Facet – Winter 2012

facet

Exhibitions: A Divine Light

Alexandra Exter: Costume Design for Aelita

Donor Spotlight:

www.georgiamuseum.org

Winter 2012

Larry and Brenda Thompson

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From the Director

Department of Publications Hillary Brown and Mary Koon Publications Interns Nicollette Higgs Design The Adsmith

The Georgia Museum of Art, especially in its new incarnation, is always cognizant of its donors and their wishes. Often, when the curators and I visit them, we hear the same objection: “If I give you that work of art, it’s just going to end up in storage. Why should I give it to you to put in the

Georgia Museum of Art

basement?” I have a ready response, the veracity of which I am sure. We

University of Georgia

are an academic museum, which means not just that our exhibitions have

90 Carlton Street

a scholarly bent and that we share the mission of the University of Georgia,

Athens, GA 30602-6719

but that our collection is available for study. Even if an object is temporarily

www.georgiamuseum.org

not on view (frequently the case for delicate works on paper, which make

Bill Eiland

Admission: Free ($3 suggested donation)

up the majority of our collection), it is always available to students, scholars and the public. That is the purpose of the Shannon and Peter Candler Collec-

HOURS

tions Study Room and of our Study Centers in the Humanities, supported by a grant from the National Endowment

Galleries: Open to classes and school

for the Humanities, both of which have been used often and widely since we reopened.

groups by appointment only, Monday and

For example, a UGA graduate student has been using the archives of the Henry D. Green Center for the Study

Tuesday. Open to the public Wednesday,

of the Decorative Arts and the Green library to examine aspects of a silver coffee urn originally owned by Howell

Friday and Saturday, 12–5 p.m.;

Cobb. She will present her findings at the Green Symposium in February. Another has used the Centers’ resources

Thursday, 12–9 p.m.; Sunday, 1–5 p.m.

to study the Blair-Daura chest for possible attribution to the North Carolina cabinetmaker Thomas Day. She, too,

Jane and Harry Willson Sculpture Garden:

will present her findings at the symposium. These students are working directly with works of art.

Tuesday, Wednesday, Friday and Saturday,

The Pierre Daura

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

We are an academic museum, which means not just that our

Archive, which con-

exhibitions have a scholarly bent and that we share the mission

tains its own works of

Sunday, 1–5 p.m. Closed on Mondays.

art, has also attracted

Museum Shop: Tuesday, Wednesday,

of the University of Georgia, but that our collection is available

considerable atten-

Friday and Saturday, 10 a.m.–4:45 p.m.;

tion. One UGA gradu-

for study. Even if an object is temporarily not on view, it is always

Thursday, 10 a.m.–8:45 p.m.; Sunday,

ate student has been

available to students, scholars and the public.

1–4:45 p.m. Closed on Mondays.

using it for research

Ike & Jane at the Georgia Museum of Art:

on a future exhibition

Tuesday–Friday, 10 a.m.–4 p.m.

on the artist and the Spanish Civil War. Another UGA student assisted Lynn Boland, our Pierre Daura Curator of European Art, in organizing the exhibition “Introduction to the Centers.” These students are gaining valuable expe-

706.542.GMOA (4662)

rience in curatorial practice as well as making use of donated objects not always on display.

Fax: 706.542.1051

An undergraduate metalcrafting class, given the assignment to make a spoon, examined a selection of spoons

Exhibition Line: 706.542.3254

from the permanent collection dated 1680 to 1980 in order to understand the evolution of spoons. One of UGA’s Freshman Odyssey classes studied examples of pottery and quilts from the collection within the context of com-

Mission Statement The Georgia Museum of Art shares the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as a repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art.

munitarian craft, and an undergraduate student from Mary Baldwin College used the Green Center Archives, Colonial Dames survey, and works from the collection in research on textiles and quilts. Our art is not stuck in the basement where no one sees it! It is seen and studied on a daily basis.

On another, less happy note, I am saddened by the deaths of John Nickerson and Hannah Harvey, two great friends to this museum. John was a member of our Board of Advisors, and he and his wife, Madolyn, were close personal friends of mine as well as supporters of the museum. I admired him greatly and send my condolences to his family. Hannah was a docent for many years, and during my 23 years at the museum, she was a constant in my professional life. She and her husband, Irv, were some of my and Andrew’s earliest friends in Athens. Hannah delighted me. Hannah confounded me. Hannah taught me. I and the staff of the museum will miss both John and Hannah greatly. Their lives are part of the history of this museum.

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

William Underwood Eiland, Director

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 Endowment for the Arts. Individuals, foundations and corporations provide additional support

GMOA facet | Winter 2012

through their gifts to the University of Georgia

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BOARD OF ADVISORS

Ms. Sally Dorsey

Georgia Museum of Art

Professor Marvin Eisenberg

Mrs. Berkeley S. Minor Mr. C. L. Morehead Jr.

Ms. Cathy Selig-Kuranoff

Foundation. The Georgia Museum of Art is

Mr. S. Stephen Selig III

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

Ms. Carlyn F. Fisher

Ms. Jane C. Mullins

Mrs. Margaret R. Spalding

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

Mr. James B. Fleece

Mr. Carl W. Mullis III, chair

Mrs. Dudley R. Stevens

Dr. Amalia K. Amaki

Mr. Edgar J. Forio Jr.

Mr. Donald G. Myers

Mrs. Carolyn W. Tanner

Mrs. Frances Aronson-Healey

Mr. Harry L. Gilham Jr.

Mrs. Betty R. Myrtle

Mrs. Judith M. Taylor

Turner I. Ball, M.D.

Mr. John M. Greene

Mrs. Deborah L. O'Kain

Dr. Brenda A. Thompson

Ms. Karen L. Benson

Mrs. Helen C. Griffith

Mrs. Janet W. Patterson

Mrs. Barbara Auxier Turner

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

Mr. C. Noel Wadsworth

Ms. Kathy B. Prescott

Dr. William F. Prokasy IV

Mr. G. Vincent West

Mr. Rowland A. Radford Jr.

Dr. Carol V. Winthrop

Mrs. George-Ann Knox

Ms. Margaret A. Rolando

Ex-Officio

Mrs. Debbie C. Callaway

Mrs. Shell H. Knox

Mr. Alan F. Rothschild Jr.

Mrs. Linda C. Chesnut

Mr. Randolph W. Camp

Mr. David W. Matheny

Mrs. Dorothy A. Roush

Dr. William Underwood Eiland

Mrs. Shannon I. Candler, past chair

Ms. Catherine A. May

Mrs. Sarah P. Sams

Mr. Tom Landrum

Mrs. Faye S. Chambers

Mrs. Helen P. McConnell

Mr. D. Jack Sawyer Jr.

