A Special Thanks: Endowment and Membership Contributions

A  SPECIAL THANKS

SEMC Endowment Contributions

Many thanks to our endowment contributors (new contributions in bold) for investing in the future of SEMC! When you are thinking of honoring or remembering someone, please consider a contribution to the SEMC endowment. For more information, contact Executive Director Zinnia Willits at 404.814.2048 or zwillits@ semcdirect.net.

David Butler Graig Shaak Heather Marie Wells

THE PAST PRESIDENTS CIRCLE

Members of the Past Presidents Circle contribute $150 annually for at least two years to the endowment fund:

George Bassi Sharon Bennett David Butler Charles “Tom” Butler Tamra Sindler Carboni Micheal A. Hudson Darcie MacMahon Douglas Noble Robert Rathburn Graig D. Shaak Robert Sullivan Kristen Miller Zohn

THE WILLIAM T. AND SYLVIA F. ALDERSON ENDOWMENT FELLOWS

Thirty members of SEMC have made commitments of distinction as Alderson Fellows. Their investment of at least $1,000 each is a significant leadership gift, reflective of a personal commitment to the professional association that has meant so much to each of them.

Platinum Alderson Fellows  (minimum $5,000) Sylvia F. Alderson Bob Rathburn Graig D. Shaak Nancy & Robert Sullivan

Medallion Alderson Fellows  (minimum $2,500) George Bassi Sharon Bennett David Butler Tamra Sindler Carboni William U. Eiland Martha Battle Jackson Pamela Meister Richard Waterhouse Our Current Alderson Fellows  (minimum $1,000) T. Patrick Brennan Michael Brothers W. James Burns Matthew Davis Horace Harmon Brian Hicks Pamela Hisey Micheal Hudson Kathleen Hutton Rick Jackson Andrew Ladis John Lancaster Elise LeCompte Allyn Lord Michael Anne Lynn R. Andrew Maass Darcie MacMahon Susan Perry Robin Seage Person Allison Reid Steve Rucker Michael Scott Warren Heather Marie Wells Kristen Miller Zohn

Other SEMC Contributions

ANNUAL MEETING

10-31 Inc. Bonsai Fine Art Case Antiques Auctions and Appraisals Chattanooga Tourism Company Collector Systems Conserv Sarah Drury Erco Lighting Exhibit Concepts DeWitt Stern Group Mary Miller Monadnock Media National Museum of African American History and

Culture – Office of Strategic Partnerships OTJ Architects Our Fundraising Search Riggs Ward Design Sharla Robertson TimeLooper Warner Museums Michael Warren William G. Pomeroy Foundation Blair Wunderlich

GENERAL OPERATING

Matthew Davis William Eiland R. Andrew Maass Katy Menne Michelle Schulte Marianne Richter Michael Scott Gaylord & Dorothy Donnelley Foundation Institute of Museum and Library Services

NATIONAL MUSEUM OF AFRICAN AMERICAN MUSIC

VISIT 1220.COM OR CALL 615.333.1220

Lauren Virgo Michael Warren Heather Marie Wells

LAPAGLIA FUND

Carolyn Reams

LEADERSHIP INSTITUTE

Robin Reed Michael Warren Heather Marie Wells Association of African American Museums SEMC thanks all our active members, including those who have recently joined (in bold). Without your support and participation, we could not provide region-wide services such as our awards, and scholarship programs, as well as our outstanding Annual Meeting and nationally acclaimed Jekyll Island Management Institute. If you are an individual member and your museum is not an institutional member, please encourage them to join. For information on memberships and benefits visit visit semcdirect.net, email Smemberservices@semcdirect.net, or call 404.814.2047. For your convenience, the last page of this newsletter is a membership application.

