Facet – Summer 2015 by Georgia Museum of Art

facet

Athens Quilt

Membership Challenge

Exhibitions

www.georgiamuseum.org

Summer 2015

Board of Advisors

Department of Publications

Mr. B. Heyward Allen Jr., immediate

Hillary Brown and Stella Tran

past chair Dr. Amalia K. Amaki Mrs. Frances Aronson-Healey Mrs. June M. Ball

Design The Adsmith

Dr. Linda N. Beard Ms. Karen L. Benson Mr. Fred D. Bentley Sr.* Mr. Richard E. Berkowitz Mrs. Jeanne L. Berry Mrs. Devereux C. Burch Mr. Robert E. Burton** Mrs. Debbie C. Callaway** Mr. Randolph W. Camp Mrs. Shannon I. Candler,* executive committee

Director William U. Eiland at the Louis Vuitton Museum in Paris.

Mrs. Faye S. Chambers Mr. Harvey J. Coleman Ms. Martha R. Daura*** Mrs. Martha T. Dinos**

Back in May, I reported to the Friends at their annual meeting that I and some 12 of our staff members had just returned from attending and volunteering at the meeting of the American Alliance of Museums in Atlanta. As I told the Friends board, “many of you have read about how Atlanta and Georgia are celebrating Museum Week, with reduced admissions and discounts to the cultural agencies and institutions within the perimeter. As you well know, the Georgia Museum of Art is free all the time, every day, every week, every month, every year. We are able to stay that way because of the generosity of our patrons—our collectors and donors like you.” At that conference in Atlanta, we attended sessions, served on panels, joined our peer professional affiliates and, perhaps most important, networked with colleagues from around the world. Some 4,500 museum folk attended this convention. Much of our discussion and many of our workshops and classes were technical or philosophical: we talked about the museum as a social entity, its obligations to its communities and how the museum has to balance its programs (its very purpose) between its responsibilities to its collections and its mission to serve and to teach. We listened to our colleagues who are educators, registrars, conservators, publicists, fundraisers, administrators and curators. In a day devoted to academic museums, we found out how similar our practices and standards are to university and college galleries in China and Mexico, in Canada and Finland. Our proceedings were simultaneously translated into Spanish and Chinese, with interpreters in Arabic available as necessary. We may be a comparatively small museum in a rather fabulous college town in the Deep South, but the Georgia Museum of Art and its staff (as clearly evidenced by what was said and done at this conference) are entirely engaged in the issues of the day—the regional, national and international discussion of the fine arts as cultural legacy. Three of those issues suffice to betray the range of our discussions: First, prices for works of art continue to rise, affecting our abilities to collect and to build collections. Second, deaccessioning continues to plague our field, especially academic museums, with the current discussion roiling over the definition of “direct care” and what that means for the use of proceeds from deaccessioning. Third, and most serious, we must counter the continuing degradation of our shared human heritage in Syria, Iraq and Yemen. Doesn’t it make sense to declare unequivocally that such wanton and malicious destruction is a war crime? Shouldn’t all museums throughout the world declare a moratorium on the acquisition of any art or artifacts, manuscripts or treasure from that part of the world as long as the hostilities and looting continue? Perhaps these issues seem far removed from Athens, Georgia, here in our ivory tower, but we are precisely situated to engage them as part of an academic village that is dealing with events arising in and from the worlds of business and high finance, the world of law (public trust, fair use and copyright) and the entire globe, where international law and heretofore legal conventions seem to have lost any power to save humankind’s cultural legacy. Before the conference was over, we were being called on to assist our colleagues in Nepal to help save, restore and repair the Buddhist temples and monuments of a devastated land. We are not isolated here in our museum. Through the visual arts and our mission of sustaining lifelong learning, we are central in this place and at this time to

nors and our audiences, on all of you. We can be engaged in protecting, stewarding and interpreting humankind’s creations, in the final analysis, because of the support of this great university and because of our Friends. In short, because of all of you. William Underwood Eiland, Director

University of Georgia

Mrs. Annie Laurie Dodd***

90 Carlton Street

Ms. Sally Dorsey

Athens, GA 30602-1502

Professor Marvin Eisenberg*

www.georgiamuseum.org

Mr. Howard F. Elkins Mrs. Judith A. Ellis Mr. Todd Emily Ms. Carlyn F. Fisher* Mr. James B. Fleece Mrs. Phoebe G. Forio***

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

Mr. John M. Greene**

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

Mrs. Helen C. Griffith

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

Mrs. M. Smith Griffith*

minutes prior.