Professor Jere W. Morehead

Mr. Harvey J. Coleman

Mr. Mark G. McConnell

Mrs. Helen H. Scheidt

Dr. Libby V. Morris

Mrs. Martha T. Dinos

Mrs. Marilyn M. McMullan

Mr. Henry C. Schwob

Karen W. Prasse, M.D.

Mrs. Marilyn D. McNeely

Mrs. Ann C. Scoggins

Ms. Georgia Strange

Mrs. Annie Laurie Dodd

Contents FEATURES

05

06

08

13

Pattern and Palette

A Divine Light

Silver

Family Day

in Print

Exhibitions

04

From the Collection

07

Donor Spotlight

10

Calendar of Events

12

Museum Notes

14

Event Photos

15

On the front cover:

On the back cover:

Alexandra Exter (Russian-Ukrainian, 1882–1949)

Gentry, no. 10, Spring 1954

Costume design for Aelita, 1924

Drawing of a Japanese actor,

Graphite, collage and gouache on paper

19th century

16 1/4 x 11 1/4 inches Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Collectors of the Georgia Museum of Art and Board of Advisors members Robert E. Burton, Randolph W. Camp, Marion E. Jarrell, David W. Matheny, Marilyn D. McNeely, Carl W. Mullis III, Deborah L. O’Kain and Sarah P. Sams GMOA

2011.367

Inclement Weather: The Georgia Museum of Art follows the inclement weather policies of the University of Georgia. When the university is closed, the museum is closed as well. Announcements are posted to www.uga.edu and www.uga.edu/news, appear on Athens Charter cable channel 15 and can be heard on Athens radio stations 880, 960 and 1340 (AM) and 88.9,

www.georgiamuseum.org

90.5, 91.7, 97.9, 102.1, 103.7 and 106.1 (FM).

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Exhibitions

Georgia Bellflowers: The Furniture of Henry Eugene Thomas January 14–April 15, 2012 Henry Eugene “Gene” (or “Shorty”) Thomas

United States, in the history of the study of decorative

to them without extensive scientific analysis—for the

(1883–1965) worked from his home in Athens, Ga.,

arts in the South and as a 20th-century Georgia crafts-

same reason, some of his reproductions may be

as an antiques dealer and furniture maker for more

man. The exhibition features approximately 17 pieces of

mistaken for antiques. Therefore, clearly documenting

than four decades. Because he relied on locally found

furniture, as well as related ephemera, and is accompa-

works known to have been made by him or worked

antiques for inspiration and because he favored local

nied by a full-color catalogue available for purchase in

on by him will prove important to the ongoing study

woods such as walnut, cherry and maple, his furniture

the Museum Shop. Because Thomas’ association with

of furniture in Georgia.

has a distinctly regional flair. In particular he used a

many of the antiques he found is not recorded, the

simple bellflower inlay motif that Athenians came to

level of his influence may never be fully realized, and

Curator: Ashley Callahan, independent scholar

recognize as his trademark and that likely is rooted in

because he used old woods and traditional methods

Gallery: Lamar Dodd Gallery

a local historical use of the form. The first exhibition

when working on antiques that now have had an addi-

Sponsors: Helen C. Griffith, the W. Newton Morris

devoted to this artist and his work, “Georgia Bellflowers”

tional 60 to 90 years to age, it may not be possible to

Charitable Foundation and the Friends of the

documents Thomas’ roles in the Colonial Revival in the

determine exactly what repairs and alterations he made

Georgia Museum of Art

Will Henry Stevens January 21–March 25, 2012 In 2001, the Will Henry Stevens Memorial Trust via Janet Stevens McDowell, the artist’s daughter, presented the Georgia Museum of Art a large gift of diverse work by the American painter. Stevens was born in Vevay, a small Indiana town along the Ohio River between Louisville and Cincinnati. He studied at the Cincinnati Art Academy, run by Frank Duveneck, worked at Rookwood Pottery and attended classes at the Art Students League in New York with American Impressionists William Merritt Chase and Jonas Lie. In 1921, Stevens was offered a teaching position at Sophie Newcomb College, Tulane University, in New Orleans, La., which provided him with a stable income for the next 27 years. Although he frequently visited New York during the remainder of his career, Stevens emerged as a regional artist whose works were primarily known in the South until the 1940s. During the 1930s and 1940s, Stevens painted in three modes: an American Scene style, an American abstraction that retained elements of naturalism and a geometric abstraction. In many of the images in this special display, Stevens creates work that demonstrates his interest in the GMOA facet | Winter 2012

harmonious interconnection between the visible planet and the universal

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world that exists beyond human senses.

Curator: Paul Manoguerra, chief curator and curator of American art Gallery: Boone and George-Ann Knox Gallery II Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

To Make a World: George Ault and 1940s America February 18–April 16, 2012 This exhibition is the first major one of Ault’s work in more than 20 years and includes 46 paintings and drawings by the artist and his contemporaries. It centers on four paintings Ault made between 1943 and 1948 depicting the crossroads of Russell’s Corners in Woodstock, N.Y. The mystery in Ault’s series of nocturnes captures the anxious tenor of life on the home front. With Alexander Nemerov, Vincent Scully Professor of the History of Art at Yale University, serving as curator, “To Make a World: George Ault and 1940s America” is organized by the Smithsonian American Art Museum with generous support from Dolores and John W. Beck, Joan and E. Bertram Berkley, Diane and Norman Bernstein Foundation, Janet and Jim Dicke, Sheila Duignan and Mike Wilkins, Barney A. Ebsworth, Tania and Tom Evans, Kara and Wayne Fingerman, Furthermore: a program of the J.M. Kaplan Fund, Wolf Kahn and Emily Mason Foundation, Joffa and Bill Kerr, Robert S. and Grayce B. Kerr Foundation, John and Gail Liebes Trust, Paula and Peter Lunder, Betty and Whitney MacMillan, Margery and Edgar Masinter, Oriana McKinnon, Susan Reed Moseley, and Betty and Lloyd Schermer. Additional funding is provided through the museum's William R. Kenan Jr. Endowment Fund and Gene Davis Memorial Fund. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, Treasures to Go. The accompanying exhibition catalogue is available for purchase in the Museum Shop.

