Jacob Burns Foundation, GMOA serves as the primary repository of Gerald Brockhurst’s paintings, prints and drawings, as well as the archive of his correspondence and other written records.

Born in Birmingham, England, in 1890, Brockhurst emerged as an outstanding etcher and fashionable portrait the museum presents this exhibition of 41 prints and drawings by the artist exclusively from the collection of Daniel and Rosalyn Jacobs.

Curator: Paul Manoguerra, chief curator and curator of American art Galleries: Dorothy Alexander Roush and Martha Thompson Dinos Galleries Sponsors: YellowBook USA, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

www.georgiamuseum.org

painter in the 1920s and 1930s. As part of its commitment to the continued research of Brockhurst’s work,

5

GMOA facet | Summer 2012 6

The New York Collection for Stockholm August 18–October 28, 2012

30 works in a variety of media by some

Maria, Jim Dine, Mark di Suvero,

Curator: Lynn Boland, Pierre Daura

of New York’s most important young

Öyvind Fahlström, Dan Flavin, Red

Curator of European Art

artists. To help raise the funds necess-

Grooms, Hans Haacke, Alex Hay,

Galleries: Lamar Dodd Gallery

sary for these acquisitions, the Mod-

Donald Judd, Ellsworth Kelly, Sol

Sponsors: The W. Newton Morris

erna and E.A.T. solicited each of the

LeWitt, Roy Lichtenstein, Robert

Charitable Foundation and the Friends

In the early 1970s, the Moderna

artists slated for the collection for a

Morris, Louise Nevelson, Kenneth

of the Georgia Museum of Art

Museet in Stockholm looked to put

print to include in a portfolio, which

Noland, Claes Oldenburg, Nam June

together a collection of works by

was sold in an edition of 300. This

Paik, Robert Rauschenberg, Larry

American contemporary artists.

exhibition includes the complete

Rivers, James Rosenquist, George

Partnering with the New York-based

portfolio, which features works by the

Segal, Richard Serra, Keith Sonnier,

group, Experiments in Art and

following artists: Lee Bontecou, Robert

Richard Stankiewicz, Cy Twombly,

Technology (E.A.T.), they selected

Breer, John Chamberlain, Walter de

Andy Warhol and Robert Whitman.

Francisco De Goya’s “Disasters of War” August 18–November 3, 2012 Francisco de Goya (1746–1828) is recognized as the foremost Spanish artist of the late 18th and early 19th centuries. Perhaps his greatest achievement as a printmaker, this famous series of prints concentrates on the lengthy Peninsular War (1808–1814) between Spanish forces and the invading army of Napoleon Bonaparte. One of the earliest attempts by an artist to record history as it was unfolding, the “Disasters of War” was based on Goya’s experience of the conflict.

As such, its images are powerful eyewitness accounts of death and destruction generated by war. In addition to questioning the futility of battle, they also critique the tyranny of monarchy, be it French or Spanish, and the clergy. Because of political complications, Goya did not print these etchings during his lifetime. The first set of prints was not published until 1863. Several successive editions have also been printed. The entire set, a 1906 edition given to the museum in 1985 by Mr. and Mrs. James B. Anderson, comprises 80 prints, all of which will be on view in this exhibition.

Curator: Lynn Boland, Pierre Daura Curator of European Art Galleries: Alfred Heber Holbrook and Charles B. Presley Family Galleries Sponsors: The W. Newton Morris Charitable Foundation

The Epic and the Intimate: French Drawings From the John D. Reilly Collection at the Snite Museum of Art August 18–November 3, 2012 Organized by the Snite Museum of Art at the University of Notre Dame, this exhibition, including works by Simon Vouet, Antoine Watteau, François Boucher, Jean-Honoré Fragonard and

Jacques-Louis David, illustrates the

studies, quick sketches of initial ideas

In-house Curator: Lynn Boland,

history of French drawing from before

to complex, multi-figured, highly

Pierre Daura Curator of European Art

the foundation of the Royal Academy of

developed, compositional “machines.”