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

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

Mr. David W. Matheny

706.542.4662

Ms. Catherine A. May

Fax: 706.542.1051

Mr. Mark G. McConnell

Exhibition Line: 706.542.3254

Mrs. Marilyn M. McMullan Mrs. Marilyn D. McNeely Mrs. Berkeley S. Minor Mr. C.L. Morehead Jr.* Mr. Carl W. Mullis III,* executive committee, past chair Mrs. Betty R. Myrtle Mrs. Deborah L. O’Kain

Mission Statement

Dr. Randall S. Ott

The Georgia Museum of Art shares the

Dr. Gordhan L. Patel

mission of the University of Georgia to

Mrs. Janet W. Patterson

support and to promote teaching,

Mr. Christopher R. Peterson

research and service. Specifically, as a

Ms. Kathy B. Prescott Mr. Bill Prokasy*

repository and educational instrument of

Mr. Rowland A. Radford Jr.*

the visual arts, the museum exists to

Ms. Margaret A. Rolando

collect, preserve, exhibit and interpret

Mr. Alan F. Rothschild Jr., chair

significant works of art.

Mrs. Dorothy A. Roush* Ms. Jan E. Roush Mrs. Sarah P. Sams** Mr. D. Jack Sawyer Jr. Mrs. Helen H. Scheidt** Mr. Henry C. Schwob**

Partial support for the exhibitions and programs

Ms. Cathy Selig-Kuranoff**

at the Georgia Museum of Art is provided by the

Mr. S. Stephen Selig III**

Georgia Council for the Arts through the

Mr. Ronald K. Shelp

appropriations of the Georgia General Assembly.

Mrs. Margaret R. Spalding Mrs. Dudley R. Stevens Mrs. Carolyn W. Tanner Dr. Brenda A. Thompson, chair-elect Mrs. Barbara Auxier Turner

The Georgia Council for the Arts also receives support from its partner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum

Mr. C. Noel Wadsworth*

support through their gifts to the University of

Mrs. W. Harry Willson

Georgia Foundation. The Georgia Museum of Art

Dr. Carol V. Winthrop

is ADA compliant; the M. Smith Griffith Auditorium is equipped for the hearing impaired.

Ex-Officio Mrs. Linda C. Chesnut Dr. William Underwood Eiland Professor Chris Garvin Ms. Cynthia Harbold Mr. Kelly Kerner Dr. Russell Mumper Dr. Pamela Whitten

sustaining and expanding knowledge. We don’t—we can’t—do it alone. We are dependent on our docents, our patrons, our do-

Georgia Museum of Art

*Lifetime member **Emeritus member ***Honorary member

Contents FEATURES

Exhibitions

New Acquisitions

Guerrilla Girls

Event Photos

Exhibitions

New Acquisitions

Guerrilla Girls

Membership Challenge

Interpreting the Kress Collection

Calendar of Events

Museum Notes

Event Photos

On the front cover:

On the back cover:

Various

Ralph Chessé (American, 1900–1991)

Calaveras resurrectas (Resurrected Skulls) (detail

Flight into Egypt, 1947

and enlargement), 1954

Oil on canvas

Small codex-form booklet with 40 pages, including

22 1/2 x 25 inches (framed)

three gatefolds: reproductions and type/lettering

Extended loan from Bruce Chessé and the

8 13/16 x 6 13/16 inches (closed)

Chessé Arts Collection

www.georgiamuseum.org

Collection of Michael T. Ricker

GMOA facet | Summer 2015

in linoleum prints and woodcuts. From Raúl Anguiano to Alfredo Zalce, workshop membership included many notable 20thcentury Mexican printmakers. The workshop also instructed students from other countries in the techniques of printing and printmaking. As television and radio proliferated in Mexican homes and the political environment became more stable, the workshop’s productivity slowed. The TGP will always be remembered, however, as a distinct part of Mexican history, when art put social and political issues before the people and brought them to life. The accompanying catalogue published by the museum, which contains extensive scholarship and images, is the most comprehensive publication to date on the workshop and can be purchased in the Museum Shop.

Popular (the Workshop for Popular Graphics, or the TGP for short) worked diligently to keep pertinent issues before the populace of Mexico and the world. Covering the period from the TGP’s predecessor, the LEAR (League of Revolutionary Writers and Artists), through the most active years of the workshop, this exhibition of approximately 250 works is the largest and most comprehensive anywhere since the 1950s. It includes large-scale posters (“cartels”), small flyers (“volantes”), books and pamphlets, powerful fine-art portfolios and calavera newspapers that exemplify the TGP’s lasting contributions to the Mexican printmaking tradition. The TGP used art to inspire and inform in a country where literacy and communication technology were not widespread.