In-House Curator: Annelies Mondi, deputy director Galleries: Boone and George-Ann Knox I, Rachel Cosby Conway, Alfred Heber Holbrook and Charles B. Presley Family Galleries Sponsors: The West Foundation, Boone and George-Ann Knox, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

A collaboration with undergraduate fabric-design students

imagery and themes in the magazine. The exhibition will

Curators: Mary Koon, editor, Georgia Museum of Art;

at UGA’s Lamar Dodd School of Art, this exhibition takes

consist of all 22 Gentry magazine covers, the students’

Clay McLaurin, fabric design chair, Lamar Dodd

as its inspiration Gentry magazine, a 1950s men’s lifestyle

patterns, a small selection of period menswear and gift

School of Art; and Susan Hable Smith,

magazine that successfully captured nearly a decade of

items for women frequently advertised in the magazine

creative director, Hable Construction

trends in menswear, with special emphasis on textiles and

and objects from the Color Association of the United

Gallery: Dorothy Alexander Roush and

color. As part of a lesson in color forecasting and its

States, including a book of original color forecasts for

Martha Thompson Dinos Galleries

significance to fabric design, students were asked to find

1949–1954. The exhibition will also feature interior pages

Sponsors: The National Endowment for the Humanities,

inspiration in the pages of Gentry and in other 1950s-era

of both Gentry and American Fabrics magazines to

the W. Newton Morris Charitable Foundation and

media for creating a relevant master color palette, which

illustrate the students’ sources of inspiration as well as

the Friends of the Georgia Museum of Art

they applied to patterns of their own design, inspired by

period color trends.

www.georgiamuseum.org

Pattern and Palette in Print: Gentry Magazine and a New Generation of Trendsetters March 17–June 17, 2012

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A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery March 17–July 29, 2012 Organized by the Frist Center for the Visual Arts in Nashville, Tenn., and the Bob Jones University Museum & Gallery in Greenville, S.C., “A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery” and its accompanying catalogue, which have been awarded financial support from the Samuel H. Kress Foundation, present 28 works of art from one of the finest collections of Old Master paintings in the Southeast. Dr. Bob Jones Jr. acquired these paintings for the art museum he founded in 1951, and “A Divine Light” marks the first time that they have been the sole focus of an exhibition.

Designed as an intimate encounter with the devotional art of the 15th and 16th centuries, “A Divine Light” explores the ways in which Northern Renaissance artists expressed the central mysteries of the Christian faith through setting, pose, gesture and the objects of everyday life.

In-House Curator: Lynn Boland, Pierre Daura Curator of European Art Galleries: Virginia and Alfred Kennedy and Philip Henry Alston Jr. Galleries Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Don’t Miss

Works of Art

Quiet Spirit, Skillful Hand: The Graphic Work of Clare Leighton

Lycett China Martha Thompson Dinos Gallery

Henry Eugene Thomas (page 4, top)

Boone and George Ann Knox I, Rachel

On view through March 4

(American, 1883–1965)

Pattern and Palette in Print (page 5, bottom, l to r)

Pair of endtables, n.d.

Alice Serres

Walnut

Koi Meditation, 2010–11

28 1/4 x 19 1/8 x 16 1/2 inches, each

and

Collection of Betty Gorham

Gentry no. 11, Summer 1954

Cosby Conway, Alfred Heber Holbrook and Charles B. Presley Family Galleries On view through February 3

Introduction to the Centers (Henry D. Green Center for the Study of the Decorative Arts)

Bill Viola: Collected Work, 1977–80

Dorothy Alexander Roush Gallery

Alonzo and Vallye Dudley Gallery

On view through March 4

Japanese woodcut by

Will Henry Stevens (page 4, bottom)

Yanagawa Shigenobu, 1820

(American, 1881–1949)

On view through February 19

All Creatures Great and Small

Untitled (Louisiana neighborhood), n.d.

A Divine Light (above)

Dale Nichols: Transcending Regionalism

T-Gates, Hartsfield-Jackson

Pastel on laid paper

Gerard David

Virginia and Alfred Kennedy Gallery

Airport, Atlanta

22 x 18 1/16 inches (sheet)

The Risen Christ

On view through April

Gift of the Will Henry Stevens Memorial Trust

From the Bob Jones

and Janet Stevens McDowell

University Collection

On view through February 27

Images of the Midwest from the Collection

GMOA

2001.31

Philip Henry Alston Jr. Gallery

George Ault (page 5, top)

On view through February 27

(American, 1891–1948) Nude and Torso, 1945 Oil on canvas 26 x 16 inches Courtesy of Zabriskie Gallery Photo by David Heald

In celebration of the exhibition “Georgia Bellflowers: The Furniture of Henry Eugene Thomas,” the

GMOA facet | Winter 2012

Friends of the Georgia Museum of Art

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and the Athens Historical Society will present a lecture by Ashley Callahan on Sunday, January 15 at 2:30.

The lecture will be followed by a gallery tour and reception. All events are free and open to the public. RSVP to 706.542.GMOA (4662).

From the Collection: NEW ACQUISITION

Alexandra Exter’s Costume design for Aelita

Poster advertising the film “Aelita: The Queen of Mars,” 1924.

S

ince 2002, as one of many goals for the collection of European art, we have supplemented and supported our works by Pierre Daura (Catalan-American, 1896–1976), putting them into context with paintings by the artist’s colleagues and contemporaries.

Daura was cofounder along with Joaquín Torres-García and Michel Seuphor of the group Cercle et Carré (Circle and Square), formed in 1929 and dedicated to the universal language of abstract art. The Film still from “Aelita: The Queen of Mars” showing Exter’s costume design.

group brought together the major styles of abstraction practiced in Europe in the late 1920s—Dada, De Stijl, Purism, Bauhaus—all of which were deeply

albeit slightly modified: the colorful winglike elements

rooted in the aesthetic and theoretical principles

were not included but seem to have been adopted for

of Russian Constructivism.

another of the film’s costumes. The work’s flat and

Alexandra Exter (Russian-Ukrainian, 1882–1949)

geometric, yet dynamic forms and bright, non-natural-

was a pioneering figure in modern art and an impor-

istic colors are hallmarks of the Russian avant-garde.

tant member of Cercle et Carré. Exter, who was active

In addition to its importance to our collection and

in Paris at the time, was the only Russian Constructiv-

to our upcoming Cercle et Carré exhibition, this work

ist whose work was included in Cercle et Carré’s sole

fosters study across academic disciplines, bringing

exhibition, in 1930. Her work highlights the group’s

together film studies, theater history, set and costume

democratic and egalitarian nature socially and art

design, fashion design, women’s studies, Slavic stud-

historically, key themes in a major upcoming exhibi-

ies, literature and art history. It also offers excellent

tion on Cercle et Carré organized by GMOA.

entry into abstraction. Exter’s design is firmly based on

Exter painted totally abstract canvases, but she is best known for and was most prolific in her production

Alexandra Exter (Russian-Ukrainian, 1882–1949). Costume design for Aelita, 1924.