Galleries: Boone and George-Ann Knox I

Painting and Sculpture in 1648 through

Later artists such as Pierre-Paul

and Rachel Cosby Conway Galleries

the French Revolution of 1789 and its

Prud’hon, Anne-Louis Girodet, Honoré

Sponsors: The W. Newton Morris

subsequent reforms of the 1800s. The

Daumier, Théodore Rousseau and Edgar

Charitable Foundation and the Friends

drawings offer an opportunity to see the

Degas signal the transition into the

of the Georgia Museum of Art

range of media employed, including

modern era that glorified the individual

chalk, colored chalks, ink and crayon;

and the local. The exhibition has been

a variety of favored subjects, such as

on view at the Snite and the Flint

narrative compositions, portraits,

Institute of Arts and is subsequently

landscapes and genre scenes; and types

traveling to the Crocker Art Museum

of drawings from figure and drapery

in Sacramento, Calif.

www.georgiamuseum.org

and the Friends of the Georgia Museum of Art

7

Works of Art Manolo Valdés (page 4) (Spanish, b. 1942) Caballero V, 2008 Bronze 112 x 94 1/2 x 47 inches On loan courtesy of Marlborough Gallery, New York

The South in Black and White: The Graphic Works of James E. Routh Jr., 1939-1946 August 25–October 21, 2012

Chakaia Booker (page 4) (American, b. 1953) Holla, 2008 Rubber tires and stainless steel 96 x 48 x 60 inches On loan courtesy of Marlborough Gallery, New York

James E. Routh Jr. was born in New Orleans in 1918 and grew up in Atlanta. In 1936, Routh enrolled in the Art Students League in New York City to study painting, printmaking and lithography. Endowed with a yearlong Rosenwald fellowship in 1940, Routh traveled in Georgia and throughout the South for 16 months, sketching scenes from everyday life in ink wash and watercolor.

Other prints show factories invading the rural landscape,

This exhibition, organized by the Georgia Museum of Art

emitting black clouds of smoke as workers approach,

and originally on view at the Robert C. Williams Paper

dwarfed by the smokestacks.

Museum in Atlanta, features the prints and paintings Routh created from his sketches. In many of his prints,

In-House Curator: Laura Valeri, associate curator of

Routh depicts rural Georgia dominated by the cotton

European art

industry. The scenes show the damaged and eroded land

Gallery: Boone and George-Ann Knox Gallery II

resulting from years of over-cultivation as well as the

Sponsors: The W. Newton Morris Charitable Foundation

impoverished state of the South during the Depression.

and the Friends of the Georgia Museum of Art

Gerald Brockhurst (page 5) (American, b. England, 1890–1978) Mrs. Albert H Wiggin (of New York), 1932 Etching on paper 9 3/4 x 7 7/16 inches Collection of Daniel and Rosalyn Jacobs Roy Lichtenstein (page 6) (American, 1923–1997) Finger Pointing from the New York Collection for Stockholm, 1973 Color serigraph on paper 11 7/8 x 9 inches Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art GMOA 2012.108.15 © Estate of Roy Lichtenstein Francisco de Goya (page 7) (Spanish, 1746–1828) Con razon ó sin ella. (With reason or without.)

From The Disasters of War (1906 edition) Etching, lavis, drypoint, burin and burnisher on laid paper 16 x 22 inches (frame) Georgia Museum of Art, University of Georgia; Gift of Mr. and Mrs. James B. Anderson GMOA 1985.11.2 Charles de la Fosse (page 7) (French, 1636–1716) The Sleeping Rinaldo, 1686 Black, red and white chalk on blue laid paper Snite Museum of Art: Gift of Mr. John D. Reilly ’63 2004.053.013 James E. Routh Jr. (top left) (American, b. 1918) Dixie Steel, 1940 Lithograph on paper 9 3/4 x 11 3/4 inches (image) GMOA 2010.340 De Wain Valentine (left) (American, b. 1936) Gray Ring, 1974 Cast polyester resin Private collection Georgia Museum of Art, University of Georgia; Extended loan from B.R. Ott GMOA 2011.12E

Don’t Miss

De Wain Valentine: Human Scale September 8, 2012–January 27, 2013 From the late 1960s through the late 1970s, the

at the J. Paul Getty Museum as part of “Pacific Stan-

Colorado-born but California-based artist De Wain

dard Time” and at the Museum of Contemporary Art,

Valentine made large-scale sculptures in polyester

San Diego, in the exhibition “Phenomenal: California

resin. Their simple shapes (discs, slabs, diamonds)

Light, Space, Surface,” but he has not received a major

belie the complex processes by which they were

solo museum show in some time, and never one on the

created, as Valentine had significant technical input

East Coast outside of New York.