Alfredo Zalce La URSS defiende las libertades del mundo. ¡Ayudemosla! (The USSR Defends the Freedom of the World. Let’s Help!), 1941 Poster with linoleum cut and type/lettering in two colors 17 3/16 x 22 1/2 inches (image) © Artists Rights Society (ARS), New York / SOMAAP, Mexico City

Museum of Art

Foundation and the Friends of the Georgia

Sponsors: The W. Newton Morris Charitable

Dodd Galleries

Holbrook, Charles B. Presley Family and Lamar

Knox I, Rachel Cosby Conway, Alfred Heber

Henry Alston Jr., Boone and George-Ann

Galleries: Virginia and Alfred Kennedy, Philip

American art

Curator: Sarah Kate Gillespie, curator of

works in a wide variety of media, specializing

protecting the proletariat, El Taller de Gráfica

Francisco Dosamantes Taller de Gráfica Popular: Exposición 20 Litografías, 1939 Poster with lithograph in two colors and type/lettering 14 3/16 x 21 3/16 inches (image) Collection of Michael T. Ricker © Artists Rights Society (ARS), New York / SOMAAP, Mexico City

Remarkably prolific, the TGP produced

From the international fight against fascism to

El Taller de Gráfica Popular: Vida y Arte June 13–September 13, 2015

www.georgiamuseum.org

GMOA facet | Summer 2015

Art Hazelwood and Ronnie Goodman: Speaking to the Issues June 13–September 13, 2015

Two San Francisco Bay Area artists, Art Hazelwood and Ronnie Goodman, confront and tackle such presentday realities as homelessness, poverty, war, corruption and violence in their art. Consonant with the exhibition of works from Mexico’s Taller de Gráfica Popular and squarely in its tradition of sociopolitical commentary, the linocuts, woodcuts, etchings and books in this exhibition show two skilled artists fearless in goading viewers from complacency or from indifference to injustice. Goodman, born and raised in San Francisco, had a troubled youth and lived on the streets before being convicted of burglary. During his sentence, he attended the San Quentin Arts in Corrections Program taught by Hazelwood. Since serving his time, he has remained homeless but continues to make art, obtaining his materials through Hospitality House, a San Francisco homeless resource center, and working in a friend’s studio space. Goodman is also a distance runner and credits that practice with helping him stay sober. Hazelwood studied at the University of California at Santa Cruz and traveled to Asia after graduation. He lived in Vienna to focus on his art and eventually settled in San Francisco. Although his art was already overtly political, it became even more so as he made screen prints for Street Sheet, a San Francisco newspaper focused on homelessness. Hazelwood has also created work for the Western Regional Advocacy Program, which distributes it under a Creative Commons license. Both artists draw on the tradition of the Works Progress Administration Federal Art Project in their creation of striking black-and-white prints, conveying strong political messages through their art.

Curator: William U. Eiland, director Galleries: Martha Thompson Dinos and Dorothy Alexander Roush Galleries

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

Ronnie Goodman The Letter of Rejection, 2012 Linocut on paper 22 x 15 inches (sheet) Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund GMOA 2013.66

Ronnie Goodman San Quentin Jazz, 2012 Linocut on paper 22 x 15 inches (sheet) Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund GMOA 2013.68

www.georgiamuseum.org

Ronnie Goodman No More Homeless Deaths, 2012 Linocut on paper 30 x 22 inches (sheet) Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund GMOA 2013.59

Ralph Chessé July 11–October 4, 2015

Ralph Chessé was born in New Orleans in 1900 and attended the

in this exhibition, most executed ca. 1970, indicates the impact of

Art Institute of Chicago from 1918 to 1919, his only formal training.

these travels both in subject matter and style—Chessé’s admiration

Inspired by his surroundings in New Orleans and the heritage of his

of French Fauvism is especially clear. The exhibition includes

family (his great-grandmother was African American, and the rest

four of Chessé’s puppets and several linocuts showing varying

of his family of French descent), he created paintings in the 1940s

interpretations of Punch and Judy.

that show African American subjects enacting biblical scenes and

television program, “The Wonderful World of Brother Buzz,” allowed

Curator: Laura Valeri, associate curator of European art Gallery: George-Ann and Boone Knox Gallery II Sponsors: The W. Newton Morris Charitable Foundation and the

him to travel extensively in Europe. The second group of paintings

Friends of the Georgia Museum of Art

scenes from everyday life. After relocating to San Francisco in 1928, Chessé worked as an artist and puppeteer. The success of his

Ralph Chessé (American, 1900–1991) The Adam Family, 1943 Oil on canvas 25 x 30 1/2 inches (framed) Extended loan from Bruce Chessé and the Chessé Arts Collection GMOA 2013.103E