Constructivist artistic theories and clearly demonstrates the Constructivist style, but it is a costume, to be worn by a person, making it accessible in a way that is rarely afforded by other abstract styles.

Exter painted totally abstract canvases, but she is best known for and was most prolific in her production of set and costume designs, including many for Sergei Diaghilev’s famous Ballet Russes.

This work was purchased from Galerie Stolz, a high-end gallery in Berlin, Germany, specializing in European abstraction from this period. We are grateful to GMOA Board of Advisors members Robert E. Burton, Randolph W. Camp, Marion E. Jarrell, David W. Matheny, Marilyn D. McNeely, Carl W. Mullis III, Deborah L. O’Kain and Sarah P. Sams and the Friends’ vibrant group the Collectors for donating the funds for this important acquisition.

of set and costume designs, including many for Sergei

younger relative of Leo Tolstoy. The film lays claim

Diaghilev’s famous Ballet Russes. Exter contributed

to being the first full-length motion picture to feature

two designs for an unspecified ballet to the Cercle et

space travel (yes, the Soviets beat us into space in

Carré exhibition. The work acquired by the Georgia

real life and on the silver screen). The plot involves a

Museum of Art is a costume design in graphite, collage

Soviet engineer who designs a spaceship and travels

and gouache on paper for the title character of “Aelita:

to Mars, where he falls in love with the Martian queen.

The Queen of Mars” (1924), a silent film directed by

Although the narrative involves a revolution against

Yakov Protazanov, based on the novel “Aelita or the

the Martian ruling council, the film was later banned

place on Thursday, March 1, at 7 p.m. in the M. Smith

Decline of Mars” (1923) by Aleksei Tolstoy, a distant

in the Soviet Union. This costume appears in the film,

Griffith Auditorium.

Exter’s costume design for Aelita will be on view in the H. Randolph Holder Gallery through March 11, 2012.

A screening of “Aelita: The Queen of Mars” will take

www.georgiamuseum.org

Lynn Boland, Pierre Daura Curator of European Art

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From the Collection: Silver

T

he last decade of the decorative arts initiative

most New York silversmiths were compelled either

has seen the emergence of silver as a major

to close their doors or to curtail their production. The

component of the museum’s collections and

museum owns two major works by Marquand, both

a focus of the Henry D. Green Center for the

gifts of Beverly Hart Bremer: a superb water pitcher

Study of the Decorative Arts. Silver is a stable material,

and a teapot with a figural handle, either a lion or fox

and it allows for indefinite exhibition. It is usually limited

(lower left).

in scale and is relatively inexpensive to store and main-

“Presentation” silver features an inscription relating

tain. It is a valuable material, and design expressions

to its status as a gift or a commemoration and, as

in silver are seldom inferior or unfashionable. Silver is a

such, captures a moment in history. The water pitcher

unique opportunity to integrate the decorative arts into

in GMOA’s collection (opposite page) made in New York

the mainstream of art history.

by Baldwin Gardiner (1791–1869) and presented to

Forms crafted in this undeniably elite medium provide

Rev. Talmage represents the best of American silver

an interesting balance to our excellent collection of

at the time and clearly signifies that Augustans were

vernacular painted furniture. These objects actually

cognizant of the most fashionable taste in the country.

shared the same domestic space more often than many

It also enshrines the role of a beloved pastor and teacher

would guess. Silver was widely distributed in early

whose departure from Augusta was Milledgeville’s gain.

America, and even a yeoman farmer might have six

Postbellum silver is counterintuitive for its quantity

teaspoons for his daughter’s trousseau. We have docu-

in our region, considering the long-standing notion of

mented silver in the collections of the families of free

southern poverty following the Civil War. In fact, this

persons of color, churches of many denominations

period included lavish awards and ubiquitous purchase

(including African American congregations), the young

of silver. The museum received an excellent example,

and the elderly. One remarkable instance featured an

a remarkable small pitcher presented to Miss Ida

enslaved African American on Georgia’s coast being

Feuchtwanger at the 1869 State Agricultural Society

presented with an outstanding and very valuable silver

Fair in Macon, from Sally Hawkins in memory of Paul

tankard. Most silver, however, was in the homes of the

Hawkins (right). We also recently put on display in the

well-to-do. There were many wealthy families in 19th-

Nancy Cooper Turner Gallery an aesthetic-period soup

2

century Georgia, and silver touched the lives of most Georgians. We have scores of fine examples of flatware exhibited in the Phoebe and Ed Forio Gallery, most of it with strong Georgia associations, makers or consumers.

We regard the silver that played a role in Georgia’s households as Georgia silver. Frederick Marquand (1779–1882) trained in Georgia but eventually moved to New York, where technical developments fostered the manufacture of silver in a proto-industrial mode. He continued to target the wealthy region of the South and Georgia in particular, as did many New York producers of silver. To some degree the taste of southerners directed the national style and, during the American Civil War,

We have documented silver in the collections of the families of free persons of color, churches of many denominations (including African American congregations), the young and the elderly.

One remarkable instance featured an enslaved African American on Georgia’s coast being presented with an outstanding and very valuable silver tankard.

tureen alongside the late-19th-century paintings hung there. This remarkable object displays fine filigree in the context of Moorish revival aesthetic and belonged to Virginian Martha Feild Blair, whose daughter Martha Randolph Daura generously gave it to the museum. Chief curator Paul Manoguerra has fostered this integration of the fine arts and the applied arts, which has become a popular feature of GMOA’s exhibition style.

Silver adapts to regional cuisine, and we are very fortunate to have two sets of fried chicken tongs in our collections, one purchased with funds provided by Bremer and the other a gift of Edgar and Betty Myrtle, (opposite, above). Today, fried chicken is such an informal food most people chuckle when this form is explained to them. There was a time, however, that the GMOA facet | Winter 2012

dish was restricted to the spring season and regarded

8

as a delicacy. As fried chicken became part the national diet, fried chicken tongs were adopted by silver manufactures. Tiffany & Co. actually produced a small version 1

that mimicked a chicken claw in place of the fork.