GMOA facet | Summer 2012

into the chemical composition of the new material.

8

Most measure between six and eight feet tall, allowing

Curator: Paul Manoguerra, chief curator and curator of

for an interaction between viewer and object on equal

American art, and Lynn Boland, Pierre Daura Curator

terms. Their subtle changes of coloration and variations

of European Art

in translucence allow one both to see through the

Galleries: Virginia and Alfred Kennedy and Philip

sculptures and to contemplate their reflective surfaces,

Henry Alston Jr. Galleries

suggesting the artist’s connections with his contempo-

Sponsors: The W. Newton Morris Charitable Foundation

raries Robert Irwin, Bruce Nauman and James Turrell,

and the Friends of the Georgia Museum of Art

who made use of light more explicitly in their work.

Valentine's sculptures have recently been highlighted

John Baeder Boone and George Ann Knox I, Rachel Cosby Conway, Alfred Heber Holbrook and Charles B. Presley Family Galleries On view through July 22 Southern Folk Art from the Permanent Collection Lamar Dodd Gallery On view through July 22 A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery Virginia and Alfred Kennedy and Philip Henry Alston Jr. Galleries On view through July 29 Dürer and His Legacy Boone and George-Ann Knox Gallery II On view through August 12 All Creatures Great and Small T-Gates, Hartsfield-Jackson International Airport, Atlanta On view through October 16

New Acquisitions

1a

1b

3

2

the active and ongoing regional work in this medium. Gary Noffke and Rob Jackson, both important local metalsmiths of national note, together formed and worked the ladle.

Jackson produced the spoon in the form of an alligator, somewhat reminiscent of an important group of traditional Georgia carvings found often on canes and pipes. These are outstanding examples of contemporary design by noted craftsmen. The museum can now truly lay claim to having examples from all periods of Georgia and regional history.

New in Decorative Arts ecent additions to the collection of decorative arts include the objects illustrated here. The coffee table is an outstanding one with an impressive Athenian prov-

enance. Constructed by Henry Eugene Thomas, the table appeared recently in “Georgia Bellflowers: The Furniture of Henry Eugene Thomas,” an exhibition at GMOA organized

by Ashley Callahan. Although it is characteristically made of fine local walnut inlaid with the “Athens bellflower” and built with traditional skills and methods, the table responds

The New York Collection for Stockholm Portfolio

T

hanks to the Collectors, the Georgia Museum of Art recently acquired a publisher’s

edition not originally intended for sale of the complete New York for Stockholm Col-

to a form ubiquitous to the mid-20th century, the coffee table. The patron of this remark-

lection portfolio. The portfolio is the result of a partnership between the Moderna Museet

able object was Marion West Marshall, who mandated the basic design requirements to

(Stockholm) and New York-based Experiments in Art and Technology (E.A.T.), who

Thomas. The result represents a high point in Thomas’ career and one of the most repre-

together organized a collection of works by American contemporary artists in the early

sentatively Athenian products. The museum is also accepting another work by Thomas, a

1970s. In an effort to raise acquisitions funds, the Moderna and E.A.T. solicited a print

clock from his grandson Mr. James Thomas Puckett, which presents the apex of colonial

from each artist included in the collection. The resulting portfolio, sold in an edition of

revival form.

300, includes 30 works in a variety of media, including lithography, serigraphy, gelatin

Silver continues to be a special dimension to the museum’s holdings in decorative

silver prints, one print made using a Xerox copier (by Andy Warhol) and even a seven-

arts, and Beverly Hart Bremer has provided sustained support since the inception of

inch vinyl record (by George Segal). The complete portfolio will be on view at GMOA this

the decorative arts program. The museum has expanded its collection with remarkable

summer. For the entire list of artists and for more information about the

examples of silver from all periods. The two pieces here, a ladle and a spoon, represent

exhibition, see page 6 of this issue of “Facet.”

1a.

1b.

2.

3.