Lines of Inquiry: Renaissance and Baroque Drawings from the Ceseri Collection May 9–August 2, 2015

“Lines of Inquiry” features 11 drawings from the collection of Giuliano Ceseri, on extended loan to the Georgia Museum of Art. Beth Fadeley worked with students in Professor Shelley Zuraw’s spring 2015 class “The Art of Drawing” to organize this exhibition and invite the audience to explore the techniques, themes and stylistic developments in European drawing from the Renaissance to the Baroque. This special exhibition is possible because of the guidance of Dr. Lynn Boland, Pierre Daura Curator of European Art at the Georgia Museum of Art, and Dr. Shelley Zuraw, associate professor of art at the Lamar Dodd School

GMOA facet | Summer 2015

of Art.

Guest curator: Beth Fadeley, doctoral candidate, art history, Lamar Dodd School of Art Gallery: Alonzo and Vallye Dudley Gallery Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Philipp Peter Roos, called Rosa da Tivoli (German, 1657–1706) Goat, n.d. Georgia Museum of Art, University of Georgia; Extended loan from the collection of Giuliano Ceseri GMOA 1995.199E

Dating from the 1940s, this quilt was made in Athens by an as yet unidentified woman from the scraps of fabric she used to make clothes for her daughter. It found its way to the museum through Jim Thompson, news editor at the Athens Banner-Herald. Cecelia Ross received the quilt as a bequest from its maker when Ross worked in a hospice in Venice, Florida, but did not remember her name. She contacted Thompson to see if he could find out more about it, recalling that the quilt’s maker had spoken of Athens with great fondness. Thompson believes it is possible the maker was Mabel Shumate (1908–1998), a nurse whose mother, Carrie Long, was a native of Carlton, Georgia, and is buried there, but further research remains to be done. Ross said, “The maker was a lifelong resident of Athens and loved your town. . . . I am pleased to return this to the ‘proper home.’” Dale Couch, curator of decorative arts at the museum, pointed out the recurring use of red, white and blue as a patriotic motif, one that would have been appropriate in the 1940s around World War II. Made of cotton, possibly derived from feed sacks, and showing a combination of hand and machine stitching, the quilt features a pattern of large hexagons that reveal hidden six-pointed stars of lighter-colored material in the spaces in between. It is an excellent fit with the museum’s effort to study the decorative arts of the state and the Athens area, and it is presently on display in the Martha and Eugene Odum Gallery, in the permanent collection wing.

The museum also recently purchased this genre scene by George Washington Nicholson, using funds donated in memory of Board of Advisors member Harry Gilham. Born in New Jersey, Nicholson trained in Philadelphia, where he learned academic realism at the Pennsylvania Academy of the Fine Arts. In 1866, he traveled to England and France for further training. Nicholson settled in Philadelphia upon his return to the United States, and his reputation was at its height from the mid-1880s through the 1890s. He painted a mural titled “The Old Homestead” that was on display at Wanamaker’s department store in Philadelphia and another, “Washington Crossing the Delaware,” for the Pennsylvania State House in Harrisburg (most likely lost when the building burned in 1897).

Unidentified maker from Athens, Ga. Quilt (detail), ca. 1940–50 Cotton Georgia Museum of Art, University of Georgia; Gift of Jim Thompson on behalf of Cecelia Ross GMOA 2014.242

George Washington Nicholson (American, 1832–1912) Winter Morning, ca. 1880 Oil on canvas 22 1/4 x 30 1/4 inches Georgia Museum of Art, University of Georgia; Museum purchase in memory of Harry Leonidas Gilham Jr. GMOA 2015.14

www.georgiamuseum.org

Nicholson produced works commissioned by patrons who preferred seascapes, exoticized landscapes of Europe and Northern Africa and scenes of daily life in the American countryside. This snowy country scene is an example of the latter. He painted several variations on the scene, usually featuring a house and human figures in bright clothing to draw the eye, but most of them are smaller than this one. Along with the recent purchase of Thomas Waterman Wood’s “The Kitten,” this painting helps us better tell the story of 19th-century American art by enriching our small collection of genre painting from the era.

in Action I have been fortunate to serve as a Georgia Museum of Art student docent and intern in the education department as a graduate student at the University of Georgia.