Silver forms also demonstrate counterintuitive history. A gift of LaTrelle Brewster, our wonderful olive

3

spoon (below) was sold in Columbus, Ga., around 1850. Few people recall that Georgia produced thousands of gallons of olive oil at that time and that Thomas Jefferson had instigated the crop with a gift of 250 trees from Italy. Georgia actually exported olive oil to Italy in the 19th century. Unfortunately, the addition of cotton-

1. Frederick Marquand

seed oil diluted much of it in quality and eventually

American (1779–1882, active Savannah, Georgia, and New York, New York)

caused an international scandal. The olive spoon is a

Teapot, ca. 1820–40

wonderful reminder of that colorful part of our state’s

Coin silver and wood

agricultural history, especially when attempts are being

Georgia Museum of Art, University of Georgia; Gift of Beverly H. Bremer

made to renew the olive here. This year, Georgia reported

GMOA

2005.94

its first crop of olives since the 1800s.

2. Firm of Albert Coles & Company

As this article goes to press, we are mounting a display

(active New York, New York, 1835–1877)

in the Frances Yates Green display case in the new wing

Retailed by L.H. Wing (ca. 1837–after 1869

that will include six choice examples of British rococo

active in Macon, Georgia)

silver. The British sterling standard produced some of the

Cream pitcher or “creamer,” ca. 1869 Coin silver

finest silver in the world. Georgians imported British silver,

Georgia Museum of Art, University of Georgia;

and letters and diaries show they also shopped for it in

Gift of Sally W. Hawkins in memory of Paul Hawkins

England. A recent study indicates that about 81,000 troy

GMOA

ounces of silver articles were imported into the Carolina

2010.319

3. Newton E. Crittenden

low country between 1730 and 1765. Although the area

(1826–1872, active Cleveland, Ohio)

was still thinly peopled at this time, this amount repre-

Fried chicken tongs, ca. 1856 Coin silver

sented about a third that shipped to all colonies. Most

Georgia Museum of Art, University of Georgia;

importations to Georgia at this time came through Charles-

Gift of Edgar and Betty Myrtle

ton and were transferred by boat to coastal Georgia

GMOA

towns. Direct trade existed between Augusta and Charles-

2004.14

4. Baldwin Gardiner

ton; one Augustan’s will specified mourning rings from

(1791–1869; active Philadelphia 1815–1826,

his friend the Scottish silversmith Alexander Petrie.

active New York 1827–1847) Pitcher, ca. 1836

We are fortunate to have support for European silver from

Coin silver

4

the W. Newton Morris Charitable Foundation.

Georgia Museum of Art, University of Georgia; Museum purchase GMOA

2005.31

5. J. Hayden (active Columbus, Georgia, ca. 1850s) Olive spoon, ca. 1850 Coin silver Georgia Museum of Art, University of Georgia; Museum purchase with funds provided

by LaTrelle Brewster GMOA

2010.291

Silver is an adaptable medium that reveals style impulses in most parts of the world. Our focus is regional, but our context is universal. We would welcome an excellent piece of Renaissance or Baroque silver into

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our collection. Modern silver is a beautiful and serene

place our region in context and increase our understanding

expression of clean design. We are fortunate in that

and appreciation of regional craft and consumption.

The silver program at GMOA is indebted to numerous

the 20th century, including Ann Orr, whose work is

donors and indispensable supporters. A very special debt

represented in our collection along with the work of her

of gratitude is owed to Beverly Hart Bremer, who has

students. The Collectors recently provided funds to

donated numerous silver objects and generous funds to

purchase a remarkable piece of Mexican silver: a pie

support this important facet of our museum.

server by William Spratling (1900–1967). Interestingly, Spratling had Alabama roots and was a personal friend

Dale L. Couch, Adjunct Curator, Henry D. Green Center

of Orr’s. These kinds of connections to the broader world

for the Study of the Decorative Arts

www.georgiamuseum.org

Athens was home to several important metalworkers of

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Donor Spotlight: Larry & Brenda Thompson

museum. Larry joined Georgia Law this fall as the John A. Sibley Professor in Corporate and Business Law. Having served as former deputy attorney general for the United States and former senior vice president of government affairs, general counsel and secretary for PepsiCo., he is teaching about corporate law and white-collar crime. Previously, he was a partner in the Atlanta office of King & Spalding and served as the U.S. Attorney for the Northern District of Georgia, where he directed the Southern Organized Crime Drug Enforcement Task Force and was a member of the Attorney General’s 1

B

renda Thompson has described the collection of

psychology from Saint Louis University

African American art she and her husband, Larry,

at Morehouse College in the depart-

in 1980. She was an assistant professor ment of psychology before focusing on child and adolescent mental health, first as a clinical psychologist and then as a

Organized by the David C. Driskell

“adult hometown” of Atlanta, they first

school psychologist. A longtime patron

Center for the Study of Visual Arts

purchased work from artists in the area

and leader in the arts, she also serves on

and Culture of African Americans

and decided to focus on African

the board of trustees for the Barnes

and the African Diaspora at the

American artists who lived or spent

Foundation in Philadelphia and for the

University of Maryland, College Park,

time in the city. They hosted art parties,

Bruce Museum in Greenwich, Conn.

“Tradition Redefined: The Larry and

introducing artists and collectors.

Brenda Thompson Collection of

Atlanta artist Kevin Cole told Brenda

collection, the couple will also fund an

African American Art” was one of

that he would always make a sale after

endowment to support a new curatorial

five temporary exhibitions on display

one of their parties. The Thompsons

position at the museum known as the

in conjunction with GMOA’s grand

invested time and energy into building

Larry D. and Brenda A. Thompson

reopening in winter 2011. Now, the

their collection through reading books

Curator of the African Diaspora. This

Thompsons are giving all 72 objects

on African American art, viewing

curator will be a full-time academic

featured in the exhibition, plus 28

private collections and fostering

professional and will oversee the

additional works from their prominent

relationships with artists.

museum’s collection of paintings,

collection of more than 500, to the

GMOA facet | Winter 2012

new member of the GMOA Board of Advisors, received her Ph.D. in clinical

have built as a “very personal collection.”

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Economic Crime Council. Brenda, a

The Thompsons collected work by

In addition to donating to the

sculpture, prints, drawings and archives

museum. This initial donation of 100

lesser-known artists to recognize those

by African and African American

works by African American artists

artists’ contributions and to enrich their

artists, conduct research and develop

mirrors the donation by the museum’s

own collection. Other conscious areas

special exhibitions, lectures and

founder, Alfred Heber Holbrook, of 100

of emphasis included works by African

symposia, and other educational events

American paintings to the citizens of

American artists who showed their

for university and general audiences.