STUDENT ($25)

Phyllis Asztalos, Tallahassee, Florida Blair Banks, Tucker, Georgia

EDUCATE & ENGAGE YOUR VISITORS THROUGH YOUR STORY

Content Creation

Does your site need to create new content? Do you need help with Production? Do you require foreign language translation? Accessible tours? From on-site research and script creation, to final audio/multimedia production, our Creative Team will endeavor to provide an enlightened, engaging, and educational vision. Every content creation project that we undertake begins with us listening to you. Our Creative Team will consult with you to ensure your vision is interpreted in a unique and engaging way. Tour-Mate will transfer all ownership of copyrights for all tours created to clients once complete payment has been received.

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Greg Bell, Marietta, Georgia Blair Banks, Tucker, Georgia Kasey Bonanno, Buford, Georgia Diana Bryson, St. Petersburg, Florida Jamie Bynum, Carrollton, Georgia Riva Cullinan, Tuscaloosa, Alabama William Donaldson, Monroe, North Carolina Cassandra Erb Nathan Fleeson, Lawrenceville, Georgia Sharon Fox, Wetumpka, Alabama Breanna Gehweiler, Dallas, Georgia Evangeline Giaconia, Gainesville, Florida Madeline Greene, Powell, Tennessee Alisse Guerra, River Ridge, Louisiana Kelsey Hawkins, Arlington, Tennessee Anna Henderson, Chattanooga, Tennessee Tyler Hendrix, Bonaire, Georgia Joshua Howe, Winter Park, Florida Kate Hughes, Murfreesboro, Tennessee Melody Hunter-Pillion, Cary, North Carolina Megan Keener, Merritt Island, Florida Aspen Kemmerlin, Atlanta Georgia Michael Lorusso, Miami, Florida Michelle Mandula, Milton, Georgia Ryan Marquez, Bellingham, Massachusetts Rachel Mohr, Tuscaloosa, Alabama JoCora Moore, Raleigh, North Carolina Brandy Morales, Douglasville, Georgia Samantha Oleschuk, New Hill, North Carolina Sarah Robles, Murfreesboro, Tennessee Mikayla Ross, Dallas Georgia Laura Sato, Peachtree Corners, Georgia Rachael Scott, Sharpsburg, Georgia Apoorva Shah, Miramar, Florida Linda Shea, Baton Rouge, Louisiana Danielle Shelton, Chattanooga, Tennessee Margaret Stevenson, New Orleans, Louisiana Trisha Strawn, St Petersburg, Florida Ashlee Thompson, Tuscaloosa, Alabama Eileen Tomczuk, New Orleans, Louisiana Alyssa Watrous, Rome, Georgia Casey Wooster, St. Augustine, Florida

Benjamin Adamitus, Fort Atkinson, Wisconsin Krishna Adams, Murfreesboro, Tennessee Jess Alden, Atlanta, Georgia Lucy Allen, Madison, Mississippi Susanne Allen, Sarasota, Florida Nancy Allred, Cary, North Carolina Andy Ambrose, Macon, Georgia Katie Anderson, Huntsville, Alabama Samantha Arceneaux, Birmingham, Alabama Madeleine Arencibia, Fort Pierce, Florida Emilie Arnold, Dalton, Georgia Becca Barnes, Cartersville, Georgia Kathleen Barnett, Vicksburg, Mississippi Serena Barnett, Rogers, Arkansas Vincent Barraza, New Orleans, Louisiana Trevor Beemon, Marietta, Georgia Austin Bell, Marco Island, Florida Kathleen Barnett, Vicksburg, Mississippi Serena Barnett, Rogers, Arkansas Vincent Barraza, New Orleans, Louisiana Trevor Beemon, Marietta, Georgia Austin Bell, Marco Island, Florida Victoria Berry, Stillwater, Oklahoma Linda Bitley, Smyrna, Georgia Steven Blashfield, Richmond, Virginia Jan Clapp Bomar, Fort Monroe, Virginia Judith Bonner, New Orleans, Louisiana Mary Bowers, Hixson, Tennessee Kathleen Boyle, Brentwood, Tennessee Amanda Briede, Louisville, Kentucky Margaret Brown, Durham, North Carolina Roger Browning, Roswell, Georgia Beth Burkett, Ravenel, South Carolina Jenny Burney, Saint Louis, Missouri Rebecca Bush, Columbus, Georgia Jayd Buteaux, New Iberia, Louisiana RaeLynn Butler, Okmulgee, Oklahoma Deanna Byrd, Caddo, Oklahoma Marvin Byrd, Loganville, Georgia Madeline Calise, Melbourne, Florida