Throughout my studies at UGA’s Lamar Dodd School of Art, from which I recently graduated with a master’s degree in art education, I became increasingly interested in museum education and in engaging museum visitors with art in meaningful and memorable ways. For my final graduate project, I developed an educational program focusing on the exhibition “Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond” (on view at the museum Dec. 6, 2014–March 1, 2015). I invited UGA student organizations and Women’s Studies classes to the museum, where they viewed the exhibition and made their own art in response to the displays. The Guerrilla Girls are a group of anonymous women who refer to themselves as the “conscience of the art world” while working to draw attention to the underrepresentation of women in museums and galleries. Their focus has also expanded to address gender-based issues in Hollywood film, politics and pop culture. I was initially drawn to the Guerrilla Girls’ work because they use facts and humor to expose inequality. Their work makes feminism accessible by making viewers laugh or pause and reflect. The exhibition contained multiple interactive components, including a chalkboard wall with the prompt “I’m not a feminist but if I was, this is what I would complain about....” Visitors were encouraged to write their own responses. Another element was a wall of “Love Letters and Hate Mail” written to the Guerrilla Girls. Again, visitors were invited to contribute their own responses. My goal was to create a program that built upon the learning and engagement already encouraged by the design of the exhibition.

During the programs I facilitated, students were encouraged to make connections between the Guerrilla Girls’ work and their own experiences. Through engaging in dialogue and using guiding worksheets, students considered how gender inequality exists in their communities, on campus and in their own lives. In large groups, students discussed specific works of art that stood out, connections they made with the exhibition and the techniques that make those works successful. Students then went into one of the museum’s classrooms to respond visually to the exhibition through collage. I encouraged students to create a poster that made a statement about gender or feminism. The open-endedness of this project led to rich and varied responses. Students investigated the representation of women in the arts, violence and sexual harassment, the pay gap between men and women, racism, gender roles, body image, aging, current events and the media’s construction of beauty. Making use of magazine images allowed them to alter and give new, resistant meaning to images and text appropriated from popular culture. They critically considered media culture and the messages advertisements often send.

My hope is that exposure to and engagement with this exhibition provoked reflection about gender assumptions and stereotypes.

GMOA facet | Summer 2015

I began this project with an interest in how gender can be explored through museum education, and I feel fortunate to have had the opportunity to engage with this artfully designed exhibition. Within a month and a half, seven groups totaling more than 200 UGA students participated in my educational program. My hope is that exposure to and engagement with this exhibition provoked reflection about gender assumptions and stereotypes.

The most significant and memorable component of conducting these programs was interacting with visitors and hearing their responses to the exhibition. The thoughtfulness, inquiry and debate I observed reinforced the importance of dialogue in education and museum experiences. I hope to continue to create lessons and experiences that encourage students to be critical of their own worldviews by observing and discussing art. I believe this kind of exploration allows students, museums visitors and art viewers of all kinds to discover new ways of relating to others and the world around them. I am excited to pursue a career in museum education and continue to help museum visitors make meaningful connections with art of all kinds. Meghan McFerrin Intern, Education Department

Membership Challenge

Interpreting the Kress Collection

e are fortunate that the Samuel H. Kress Foundation has awarded the Georgia Museum of Art with a Kress Interpretive Fellowship for 2014-15. Brittany Ranew began in this position last September. Since that time, she has worked on public and family programming and school tours at the Georgia Museum of Art, including a public tour focused on mysteries in the museum’s collection in April. She also completed a teaching packet based on the Georgia Museum of Art’s Samuel H. Kress Study Collection.

Ranew completed her undergraduate degree in studio art, with a concentration in sculpture, and master’s degree in art education from the University of Georgia. She was an intern in the education department in 2008 and a student docent in 2012. She also has experience teaching internationally. In 2009, she taught English in South Korea, and in 2014, she was a student art teacher in South Africa. When asked about what she enjoys most in her current position, she said, “I get to work with so many different people! Tours can include visitors who are in pre-school, college, or entering retirement, all of whom come from an array of backgrounds. It is a privilege to contribute to the Kress legacy by sharing Georgia Museum of Art’s collection with new and returning visitors every week.”

As of the annual meeting of the Friends of the Georgia Museum of Art, held April 30, the Friends had a total of 583 members, counted

Currently, Ranew is looking at better ways in which the museum can reach some of our audiences, including visitors with disabilities, by speaking with people from these populations and creating partnerships in the community. She is also developing programming related to Gullah Geechee baskets and face jugs in the museum’s collection and examining ways in which school classes can view works in our collections study room through live web-based lessons. This summer, she will focus on our summer community outreach program, Art Adventures, which will feature gallery activities and printmaking in conjunction with the exhibition “El Taller de Gráfica Popular: Vida y Arte.”