Georgia in 1945 to found GMOA. The

work between 1900 and 1960 in cities

According to GMOA director Bill

Thompsons announced the donation

known for supporting the arts, includ-

Eiland, “With the Thompsons’ gift to

after a panel discussion at the museum

ing Chicago and Atlanta. They also

GMOA, they have quite simply changed

in March 2011 that featured all the

procured works by living artists, adding

the course of this museum. In effect, the

living artists represented in “Tradition

important contemporary images and

Thompson endowment and the gift of

Redefined.”

sculptures to their collection. An

their collection guarantees the ongoing

emphasis on diverse media demon-

study and exposure of African Ameri-

strates the couple’s varied tastes.

can artists in Georgia for posterity.”

“Larry always wanted to be surrounded by art,” Brenda writes in her essay in the “Tradition Redefined” exhibition catalogue. Living in their

Both Larry and Brenda Thompson have significant ties to UGA and the

Samantha Meyer, Public Relations Intern

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The Thompsons collected work by lesser-known artists to recognize those artists’ contributions and to enrich their own collection.

Other conscious areas of emphasis included works

by African American artists

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who showed their work between 1900 and 1960 in cities known for supporting the arts, including Chicago and Atlanta.

SAVE THE DATE Black History Month Dinner

1) Radcliffe Bailey

2) Charles Sebree

3) Camille Billops

(American, b. 1968)

(American, 1914–1985)

(American, b. 1933)

7 Steps, 1994

Woman with Headwrap, 1950

Franco and Tessa, 1989–97

Encaustic on burlap and mixed media

Gouache on paper

Spectracolor pencil on paper

Georgia Museum of Art, University of

19 1/4 x 15 1/4 inches

29 1/2 x 22 inches

Georgia; Promised gift from the Larry

Georgia Museum of Art, University of

Georgia Museum of Art, University of

and Brenda Thompson Collection of

Georgia; Promised gift from the Larry and

Georgia; Promised gift from the Larry

African American Art

Brenda Thompson Collection of African

and Brenda Thompson Collection of

American Art

African American Art

www.georgiamuseum.org

Thursday, February 16, 6 p.m.

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Films

Calendar : Winter 2012

Kress Film Series Sponsored by the Samuel H. Kress Foundation

January

“Caravaggio” Thursday, January 12, 7 p.m.

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Using the styles and themes of the Baroque painter’s own work, “Caravaggio” (1986), offers a fictionalized look at the life of the Italian artist. Directed by Derek Jarman, the film is heavily stylized, incorporating objects and elements of the 20th century in a 17th-century setting, as

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well as beautifully depicted tableaux vivants of several famous works by the artist. 93 minutes, Rated R, contains graphic violence, profanity and sexual themes.

“The Agony and the Ecstasy” Thursday, January 19, 7 p.m.

“The Agony and the Ecstasy” (1965), starring Charlton Heston as Michelangelo Buonarotti, examines the life of the artist and his tenuous relationship with his patron, Pope Julius II, played by Rex Harrison. The film focuses

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on the moment in Michelangelo’s career when he labored

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over the ceiling of the Sistine Chapel. 138 minutes, NR.

“The Flowers of St. Francis” Thursday, January 26, 7 p.m.

February Sun

Mon

“The Flowers of St. Francis” (1950) depicts several distinct vignettes from the life and work of St. Francis.

Tue

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Directed by Roberto Rossellini, the neo-realistic film offers touching and comic moments and exposes the

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true and humble spirit of the order. 87 minutes, NR.

“Aelita: The Queen of Mars” Thursday, March 1, 7 p.m.

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Introduced by Dr. Charles Byrd, lecturer in the Russian, Germanic and Slavic studies department, UGA. This silent film (1924) directed by Yakov Protazanov is based

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on the novel “Aelita or the Decline of Mars” (1923) by Aleksei Tolstoy, a distant younger relative of Leo Tolstoy.

The plot involves a Soviet engineer who designs a spaceship and travels to Mars, where he falls in love with the Martian queen. 111 minutes, NR.

EcoFocus at GMOA Thursday, March 29, 6 p.m.

M. Smith Griffith Auditorium

March Sun

Mon

EcoFocus Film Festival will hold a special reception followed by a film screening at 7 p.m. EcoFocus is a Tue

Wed

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celebration of environmental films that promote discussion and inspire audiences into awareness and action on behalf of the environment. For more information about EcoFocus,

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please see www.ecofocusfilmfest.org. This special event is cosponsored by EcoFocus Film Festival and GMOA. FILMS ARE GENEROUSLY SPONSORED BY

Workshops & Classes Drawing in the Galleries Thursday, January 5 and 19, February 2 and 23, March 1 and 22, 5–8 p.m.

GMOA facet | Winter 2012

Visitors are invited to sketch in the galleries during

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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.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.

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

these hours. No instruction provided. Pencils only.

Lunch and Learn: American Art and the Great Depression Friday, January 27, 12:15–1:15 p.m.

Faculty is invited to bring lunch and join Paul Manoguerra, chief curator and curator of American art, for a discussion on ways in which the museum’s resources can be used in classes and research.

Panel Discussion: Art and the Great Depression

Family Day: Discover the Decorative Arts

Family Day: Fabric Fun

Clare Leighton (American, b. England, 1898–1989, Lobstering, ca.

Clock, ca. 1940. Combination of woods including maple, walnut

Lacey Sombar

1949–50. Photolithograph on ceramic, 10 1/2 inches (diameter).

and mahogany veneer, 29 5/8 (with finial) x 16 1/2 x 4 1/4

The Little Equestrian, 2010–11

Mint Museum of Art, Gift of Gabby Pratt, 2004.79.177.1–2

inches. Collection of Mr. and Mrs. Glenn and Linda Paul.

Lectures & Gallery Talks

Special Events

Panel Discussion Friday, January 13, 6 p.m.

M. Smith Griffith Auditorium

The Sixth Henry D. Green Symposium of the Decorative Arts Thursday, February 2–Saturday, February 4 Georgia Center for Continuing Education

Join us for a conversation on American art of the first

Evening events will be held at GMOA. For a full schedule

half of the 20th century. Jonathan Stuhlman, curator

of events, please visit www.georgiamuseum.org.

of American art, Mint Museum of Art, and curator of “Quiet Spirit, Skillful Hand: The Graphic Work of Clare Leighton,” and Amanda Mobley Guenther, associate

Student Night Thursday, February 9, 8–11 p.m.

curator, Bone Creek Museum of Agrarian Art, and

Join the Student Association of the Georgia

curator of “Dale Nichols: Transcending Regionalism,”

Museum of Art for a night of food and fun!

will discuss the exhibitions and these artists in the

See www.georgiamuseum.org for more information.

context of this period of American art and the Great Depression. Moderated by Paul Manoguerra, chief curator and curator of American art, GMOA. Reception to follow.