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Robin Person, Natchez, Mississippi Caitlin Rabold, Savannah Georgia Deborah Randolph, Raleigh, North Carolina Rachel Reese, Chattanooga, Tennessee A.J. Rhodes, Arden, North Carolina Carolyn Rice, Clarkesville, Georgia Heather Rivet, Charleston, South Carolina Grace Robinson, Quincy, Florida Stephani Roohani, Evans, Georgia

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Ann Rowson Love, Tallahassee, Florida Tania Sammons, Savannah, Georgia Mike Santrock, Hapeville, Georgia Tony Schnadelbach, Jackson, Mississippi Leah Schuknecht, Tyrone, Georgia Heidi Schureck, Lilburn, Georgia Michael Scott, Jekyll Island, Georgia David Serxner, Raleigh, North Carolina Patricia Shandor, Lexington, South Carolina Debbie Shaw, Murfreesboro, Tennessee Beth Shea, Oak Ridge, Tennessee Catherine Shteynberg, Knoxville, Tennessee Alan Shuptrine, Lookout Mountain, Tennessee Christy Sinksen, Athens, Georgia John Slemp, Tucker, Georgia Amanda Smith, Sandy Springs, Georgia James Smith, St. Augustine, Florida Laura Smith, Huntsville, Alabama Linda Smith, Columbia, South Carolina Kristy Somerlot, Cleveland, Ohio Sgt. Gary Spencer, Raleigh, North Carolina Richard Spilman, Helena, Arkansas Pia Spinner, Richmond, Virginia Rona Stage, Bokeelia, Florida Chelsea Stutz, Beech Island, South Carolina Dorothy Svgdik, Cordova, Tennessee Natalie Sweet, Tazewell, Tennessee Adriane Tafoya, Knoxville, Tennessee Deitrah Taylor, Perry, Georgia Alice Taylor-Colbert, Greenwood, South Carolina Kimberly Terbush, Greensboro, North Carolina Sarah Tignor, Spartanburg, South Carolina

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RETIRED ($25)

Ed Barth, Dunedin, Florida Barbara Claiborne, Leesburg, Florida Kim Coryat, Conway, Arkansas

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Nancy Doll, Greensboro, North Carolina Lee Gabrielle, W Palm Beach, Florida Joyce Ice, Santa Fe, New Mexico Martha Jackson, Raleigh, North Carolina Vicky Kruckeberg, Chapel Hill, North Carolina R. Maass, Longboatkey, Florida Yvonne McGregor, St. Augustine, Florida Robert Montgomery, Newberry, South Carolina Douglas Noble, Gainesville, Florida Carl Nold, Chapel Hill, North Carolina William Paul, Jr., Athens Georgia Georgia Pribanic, Jacksonville, Florida Judith Robb, Graig Shaak, Gainesville, Florida James Shepp, Winter Park, Florida Catherine Thornberry, Dunedin, Florida Ida Tomlin, Meridian, Mississippi INSTITUTIONAL MEMBERS

(Category 1: $50 ) 21c Museum Hotel Louisville, Louisville, Kentucky Altama Museum, Vidalia, Georgia Apopka Historical Society, Apopka, Florida Appleton Museum of Art, Ocala, Florida Arkansas National Guard Museum,

North Little Rock, Arkansas Arlington Historic Houses, Birmingham, Alabama Art Center Sarasota, Sarasota, Florida Bandy Heritage Center for Northwest Georgia,