Brittany Ranew has been taking photos of herself in front of various Kress buildings. This one is in Daytona Beach, Florida.

by household. Numbers are not the whole story and our membership is extraordinarily generous, but on July 15 we are kicking off a three-month campaign to increase that amount by 100 households. The dollars that come from membership help fund almost everything we do here at the museum: programming for families, educational opportunities for undergraduate and graduate students, exhibitions that bring something new to our community, outreach across the state and more. They help us keep admission free to all, an exceptionally important goal for the official state museum of art. We’re reaching out first to lapsed members with a digital campaign that reminds them just how much we need their contributions, but we have also set a goal of upgrading at least 60 current members to the Contributing ($100) level of membership or higher. That level may seem like a reach, but it entitles you to reciprocal membership benefits (including free or reduced entry rates, as well as museum shop discounts) at more than 1,000 museums across the United States and Canada. It also provides crucial additional funding for us at little to no extra cost on our end, allowing us to direct a greater percentage of your membership dollars to museum programming, making your museum a stronger and better institution.

We encourage you to use the hashtag #jointhemuseum on social media while

Both new members and those of you who upgrade your membership level between July 15 and October 25 will receive a voucher redeemable in the Museum Shop for a limited-edition mug not available for purchase. We encourage you to use the hashtag #jointhemuseum on social media while promoting the campaign and, as always, I am ready and willing to answer your questions. To join, visit georgiamuseum.org/join or contact the membership office at jointhemuseum@uga.edu or 706.542.0830. Michele Turner Director of Membership

www.georgiamuseum.org

promoting the campaign.

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

Special Events Third Thursday Thursday, July 16, August 20 and September 17, 6–9 p.m.

July

Seven of Athens’ established venues for visual art (the Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné, the Classic Center and ATHICA) hold this event devoted to art in the evening hours, on the third Thursday of every month to showcase their visual-arts programming. A free shuttle service, courtesy of the Classic Center, runs every 30 minutes. Details are posted at 3thurs.org.

90 Carlton: Summer Friday, July 17, 5:30–8:30 p.m.

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The Friends of the Georgia Museum of Art present this reception featuring the summer exhibitions. Enjoy catering by Epting Events, gallery activities, door prizes and “Ask the Experts.” Free for members, $5 nonmembers. Join or renew at the event for complimentary admission. Call 706.542.4662 for more details. RSVP to gmoarsvp@uga.edu or 706.542.4199.

Museum Mix Thursday, August 6, 8 p.m.–midnight The museum’s thrice-annual late night art party features a live DJ, free refreshments and galleries open until midnight. #museummix

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GMOA facet | Summer 2015 12

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Join the Student Association of the Georgia Museum of Art for a night of music, food, fun and DIY projects in printmaking, celebrating “El Taller de Gráfica Popular: Vida y Arte.” Student night is generously sponsored by the Friends of the Georgia Museum of Art and the UGA Parents and Families Association.

Lectures & Gallery Talks Panel Discussion: El Taller de Gráfica Popular: Vida y Arte Thursday, August 20, 7 p.m.

September Sun

Student Night Thursday, September 10, 6:30–8:30 p.m.

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Schedule a Visit to the Georgia Museum of Art To schedule a class visit or student assignment at the Georgia Museum of Art, please call us at 706.542.4662 at least two weeks prior to the visit. Scheduling in advance enables us to prepare for your visit whether it is a self-guided visit led by an instructor, a docent-led tour or students who will be coming on their own to complete an assignment.

Educational programming in conjunction with “El Taller de Gráfica Popular: Vida y Arte” is supported in part by a Title VI Department of Education National Resource Center grant administered by the Latin American and Caribbean Studies Institute at the University of Georgia.

Join artists Arturo García Bustos and Rina Lazo (members of El Taller de Gráfica Popular) and scholars on the print workshop for a lively discussion of the workshop and prints in the exhibition. Partially in Spanish, with live translation.

Contemporary Western Art: More than Cowboys and Indians Seth Hopkins, director, Booth Western Art Museum Thursday, September 24, 5:30 p.m. The Booth Western Art Museum in Cartersville, Georgia, houses the country’s best collection of Contemporary Western American Art. Hopkins will define “contemporary” and “Western” in this lecture while tracing artistic developments in Western art over the past 50 years. He will also discuss the daunting legacy facing today’s Western artists, left by those working from 1830 to 1930.

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

Puppetry Party Saturday, July 18, 10 a.m.–noon Families are invited to check out paintings, puppets and works on paper by artist Ralph Chessé, then create their own scarf marionette puppets in the Michael and Mary Erlanger Studio Classroom. Participants will also receive basic puppeteer instruction so they can put on a show back at home! This program will include a performance of “The World of Anansi the Spider,” presented by the Columbia Marionette Theater in the auditorium at 11 a.m. The show will last approximately 30 minutes and features several folk tales narrated by the storyteller Anansi, a classic character in African, Jamaican and Gullah stories.