Gallery Talk: Western Art and Music across Five Centuries Wednesday, January 25, 2 p.m.

Alfred Heber Holbrook Memorial Lecture Thursday, March 8, 6 p.m.

M. Smith Griffith Auditorium Alexander Nemerov, Vincent Scully Professor of the

Make a World: George Ault and 1940s America,” will share insights about Ault’s meticulously rendered

in history, using works from the museum’s collection.

paintings, rich in meaning and emotion. Book signing

in-depth discussion of Radcliffe Bailey’s “7 Steps.”

Sixth Henry D. Green Symposium of the Decorative Arts Keynote Lecture Thursday, February 2, 6 p.m.

Georgia Center for Continuing Education

Tour at Two: Silver in the Permanent Collection Wednesday, February 29, 2 p.m.

Dale Couch, curator of decorative arts

Gallery Games Thursday, March 22, 4:15–5 p.m.

Kids ages 7–11 are invited to join us for this special interactive gallery tour with Melissa Rackley from GMOA’s department of education. Learn about works in the museum’s permanent collection through activities designed just for kids!

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

at Yale University and curator of the exhibition “To

ship between classical music and art from different periods

Join Carissa DiCindio, curator of education, for an

Paul Manoguerra, chief curator and curator of American art

History of Art, chair of the history of art department

Join GMOA docent Susan Glover for a talk on the relation-

Artful Conversation Wednesday, February 1, 2 p.m.

Tour at Two: Politics in the Permanent Collection’s American Galleries Wednesday, February 15, 2 p.m.

and reception to follow. Sponsored by the Friends of

Family Days

the Georgia Museum of Art.

Let’s Move! Art, Animals and Yoga Saturday, January 21, 10 a.m.–noon

After Hours at GMOA Friday, March 23, 5:30–8:30 p.m.

In conjunction with Michelle Obama’s “Let’s Move!

The Young at Art committee of the Friends of the

Family Day celebrating art and movement. Join yoga

Georgia Museum of Art presents an opening reception

instructors on the first floor to learn animal-inspired yoga

for “To Make a World: George Ault and 1940s America”

poses, look at work in the permanent collection featuring

and “Pattern and Palette in Print: Gentry Magazine

animal imagery and then make animal-themed art of your

and a New Generation of Trendsetters.” Dress the part

own in the Michael and Mary Erlanger Studio Classroom.

Well-known scholar, dealer and connoisseur Deanne

in silhouettes from the 1940s and 1950s! Catered by

Deavours will present “My Life in the Decorative Arts:

Five and Ten. Call 706.542.GMOA (4662) for

Georgia and the Nation.” Sponsored by the Georgia

more information.

Museums and Gardens” initiative, GMOA will host a special

Humanities Council. A reception hosted by the Friends of the Georgia Museum of Art will follow at GMOA.

Tours

on Down?” in conjunction with the department of theatre

Tour at Two: Highlights from the Permanent Collection Wednesday, January 4, 11 and 18, February 22, March 14, 21 and 28, 2 p.m.

and film studies’ production “Hidden Man,” showing

Meet docents in the lobby for a tour of highlights from

Feb. 23–25 and 29 and Mar. 1–3 at 8 p.m.; Mar. 4

the permanent collection.

Carol Crown, professor of art history at the University of Memphis, presents “Will the Real Howard Finster Come

at 2:30 p.m. in the Fine Arts Building Cellar Theatre.

Artful Conversation Wednesday, March 7, 2 p.m.

Join Carissa DiCindio, curator of education, for an in-depth

Come see the exhibition “Georgia Bellflowers: The

Spotlight Tour: Highlights from the Permanent Collection Sunday, January 22, February 19 and March 18, 3 p.m.

Furniture of Henry Eugene Thomas,” then head to the

Meet docents in the lobby for a tour of highlights from

special studio project inspired by the decorative arts.

Leslie Harrington, executive director of the Color Association of the United States, will deliver a lecture on color forecasting in conjunction with the exhibition “Pattern and Palette in Print: Gentry Magazine and a New Generation of Trendsetters.”

Michael and Mary Erlanger Studio Classroom for a

the permanent collection.

discussion of Elaine de Kooning’s “Bacchus #81.”

Leslie Harrington Thursday, March 22, 5:30 p.m.

M. Smith Griffith Auditorium

Discover the Decorative Arts Saturday, February 18, 10 a.m.–noon

Fabric Fun Saturday, March 24, 10 a.m.–noon.

Tour at Two: Cubism and Early-20th-Century Abstraction in the Permanent Collection Wednesday, February 8, 2 p.m.

Come see the exhibition “Pattern and Palette in Print: Gentry

Lynn Boland, Pierre Daura Curator of European Art

head to the Michael and Mary Erlanger Studio Classroom

Magazine and a New Generation of Trendsetters,” then to create colorful patterns and design your own fabric.

www.georgiamuseum.org

Carol Crown Thursday, February 23, 5:30 p.m.

M. Smith Griffith Auditorium

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Museum Notes

Gifts The Georgia Museum of Art received the following gifts between July 21 and November 11, 2011: ALFRED HEBER HOLBROOK SOCIETY Audrey Love Charitable Foundation Mr. and Mrs. Harry L. Gilham Jr. DIRECTOR’S CIRCLE Ms. Catherine A. May and Dr. Paul J. Irvine Mrs. Jane Marshall Payne Dr. Carol Winthrop and Mr. Robert Winthrop III

Betty Alice Fowler, grants writer, watches as director Bill

Mrs. Sue Weems Mann

Eiland signs off on AAM’s Self-Study Questionnaire.

GIFTS TO THE COLLECTION

Martha Daura (in her mother’s arms) at the Taula in Menorca, early 1930s.

Mr. and Mrs. William Burdell III

ACCREDITATION In August, the museum completed its self-study, the first step in subsequent accreditation by the American Association of Museums

Mr. and Mrs. Gregory F. Holcomb The Georgia Museum of Art received the following gifts between August 21 and November 18, 2011:

(AAM). GMOA was first accredited in 1980, and reaccredited in 1986 and 1998. AAM accreditation is a widely recognized seal of approval

In memory of Mary Hart Brumby by Devereux

that brings national recognition to a museum for its commitment to

and Dave Burch and William Underwood Eiland

excellence, accountability, high professional standards and continued institutional improvement.