Rob Jackson (American, b. 1953) and

Rob Jackson

Henry Eugene Thomas (American, 1883–1965)

Nam June Paik (American, b. Korea, 1932–2006)

Gary Noffke (American, b. 1943)

Skimming the Surface (teaspoon), 1994

Coffee table, ca. 1957 (commissioned

Untitled (from the New York Collection for Stock-

Ladle w/ ring, 1995

Sterling silver, 18K gold, sapphire, garnet,

and codesigned by Marion West

holm), 1973

969 silver, sterling silver, steel,

tourmaline, aquamarine and amethyst

Marshall, 1928–1964)

Three-color serigraph on paper

18K gold, garnet and glass

Georgia Museum of Art, University of Georgia;

Walnut, white pine and yellow pine

12 x 9 inches (sheet)

Georgia Museum of Art, University of Georgia;

Museum purchase with funds provided by

Georgia Museum of Art, University of Georgia;

Georgia Museum of Art, University of Georgia;

Museum purchase with funds provided by

Beverly Hart Bremer

Gift of George O. Marshall Jr. and Charlotte

Museum purchase with funds provided by the

Beverly Hart Bremer

GMOA

Thomas Marshall

Collectors of the Georgia Museum of Art

GMOA

2012.107

2012.106

GMOA

2012.158

GMOA

2012.108.20

www.georgiamuseum.org

R

9

Research

University of Georgia students and faculty utilize the Georgia Museum of Art for research and study.

Our works of art and archival materials provide endless opportunities for theses and dissertation topics. Megan Watkins, who recently completed her MA.Ed. in art education at the Lamar Dodd School of Art (LDSOA) has been a student docent at the Georgia Museum of Art for the past two years. During that time, she became interested in how visitors weave prior knowledge and experiences into their interpretations of works of art in the museum, and she considered how visual artists would respond to the works. For her master’s thesis, Watkins combined her interests in studio art, social media and museum education to learn more about how artists visually respond to works of art in a museum setting and how they can develop and discuss ideas about their work using social media.

Working with four master’s students in studio art and art education at the Lamar Dodd School of Art at UGA, Watkins designed a study in which students made their own art as responses to works they selected in the museum. Watkins also created weekly assignments that encouraged interactions between the students over a blog in order to examine how their work developed through the inclusion of

The students working with Watkins chose diverse works from GMOA’s collection: Radcliffe Bailey’s “Seven Steps” (1994), Leo Twiggs’ “Georgia II” (2008), a Princess Feather pattern quilt dated ca.

1840–60, Myrtice West’s “The Book of Daniel Chapter 12” (1997–98) and Charlie Lucas’ “Girl with Balloons” (n.d.). During a period of five weeks, the students used the blog as a place to share ideas, new techniques and their thoughts about the works of art they were making and the art in the museum galleries.

Watkins stresses the importance of social media for university students and its role in the university art museum because students can continue and build on the experiences in the galleries after their visit.

She writes, “Blogging can extend these experiences from the gallery space as a valuable learning encounter that can be revisited again and again.” Watkins found that the blog gave students a space to

provided a forum in which they could

Watkins combined

writing and visual responses. The works

discuss their ideas with others through

her interests in studio

of art from the museum’s collection

art, social media and

with new techniques. One student began

museum education

looking at the thick, dripping paint on

to learn more about

inspired new ideas and experimentation working with encaustic techniques after Bailey’s “Seven Steps,” and another explored the symbol of the swastika in

how artists visually

Buddhism and her Chinese-American

respond to works of art

“Georgia II” and the Princess Feather

in a museum setting

heritage after reflecting on Twiggs’ pattern quilt.

At the end of this process, Watkins

and how they can

facilitated an informal critique of the works

develop and discuss

works they selected in the galleries of the

ideas about their work

that the students’ works wove their own

using social media.

of art the students created next to the Georgia Museum of Art. Watkins found backgrounds and ideas with concepts found in the art in the museum. They were not only looking at art in the galleries of

on both the works of art in the museum

the museum, but they were also actively engaged with works and participated in a discussion about the works with each

students’ experiences of the process.

other. Furthermore, their own works of art

According to Watkins, “I wanted to explore

reflected ideas that developed through

how art students at LDSOA could use

their correspondence with each other over

blogging as a way to connect their studio

the blog and the art from the museum’s

practices with art in the museum. Similar

collection to which their works responded.

to a paper journal, keeping a blog is a

Watkins’ research shows us how blogs can

method of recording thoughts and feelings

be used in museum education as online

with images and text. For an art student,

forums where students can respond to

‘blogging’ can be

works of art in the museum’s collection

a type of digital sketchbook. Each partici-

through visual and textual media. It also

pant recorded their creative process on a

provides an example of how studio art

personal blog, and each member of the

professors can integrate the museum’s

group could comment or offer feedback

collection into courses and class assign-

on other group members’ progress. The GMOA facet | Summer 2012

For her master’s thesis,

develop their own works of art by reflecting

social media and to understand the

10

and their own personal narratives. It also

ments and demonstrates how historical

idea was to generate an online community

and contemporary works of art can inspire

of student artists that connected to the

students’ own works of art.

museum’s mission of education.”