Dalton, Georgia Caldwell Heritage Museum, Lenoir, North Carolina Calico Rock Community Foundation,

Calico Rock, Arkansas Cameron Art Museum, Wilmington, North Carolina Carnegie Center for Art and History,

New Albany, Indiana Clemson University, Clemson, South Carolina

Clemson University’s Bob Campbell Geology Museum,

Clemson, South Carolina Curtiss Mansion, Inc., Miami, Florida Daura Gallery - University of Lynchburg,

Lynchburg, Virginia Department of Historic Museums, Georgia College,

Milledgeville, Georgia Drayton Hall, Charleston, South Carolina Drexel University, Philadelphia, Pennsylvania Dunedin Fine Art Center, Dunedin, Florida Eleanor D. Wilson Museum at Hollins University,

Roanoke, Virginia Florida CraftArt, St. Petersburg, Florida Florida Museum of Photographic Arts,

Tampa, Florida Fort Wayne Museum of Art, Fort Wayne, Indiana Friends of Cassidy Park Museums,

Bogalusa, Louisiana Funk Heritage Center of Reinhardt University,

Waleska, Georgia Gibbes Museum of Art, Charleston, South Carolina Historic Augusta, Inc., Augusta, Georgia Historic Dumfries Virginia & The Weems-Botts

Museum, Dumfries, Virginia HistoryMiami, Miami, Florida International Towing & Recovery Museum,

Chattanooga, Tennessee KMAC Museum, Louisville, Kentucky Kentucky Native American Heritage Museum, Inc,

Corbin, Kentucky Lam Museum of Anthropology, Wake Forest University,

Winston-Salem, North Carolina Lowe Art Museum, University of Miami,

Coral Gables, Florida Maier Museum of Art, Randolph College,

Lynchburg, Virginia Mandarin Museum & Historical Society, J acksonville, Florida Marine Corps Museum Parris Island,

Parris Island, South Carolina Meadows Museum of Art at Centenary College of Louisiana, Shreveport, Louisiana

Mississippi Industrial Heritage Museum, Inc.,

Meridian, Mississippi Museum of Design Atlanta, Atlanta, Georgia Museum of Durham History, Durham, North Carolina Museum of the Southeast American Indian,

Pembroke, North Carolina Oglethorpe University Museum of Art (OUMA),

Atlanta, Georgia Patrick Henry Memorial Foundation,

Brookneal, Virginia Reuel B. Pritchett Museum Collection, Bridgewater,

Virginia Savannah River Site Museum, Aiken, South Carolina SC Confederate Relic Room & Museum,

Columbia, South Carolina South Boston - Halifax County Museum of Fine Arts and History, South Boston, Virginia Swannanoa Valley Museum,

Black Mountain, North Carolina The Museum, Greenwood, South Carolina The Anna Lamar Switzer Center for the Visual Arts,

Pensacola State College, Pensacola, Florida The Bass Museum of Art, Miami Beach, Florida The Parthenon, Nashville, Tennessee The Ralph Foster Museum, Point Lookout, Missouri The Weems-Botts Museum, Dumfries, Virginia Union County Heritage Museum, New Albany, Mississippi

University of South Alabama Archaeology

Museum, Mobile, Alabama Vanderbilt University Fine Arts Gallery,

Nashville, Tennessee Washington and Lee University, Lexington, Virginia Waterworks Visual Arts Center, Salisbury, North Carolina Yeiser Art Center, Paducah, Kentucky

(Category 2: $150 ) Adsmore Museum, Princeton, Kentucky A. E. Backus Museum & Gallery, Fort Pierce, Florida African American Military History Museum,

Hattiesburg, Mississippi

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Aiken County Historical Museum, Aiken, South Carolina Alabama Music Hall of Fame, Tuscumbia, Alabama Aldie Mill & Mt. Zion Historic Parks, Aldie, Virginia Andrew Low House Museum, Savannah, Georgia Appalachian State University Turchin Center for the Visual Arts, Boone, North Carolina Arkansas Air and Military Museum,