Back to School Celebration Saturday, August 15, 10 a.m.–noon Celebrate the back-to-school season with fun interactive gallery stations in the museum’s permanent collection, then get ready for the new school year by decorating a

Spotlight Tour: Highlights from the Permanent Collection Sunday, July 26, August 9 and September 27, 3 p.m. Led by docents.

pencil case and notebook.

Artful Conversation: Ralph Chessé Wednesday, August 5, 2 p.m.

Line, Shape and Form Saturday, September 12, 10 a.m.–noon

Join Carissa DiCindio, curator of education, for an in-depth conversation about selected works in the exhibition “Ralph Chessé.”

Line, shape and form are three important building blocks of works of art. Explore the ways artists use these elements to compose works of art in the permanent collection, then create your own masterpiece to take home.

Tour at Two: Decorative Arts Wednesday, August 12, 2 p.m. Led by Dale Couch, curator of decorative arts.

Films

Tour at Two: “Art Hazelwood and Ronnie Goodman: Speaking to the Issues” Wednesday, August 19, 2 p.m. Led by museum director William Underwood Eiland.

¡Viva México! Film Series Presented in conjunction with the exhibition “El Taller de Gráfica Popular: Vida y Arte.” This film series is generously sponsored by

In celebration of "El Taller de Gráfica Popular: Vida y Arte," the Museum Shop has imported a fantastic selection of Mexican handicrafts, available only for the duration of the exhibition.

Tour at Two: “Ralph Chessé” Wednesday, August 26, 2 p.m. Join Brittany Ranew, Kress Interpretive Fellow, for a look at this exhibition of paintings, puppets and works on paper.

“An Artful Revolution: The Life and Art of the Taller de Gráfica Popular” Thursday, July 9, 7 p.m. This documentary explores the life and art of the artists of the Mexican printmaking collective started in the 1930s. Coproduced by Octavio Blanco and Rivka Einy. 2008, 28 min. Following the film, join Carissa DiCindio, curator of education, and Melissa Harshman, printmaking chair at the Lamar Dodd School of Art, for a gallery discussion in the exhibition.

“The Storm That Swept Mexico” Thursday, July 16, 7 p.m. The Mexican Revolution (1910–20) was the first revolution of the 20th century and the first one recorded on film. This documentary examines the immensely complex historical, social, political, economic and cultural forces that generated the conflict, determined its trajectory and influenced its legacy. The revolution changed the course of Mexican history and had a profound impact on relationships between Mexico and the rest of the world. Produced by Ray Telles. 2011, 116 min.

Tour at Two: “El Taller de Gráfica Popular” Wednesday, September 9, 2 p.m.

Please visit our website for updated information on the other films in this series, scheduled for Thursday, July 23 and Thursday, July 30.

Join Callan Steinman, associate curator of education, for a discussion of Art Rosenbaum’s “McIntosh County Shouters.”

Led by Sarah Kate Gillespie, curator of American art.

Artful Conversation: “McIntosh County Shouters” Wednesday, September 23, 2 p.m.

Workshops & Classes Tours

Teen Studio Thursday, August 27, 5:30–8:30 p.m.

Led by docents.

Artful Conversation: “El Taller de Gráfica Popular: Vida y Arte” Wednesday, July 8, 2 p.m. Join Carissa DiCindio for an in-depth conversation about selected prints in the exhibition “El Taller de Gráfica Popular: Vida y Arte.”

Thursday Twilight Tour: Highlights from the Permanent Collection Thursday, July 16, August 20 and September 17, 6 p.m. Led by docents during Third Thursday.

Tour at Two: Kress Connections Wednesday, July 22, 2 p.m. Join Brittany Ranew, Kress Interpretive Fellow, for a special look at works in the Samuel H. Kress Collection and connections to other works in the permanent collection.

Teens ages 13–18 are invited to participate in this workshop led by local artist and educator Kristen Bach. Teens will explore the politically engaged work of Mexican printmakers in the exhibition “El Taller de Gráfica Popular: Vida y Arte,” then experiment with various printmaking techniques in the studio classroom. Pizza dinner and drinks are included. This program is free, but space is limited. Call 706.542.8863 or email callan@uga.edu to reserve a spot.