Carissa DiCindio, curator of education

Megan Watkins with Radcliffe Bailey’s “Seven Steps.”

Docent Spotlight: Berkeley Minor

A

s a volunteer at the Georgia Museum of Art for 12 years now, it is safe to say that

Berkeley Minor has a gift for enriching the public with her knowledge of art.

A degree in art and teaching experience

But Minor’s love of art makes the work

have helped Minor master her role as a

well worth her time, and she encourages

docent. Before she became a docent in

those considering volunteer work to join

2000, Minor served on the board of the

the Georgia Museum of Art family. She

Friends of the Georgia Museum of Art

claims that the docents at the museum do

for four years and eventually became

not mind the time commitment simply

the membership organization’s president.

because they all “really enjoy art.” Minor

Four years ago, she joined the Board of

has met some terrific people who share

Advisors and will continue her role as a

similar interests and a passion for art.

board member in the fall.

According to Minor, “it’s a lot of fun—it’s

tion, Minor’s favorite role at GMOA is community docent, a position that

just a basic interest in art and wanting to learn more about it.”

In Minor’s years of involvement at

requires much time and effort. Docents

GMOA, she has certainly grown partial to

give tours of both the permanent collec-

particular works of art in the museum. If

tion and traveling exhibitions at the

visitors only had 20 minutes to spend in

museum. Minor guides visitors, including

the galleries, Minor would guide them

fifth graders from the Clarke County

directly to the portraits in the permanent

school district, through the museum. The

collection. She yearns to share her love of

former teacher has a lot of fun when the

these works with the public. With wide

children visit the museum, and luckily,

eyes, she recalls the history of some of

her teaching expertise includes methods

these portraits, which date as far back

of crowd control. She notes that with the

as 1340 and progress to modern times. In

younger kids, the challenge is learning

particular, the large triptych by Athens

how to handle behavioral issues and short

artist Art Rosenbaum interests her,

attention spans; with adults, Minor is

because the miscellaneous elements of his

primarily bothered by frequent and

paintings reflect his personal story. In

random wandering around the galleries.

Minor’s words, “the idea of the portrait

Sometimes, to her frustration, she will

gets you through everything,” and

have to abandon what she prepared for

exploring these vast displays in the

a tour in order to promote more interest

museum is a cultural adventure in itself.

from the crowd. Revealing her patience

Minor’s dedication to GMOA and

and gentle nature, Minor chuckles at the

her willingness continually to expand

mention of touching the art; she claims

her knowledge of art is fueled by her

that adults are just as bad as the kids in

respect for the underlying purpose of

that they all like to get extremely close to

the museum. According to Minor, this

the paintings—a temptation that must be

state museum is “a great teaching

resisted at all costs.

tool for the teachers of the Lamar Dodd

The responsibilities of a docent go

School of Art and other disciplines

beyond the museum setting, though.

who use this museum for educational

Before docents can give tours, they must

purposes.” She advocates that the public

be very familiar with the genres of art

utilize all of the wonderful programs

represented at GMOA. Minor encourages

the museum offers, whether films, lec-

those interested in volunteering at the

tures, classes or receptions. The GMOA

museum to devote much time to studying

staff and community greatly appreciate

the art in order to perform well. Since the

Minor’s active involvement and contribu-

permanent collection has only been up

tions to the museum and are more than

for one year, Minor claims that she is still

grateful for her dedicated service. Plainly

in the process of learning about the works.

said, without the help of volunteers, the

That task becomes even more challenging

museum could not operate effectively and

with the expectation that docents must

could not fulfill its role in the community.

become familiar with the various traveling exhibitions that change quarterly, so

Michael Lachowski, public relations coordinator

they can enlighten the museum’s visitors

Sarah Schatz, publications intern

about works not in GMOA’s collection.

Berkeley Minor in the permanent collection galleries.

A

ccording to Minor, this state museum is “a great teaching

tool for the teachers of the Lamar Dodd School of Art and other disciplines who use this museum for educational purposes.” She advocates that the public utilize all of the wonderful programs the museum offers, whether films, lectures, classes or receptions.

www.georgiamuseum.org

Due to her background in art educa-

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Calendar : Summer 2012

Special Events

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Teen Studio Thursday, August 9, 5:30–8:30 p.m.