Fayetteville, Arkansas Bartow History Museum, Cartersville, Georgia Beaches Museum, Jacksonville Beach, Florida Bertha Lee Strickland Cultural Museum,

Seneca, South Carolina Blue Ridge Institute & Museum, Ferrum, Virginia Calhoun County Museum, St. Matthews, South Carolina Carnegie Visual Arts Center, Decatur, Alabama Casa Feliz Historic Home Museum, Winter Park, Florida Computer Museum of America, Roswell, Georgia Dade Heritage Trust, Miami, Florida East Tennessee Historical Society, Knoxville, Tennessee Flagler Museum, Palm Beach, Florida Fort Smith Regional Art Museum, Fort Smith, Arkansas Hilliard Art Museum University of Louisiana at

Lafayette, Lafayette, Louisiana Historic Clayborn Temple, Memphis, Tennessee Historic Natchez Foundation, Natchez, Mississippi Historic Paris Bourbon County Hopewell Museum,

Paris, Kentucky Historic Rosedale Plantation,

Charlotte, North Carolina International Museum of the Horse, Lexington, Kentucky Kennesaw State University – Museums, Archives,

Kennesaw, Georgia Kentucky Department of Parks, Frankfort, Kentucky LaGrange Art Museum, LaGrange, Georgia Lake Wales History Museum, Lake Wales, Florida Marietta Museum of History, Marietta, Georgia Matheson History Museum, Gainesville, Florida Memorial Hall Museum, New Orleans, Louisiana Mennello Museum of American Art, Orlando, Florida Morris Center for Lowcountry Heritage,

Ridgeland, South Carolina Mosaic Templars Cultural, Little Rock, Arkansas

Museum of the American Printing House for the Blind,

Louisville, Kentucky Museum of the Shenandoah Valley, Winchester, Virginia NC African American Heritage Commission,

Raleigh, North Carolina Opelousas Museum and Interpretive Center,

Opelousas, Louisiana Parris Island Historical Museum Society, Parris

Island, South Carolina Paul W. Bryant Museum, Tuscaloosa, Alabama Pinellas County Historical Society/Heritage Village,

Largo, Florida President James K. Polk State Historic Site/NC Dept of Natural & Cultural Resources,

Pineville, North Carolina Robert C. Williams Museum of Papermaking,

Atlanta, Georgia SCAD, Atlanta, Georgia Sculpture Fields at Montague Park,

Chattanooga, Tennessee South Union Shaker Village, Auburn, Kentucky Sumter County Museum, Sumter, South Carolina Swope Art Museum, Terre Haute, Indiana Tampa Baseball Museum at the Al Lopez House,

Tampa, Florida The Mitford Museum, Hudson, North Carolina Thomas County Historical Society,

Thomasville, Georgia Thronateeska Heritage Foundation, Inc.,

Albany, Georgia Tryon Palace, New Bern, North Carolina Tuscaloosa County Preservation Society,

Tuscaloosa, Alabama University of Mississippi Museum & Historic Houses,

Oxford, Mississippi University of Richmond Museums, Richmond, Virginia Wetzel County Museum, New Martinsville, West Virginia

(Category 3: $250 ) Albany Museum of Art, Albany, Georgia Amelia Island Museum of History,

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Statesboro, Georgia Hickory Museum of Art, Hickory, North Carolina Historic Oakland Foundation, Atlanta, Georgia Knox Heritage & Historic Westwood,

Knoxville, Tennessee Magnolia Mound Plantation, Baton Rouge, Louisiana Marietta/Cobb Museum of Art, Marietta, Georgia Middleton Place Foundation,

Charleston, South Carolina Museum Center at 5ive Points, Cleveland, Tennessee Old State House Museum, Little Rock, Arkansas Spartanburg Art Museum,

Spartanburg, South Carolina Walter Anderson Museum of Art,

Ocean Springs, Mississippi West Baton Rouge Museum, Port Allen, Louisiana Windgate Museum of Art at Hendrix College,

