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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28 Mary Engel, Priscilla, 2011, mixed media, 45 x 18 x 20 inches
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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. Tue
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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 •••