Teens are invited to participate in this workshop led

by Athens artist Mary Engel. Join us in the galleries for a discussion of the exhibition “Southern Folk Art from the Permanent Collection,” then work with Engel

August Sun

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to create your own multimedia work inspired by the exhibition. Pizza will be served. Space is limited.

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Call 706.542.GMOA (4662) to reserve your spot.

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Albrecht Dürer, The Dream of the Doctor (The Temptation of the Idler), 1498–99, Engraving on paper, 7 1/4 x 4 13/16 inches, Georgia Museum of Art, University of Georgia; University Purchase, GMOA 1975.3339

GMOA facet | Summer 2012

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Schedule a Visit to the Georgia Museum of Art

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

To schedule a class visit or student assignment at the Georgia Museum of Art, please call us at 706.542.GMOA (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 self-guided visit led by an instructor or students who will be coming on their own to complete an assignment.

Family Day programs are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota, YellowBook USA and the Friends of the Georgia Museum of Art and are free and open to the public.

John Baeder, Trailer, Arizona Route 66, 1975, C print on Kodak Endura paper, 20 x 30 inches

Reception Thursday, July 19, 6:30–8:30 p.m.

The Friends of the Georgia Museum of Art present a free reception to celebrate the museum’s summer exhibitions.

GMOA’s community docents will lead tours of the exhibitions. Call 706.542.GMOA (4662) for more information.

Evening for Educators Thursday, August 30, 4:30–5:30 p.m.

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

Educators are invited to a special reception at the

Join Carissa DiCindio, curator of education, in the

Georgia Museum of Art that will include tours and

galleries for an in-depth discussion of William Henry

information about exhibitions, materials and programs.

Johnson’s “High Peaks.”

Student Night Thursday, August 30, 8–11 p.m.

Gallery Talk Thursday, August 30, 5:30 p.m.

Join the Student Association of the Georgia Museum

Join Dr. Alisa Luxenberg, professor of art history, Lamar

of Art for a night of food, fun and DIY projects!

Dodd School of Art, for a discussion of the exhibition

See www.georgiamuseum.org for more information.

“Francisco de Goya’s ‘Disasters of War.’”

Cheryl K. Snay Thursday, September 27, 5:30 p.m.

Tours Tour at Two: Highlights from the Permanent Collection Wednesday, July 18 and 25; August 1, 8 and 22; September 19, 2 p.m.

Meet docents in the lobby for this tour of highlights from the permanent collection.

Tour at Two: George Beattie’s Controversial Murals Wednesday, August 29, 2 p.m.

Led by Paul Manoguerra, chief curator and curator of American art

Cheryl K. Snay, curator of European art at the Snite Museum of Art (University of Notre Dame) will present “Drawing Fire: Academic Practice in France” in conjunction with the exhibition “The Epic and the Intimate: French Drawings from the John D. Reilly Collection at the

Tour at Two: “The New York Collection for Stockholm” Wednesday, September 5, 2 p.m.

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

Snite Museum of Art.” Focusing on the drawings in the exhibition, Shay will trace some of the controversies that illuminate the Royal Academy of France’s storied past.

Tour at Two: Decorative Arts from the Permanent Collection Wednesday, September 12, 2 p.m.

Led by Dale Couch, curator of decorative arts.

Family Days Fun with Folk Art Saturday, July 21, 10 a.m.–noon

Led by Laura Valeri, associate curator of European art

the Permanent Collection,” then head to the Michael and

Spotlight Tour: Highlights from the Permanent Collection Sunday, July 15, August 12 and September 16, 3 p.m.

Families are invited to enjoy the bold shapes and bright colors featured in the exhibition “Southern Folk Art from De Wain Valentine, Lavender Column, 1968, Polyester resin. Private Collection.

Tour at Two: “The South in Black and White: The Graphic Works of James E. Routh Jr., 1939–1946” Wednesday, September 26, 2 p.m.

Mary Erlanger Studio Classroom to make their own works

Opening Reception Thursday, September 13, 6–8:30 p.m.

Meet docents in the lobby for a tour of highlights from

of art using cardboard, paint and collage materials.

the permanent collection.