In memory of Dr. Horace G. Cutler

by William Underwood Eiland In memory of Hannah P. Harvey by Frida

SENIOR OUTREACH Martha Daura at the Taula in Menorca, 2011.

This summer, seniors from the Athens Senior Center, the

and Mrs. Jeffrey B. Bogart; Marguerite and Charles Burch; Chandler, Britt, Jay & Beck LLC; Penny Commins; the Ruth Curtis family;

the museum as part of GMOA’s Senior Outreach Program. Led by

William Underwood Eiland; Ross Fox; Olga

Diane Barret, senior outreach coordinator, this two-part program

This past September, museum patrons traveled to the

collection followed by a self-portrait activity at the senior centers.

consisted of a museum tour focusing on portraits in the permanent

by Pierre Daura. Daura’s only child, Martha Daura, traveled with

Keith Babcock; Murray and Ann Blum; Mr.

Winterville Senior Center and the Greene County Senior Center visited

TRAVEL Catalan region of Spain and to southern France to see works

Agosin; Florence G. Applefield; Jackie and

To see photos of the finished projects, visit our Flickr page at www.flickr.com/photos/gmoa.

Ruth Gray; Mrs. M. Smith Griffith; Dr. Eloise Hancock; Adeline Holt and family; Emily Honigberg; Ann H. Kingston; Barbara W. Laughlin; Barbara S. Nosanow; Gordhan and Jinx Patel; Katherine C. Rowan; Steve and Susan Sadow; Tim Thompson; Ruth

the group, who received a shout-out in a local Menorca newspa-

Ann Walton; Cece and David Warner; Gael

per, which showed Auxiliadora Pons, the City Councillor for

H. Williams; and the docents of the Georgia

Culture, receiving the patrons in the town hall of Ciutadella after

Museum of Art

visiting the Daura Gallery at the Diocesan Museum. Our director, Bill Eiland, and Pierre Daura Curator of European Art Lynn Boland

TRAVELING EXHIBITIONS

In memory of Irwin and Hannah Harvey

also traveled to California to work on the museum’s forthcoming

GMOA has added another exhibition to its traveling exhibitions

exhibition of large-scale resin sculptures by the artist De Wain

roster. “Fleeting Pleasures: Japanese Woodblock Prints from the

Valentine. In November, chief curator and curator of American

Georgia Museum of Art” is now available. The exhibition consists of

art Paul Manoguerra delivered his lecture “American Painters and

27 woodblock prints from the museum’s permanent collection, color

the Grand Italian Tour” at the Taft Museum of Art in Cincinnati

works by some of the most prominent and important ukiyo-e artists,

in conjunction with the Taft’s exhibition “George Inness in Italy.”

such as Hokusai and Hiroshige. For more information, visit this page

Manoguerra also chaired the panel “Human Suffering in

on our website: www.georgiamuseum.org/art/exhibitions/traveling/

In memory of Hugh McLeod

the Arts II: 20th to 21st Century” and presented “‘A Scabrous

fleeting-pleasures

by Mr. and Mrs. W. Rhett Tanner

by David and Cynthia Mullen In memory of Felton Jenkins

by Devereux and Dave Burch In memory of Andrew Ladis by Janice Simon

Dwelling’: O. Louis Guglielmi’s ‘Tenements’ and Depression-era Housing” at the annual Southeastern College Art Conference

In memory of Marjorie Fowler Newton

in Savannah, also in November.

by Maria K. Schiffgens and William S. Goodman

PERSONNEL We are pleased to welcome Sarah George, GMOA’s new director of membership. Sarah is originally from San Diego, Calif., and graduated magna cum laude from Seattle University with a B.A. in art history. She worked as an administrative assistant to the director of

In memory of John Nickerson

by Mr. and Mrs. W. Rhett Tanner In memory of Sarah Carlton Proctor

by William Underwood Eiland

human resources and the chief financial officer at the Isabella Stewart

In memory of Richard Weigert

Gardner Museum in Boston for three years and interned at the Frye

by Elizabeth McGhee

Art Museum in Seattle. Sarah has also served an intern in GMOA’s department of education.

In honor of Dale Couch

by Thomas A. Gray

GMOA facet | Winter 2012

EDUCATION

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Jenny and Benjamin

The museum would especially

Backpack tours are now available, free of charge,

like to thank Todd Emily for his

for visitors to the museum. Families and children may check out a

gift of 90 Friends memberships

backpack full of supplies and activities that will enhance their walk

NEW ARRIVALS

through the museum with kid-oriented and educational elements.

to his clients, which substantially

Inside every pack, four folders contain the materials necessary to

increased the number of new

Jenny Williams, public relations coordinator at GMOA, and

complete activities relating to a work of art or artist in the museum’s

Friends members. His partner,

her husband, Ben, welcomed baby Benjamin Hogan on Monday, October 24. He weighed 7 lbs., 14 oz. and was 20 inches long.

Congratulations, Jenny, Ben and Flint!

permanent collection. If interested, request a backpack at the front desk of the museum before entering the galleries.

Jed Doster, also gave 35 new memberships.

Event Photos

Hootenanny: Liz DeMarco, Sarah Ehlers, Ann Moser, June Ball and Mary Barnett (l-r).

JOIN Membership

JOIN THE NEW GMOA!

Not a member? Join the museum during one of the

most exciting moments in its history! Join on our website,

Closing reception for fall exhibitions: Charlie Garrett Band plays in the lobby.

www.georgiamuseum.org, or call 706.542.0437.

Student Night: All Shook up! Students pose with Elvis.

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

NOW OPEN! Ike & Jane at the Georgia Museum of Art!

Tuesday–Friday, 10 a.m.–4 p.m.

Have breakfast, lunch or a snack, enjoy a spectacular view of the Jane and Harry Willson Sculpture Garden and support the museum.

(Ike & Jane generously donates 10 percent of profits from its GMOA location to the Friends of the Georgia Museum of Art!)

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).

There is no free visitor parking on campus during regular business hours. Parking in the PAC deck is free on Saturdays and Sundays and after 5:30 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 4 p.m. on weekdays.

www.georgiamuseum.org

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

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non-profit org. u.s. postage paid

UNIVERSITY OF GEORGIA 90 Carlton Street

athens, ga permit no. 49

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

winter 2012

f a c e t •••

Georgia Bellflowers

Silver Collection

Aelita