Watercolor and Gouache Workshop Thursday, September 3, 10, 17 and 24, 6:30–8:30 p.m. Join Athens-based artist and educator Brian Hitselberger for a four-part workshop introduction to watercolor and gouache materials and techniques. This workshop is open to artists of all levels of experience, from enthusiastic beginners to more seasoned practitioners. All sessions will draw inspiration from the museum’s collections, including works from the archives and many not currently on display. The cost of the course is a $15 materials fee, which will cover all necessary supplies for the four sessions. Call 706.542.8863 or email callan@ uga.edu to register. Limited to 15 participants.

1. Painted clay Catrinas ($65 each) 2. Papier-mâché dove centerpiece ($19.99)

5. Montesinos painted angels ($35 each)

www.georgiamuseum.org

Tour at Two: Highlights from the Permanent Collection Wednesday, July 1, 15 and 29; September 2, 16 and 30, 2 p.m.

6. Catrina market bags ($12.95)

3. Decoupage wooden Catrina boxes ($30 large, $18 small) 4. Milagro votive ($20)

Curator of American art Sarah Kate Gillespie and her husband, Marc Belli, welcomed their sweet baby, Roy Christopher Belli, to the museum family on April 2.

The museum acknowledged its Federal Work-Study students and volunteer interns at the annual Student Appreciation Celebration on April 14. Staff members talked about students’ projects, and each student received a commemorative paperweight featuring the image from his or her identity badge.

Stella Tran joined the museum staff as assistant editor in April. Tran has worked at the Institute of Contemporary Art in Boston in digital marketing strategy and design and most recently as a research assistant at Harvard and in program evaluation for the International Center at the Carl Vinson Institute of Government at UGA.

The Georgia Museum of Art received the following gifts between February 11 and April 20, 2015: Alfred Heber Holbrook Society

Designated

Mrs. George-Ann Knox The Knox Foundation Winthrop Foundation of Athens, Georgia

Todd Emily Mr. John Greene Mr. and Mrs. John F. McMullan Mr. and Mrs. Anthony Montag John and Margaret Page Drs. Gordhan and Virginia Patel Alex and Janet Patterson

Patron

GMOA facet |2015 Summer 2015 GMOA facet | Summer

Alex and Janet Patterson Mr. Alan F. Rothschild, Jr. through the Fort Trustee Fund, Community Foundation of the Chattahoochee Valley

14 14

Director’s Circle

In memory of Lynn Bryant by William Underwood Eiland

Dave and Devereux Burch Dr. and Mrs. James W. Cooper Mrs. Ellen Gibson Mr and Mrs. Mark G. McConnell David R. Mulkey Mr. and Mrs. Benjamin Tarbutton David and Cece Warner Mr. and Mrs. Richard Woodruff

In memory of Daniel H. Magill by Cole and Margie Kelly

Sustaining

In memory of Roy and Charlene Miller by Susan and Jim Cooper

Mrs. Carolyn Bush

In memory of Thomas W. Mapp by Gordhan and Virginia Patel In memory of Cammie Holmes McCook by Cole and Margie Kelly

In memory of Kathy Rowan by Carol Dolson In memory of Edward Burke Sams by Cole and Margie Kelly In honor of Dale Couch by Peggy Galis Many thanks to the members of the Public Affairs and Statewide Outreach Committee of the Board of Advisors who provided generous support for Just My Imagination: June Ball, David Matheny, Marilyn McMullan, Gordhan and Virginia Patel and Janet Patterson. Contributions to the Board of Advisors Memorial Acquisitions Fund: Faye Chambers, Berkeley Minor and Gordhan and Virginia Patel

Congratulations and many thanks to the following members of UGA’s Class of 2015 who made generous Senior Signature Gifts to the Georgia Museum of Art: Taylor A. Bartik Sherry S. Bennett Shelley E. Bonin Victoria T. Carroll-Jave Margaret Davis Terri Edgar Katherine B. Foster Caitlin M. Jones Bit N. Kim Ashlyn L. Love Jonathan D. Lynn Samuel A. Payne Jennifer Pena Vicki K. Pratt Michelle A. Sawyer

For more photos, visit us on Flickr, Facebook or Instagram.

Family Day

Black History Month Dinner

Feb. 4â&#x20AC;&#x201C;6, 2016 Folk and Folks: Variations on the Vernacular The Eighth Henry D. Green Symposium of the Decorative Arts

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

Support our programming and exhibitions. Join on our website, georgiamuseum.org, or call 706.542.0830.

www.georgiamuseum.org

Save the date!

Teen Studio

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UNIVERSITY OF GEORGIA 90 Carlton Street

athens, ga permit no. 49

Athens, Georgia 30602-1502 www.georgiamuseum.org address service requested

GMOA facet | Summer 2015

summer 2015

Athens Quilt

Membership Challenge

Exhibitions