The Friends of the Georgia Museum of Art present an opening reception for “De Wain Valentine: Human Scale,”

Print It! Saturday, August 18, 10 a.m.–noon

“The New York Collection for Stockholm,” “The Epic and

Gallery Games Thursday, August 9, 4:15–5 p.m.

For this exciting Family Day, we will turn the Michael

Kids ages 7 to 11 are invited to join us for this special

the Intimate: French Drawings from the John D. Reilly

and Mary Erlanger Studio Classroom into a printmaking

interactive gallery tour with Melissa Rackley from

Collection at the Snite Museum of Art,” “The South in

studio. In conjunction with the exhibition “The New York

GMOA’s education department. Learn about works in

Black and White: The Graphic Works of James E. Routh

Collection for Stockholm,” parents and kids will learn

the museum’s galleries through activities designed

Jr., 1939–1946” and “Francisco de Goya’s ‘Disasters of

about the art of printmaking and make prints of their own.

just for kids.

War.’” Call 706.542.GMOA (4662) for more information.

The Collectors Go to Boston Monday, September 17–Saturday, September 22

Workshops & Classes

The Collectors will travel to Boston to visit several museums, historic homes and private collections. You must be a member of the Collectors to attend. For more

Drawing in the Galleries Thursday, July 26 and August 23, 5–8 p.m.

information, please call 706.542.0442.

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

Lectures & Gallery Talks

Drawing Workshop Thursday, September 20, 5:30–8:30 p.m.

Artist and educator Hope Hilton will teach a drawing

Artful Conversation Wednesday, July 11, 2 p.m.

workshop for adults in conjunction with the exhibition “The Epic and the Intimate: French Drawings from the

Join Carissa DiCindio, curator of education, in the

John D. Reilly Collection at the Snite Museum of Art.”

galleries for an in-depth discussion of John Linton

Hilton received her BFA from Atlanta College of Art and

Chapman’s “Via Appia.”

her MFA from Hunter College in New York City. In this class you will learn basic drawing techniques using materials ranging from carved sticks and ink, graphite and ink washes to #2 pencils. Materials will be provided.

No experience required, but space is limited. Please call

Chakaia Booker, Phobic Digression, 2006, Rubber tires and steel Nathalie Dupree

Nathalie Dupree Thursday, July 19, 5:30 p.m.

Join southern chef and author Nathalie Dupree for a lecture and book signing. This event is held in conjunction with the exhibition “John Baeder.”

Making Sculpture from Recycled Materials Saturday, September 8, 10 a.m.–noon American artist Chakaia Booker is known for her intricate sculptures made from old tires. Inspired by her work currently on view in the Jane and Harry Willson Sculpture Garden, kids will have the chance to make their own amazing sculptures using recycled materials.

Check our website for the most recent information on events: www.georgiamuseum.org

www.georgiamuseum.org

706.542.GMOA (4662) to register.

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Museum Notes AWARDS

DOCENTS

GMOA recently received two national awards for its publications: first prize for “Facet,”

Congratulations are in order for Barbara Bloom-Fisher, Jana Murph, Becky

its quarterly newsletter, in the American Association of Museums (AAM) Publications

Reynolds, Joan Zitzelman and John Whitehead, the most recent graduates of GMOA’s

Design Competition, and first runner-up for its book “One Hundred American Paintings,”

community docent training program. New docents were honored at the annual docents’

edited by chief curator and curator of American art, Paul Manoguerra, from the Eric

luncheon, held Monday, May 14, at the museum.

Hoffer Book Awards in the “Art” category. Martha Daura and Tom Mapp received the M. Smith Griffith Volunteer of the Year Award (Smitty) in recognition of their service to GMOA at the Friends Annual Meeting on May 10, 2012, where the Friends of the museum and GMOA staff had a chance to say good-bye to the couple, who relocated to Oregon.

GMOA community docents at the docent luncheon.

KRESS PROJECT GMOA recently announced the winners and honorable mentions in the international Tom Mapp and Martha Daura at the Friends Annual Meeting.

juried art competition as part of the Kress Project, a two-year initiative celebrating the 50th anniversary of the museum’s Samuel H. Kress Study Collection. Didi Dunphy, Kate Pierson and Jed Rasula served as the judges, selecting 24 winners, each of whom will

PERSONNEL

receive a $500 prize and have his or her work published in a forthcoming multimedia

The staff at GMOA is pleased to welcome three new staff members: Michael

tion and round out the number at 50, one response for each year the museum has owned

book. The judges also selected 26 honorable mentions, which will appear in the publica-

Lachowski, public relations coordinator (mlachow@uga.edu); Sage Rogers, event

its Kress Collection. For more information on the winners, please visit our website.

coordinator (sarogers@uga.edu); and Laura Valeri, associate curator of European art.

On a sadder note, the staff will miss Cece Warner, who retired from the museum June 1, 2012. Warner worked at GMOA for 13 years, ten of those as curator of education.

We would like to recognize our most recent Young Dawg intern, Ashley Robinson, now a major in art history at Agnes Scott College in Atlanta. Robinson works as a gallery assistant at the college’s Dalton Gallery, where she organizes small exhibitions, plans events and catalogues the gallery’s permanent collection.

Gifts The Georgia Museum of Art received the following gifts between March 5 and May 14, 2012: ALFRED HEBER HOLBROOK SOCIETY Audrey Love Charitable Foundation Mrs. George-Ann Knox John F. and Marilyn M. McMullan Larry D. and Brenda T. Thompson

Michael Lachowski, public relations coordinator

Sage Rogers, event coordinator

Laura Valeri, associate curator of European art

The popular Normaltown café and bakery is now serving fresh-made coffee, sandwiches and baked goods in the new museum lobby.

Tuesday–Friday, 10 a.m.–2 p.m. (summer hours)

GMOA facet | Summer 2012

Ike & Jane at the Georgia Museum of Art!

Jane and Harry Willson Sculpture

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Garden and support the museum.

Have breakfast, lunch or a snack, enjoy a spectacular view of the

In memory of Lamar Dodd

by Mr. and Mrs. Robert L. Steed In memory of Hannah Harvey

by Professor and Mrs. Richard H. Timberlake In memory of Marjorie Fowler Newton

by Miriam Henson, Mary Larkey, Mary Moore and Munci Turner

BENEFACTOR Judith and Mark Ellis

In honor of Mary Green Burdell by the Friends of Coastal Georgia History

DIRECTOR’S CIRCLE Mrs. June McCoy Ball Mr. and Mrs. Millard Grimes Dr. Lars G. Ljungdahl Berkeley and Dan Minor Dr. and Mrs. Randall Ott

In honor of William Underwood Eiland

by Lucinda Samford Cannon

The Georgia Museum of Art received the following gifts between February 21 and June 8, 2012:

In honor of Cyndy Harbold

by Sarah E. Freeman

In memory of Margaret Banner Allen

by William Underwood Eiland and Mrs. M. Smith Griffith In memory of Marianne Brumby

by William Underwood Eiland In memory of Cecily Catchpole

by William Underwood Eiland and Professor and Mrs. Richard H. Timberlake

In honor of Mrs. M. Smith Griffith

by Mr. and Mrs. E. Davison Burch and Betty Alice Fowler

In honor of Mary Downing Koon

by Lauren Cook and Betty Alice Fowler In honor of Jack Sawyer and Bill Torres

by Lucinda Samford Cannon In honor of Jessica Schwartz

by Louis T. Griffith Jr. In honor of Carolyn and Rhett Tanner

by Lucinda Samford Cannon

Event Photos

Colonial Dames GMOA Director Bill Eiland with members of the Georgia chapter of the Colonial Dames, who visited the museum in April.

Membership

JOIN JOIN THE NEW GMOA!

Not a member? Join the museum during one of the

most exciting moments in its history! Join on our website, www.georgiamuseum.org, or call 706.542.0830.

The Collectors GMOA director of development Caroline Maddox and Judith Ellis at “Seven Deadly Sins,� a dinner and silent auction sponsored by the Collectors, who raised $29,000 to support acquisitions.

Student Night

Parking for the Georgia Museum of Art is available in the Performing Arts Center (PAC) parking deck, which is located at the rear of lot E11 off River Road (see map). the PAC deck is free on Saturdays and Sundays and after 10 p.m. on weeknights with a valid UGA ID or permit, unless there is a special event. Free parking (that is, parking without a permit) is available in surface lot E11 on Saturdays and Sundays and after

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

4 p.m. on weekdays.

www.georgiamuseum.org

There is no free visitor parking on campus during regular business hours. Parking in

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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

De Wain Valentine

Chakaia Booker

New Decorative Arts

summer 2012

f a c e t •••