Conway, Arkansas Wiregrass Museum of Art,

Dothan, Alabama

(Category 4: $350 ) Alabama African American Civil Rights Heritage Sites

Consortium, Birmingham, Alabama Alexandria Museum of Art, Alexandria, Louisiana Anniston Museum of Natural History,

Anniston, Alabama Augusta Museum of History, Augusta, Georgia Blowing Rock Art & History Museum,

Blowing Rock, North Carolina Center for Puppetry Arts, Atlanta, Georgia Charles H. Coolidge National Medal of Honor

Heritage Center, Chattanooga, Tennessee Children’s Hands on Museum, Tuscaloosa, Alabama Cook Museum of Natural Science,

Decatur, Alabama David J. Sencer CDC Museum, Atlanta, Georgia

DEA Museum, Arlington, Virginia Discovery Park of America, Inc.,

Union City, Tennessee Folk Pottery Museums of NE GA, Sautee Nacoochee

Cultural Center, Sautee Nacoochee, Georgia FSU Museum of Fine Arts, Tallahassee, Florida Halsey Institute of Contemporary Art,

Charleston, South Carolina Hampton Roads Naval Museum, Norfolk, Virginia Hermann-Grima & Gallier Historic Houses,

New Orleans, Louisiana High Point Museum, High Point, North Carolina Hills & Dales Estate, LaGrange, Georgia Historical Society of Martin County, Stuart, Florida History Fort Lauderdale, Fort Lauderdale, Florida International Civil Rights Center & Museum,

Greensboro, North Carolina Lauren Rogers Museum of Art, Laurel, Mississippi Longue Vue House and Gardens, New Orleans, Louisiana Longwood Center for the Visual Arts,

Farmville, Virginia Louisiana State University Museum of Art,

Baton Rouge, Louisiana McKissick Museum, University of South Carolina,

Columbia, South Carolina Mosaic, Jekyll Island Museum, Jekyll Island, Georgia Museum of Art – DeLand, DeLand, Florida Museum of Contemporary Art North Miami,

North Miami, Florida Museum of the Southern Jewish Experience,

New Orleans, Louisiana Office of Historic Alexandria, Alexandria, Virginia Orange County Regional History Center,

Orlando, Florida Shiloh Museum of Ozark History, Springdale, Arkansas Sidney & Berne Davis Art Center, Fort Myers, Florida The Charleston Museum, Charleston, South Carolina Tubman Museum, Macon, Georgia West Virginia Department of Arts, Culture and

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(Category 5: $450 ) Alabama Department of Archives and History,

Montgomery, Alabama Asheville Art Museum, Asheville, North Carolina Bechtler Museum of Modern Art,

Charlotte, North Carolina Belle Meade Historic Site & Winery, Nashville, Tennessee Birthplace of Country Music Museum,

Bristol, Tennessee Burritt on the Mountain, Huntsville, Alabama Cape Fear Museum of History and Science,

Wilmington, North Carolina Catawba Science Center, Hickory, North Carolina Coastal Georgia Historical Society,

St. Simons Island, Georgia Columbia Museum of Art, Columbia, South Carolina Creative Discovery Museum, Chattanooga, Tennessee Crystal Bridges Museum of American Art,

Bentonville, Arkansas Culture & Heritage Museums, Rock Hill, South Carolina Customs House Museum and Cultural Center,

Clarksville, Tennessee Florence County Museum, Florence, South Carolina Georgia Museum of Art, University of Georgia,

Athens, Georgia Greenville County Museum of Art,

Greenville, South Carolina Historic Arkansas Museum, Little Rock, Arkansas Historic Columbia Foundation,

Columbia, South Carolina History Museum of Mobile, Mobile, Alabama Hunter Museum of American Art,

Chattanooga, Tennessee Huntington Museum of Art, Huntington, West Virginia Huntsville Museum of Art, Huntsville, Alabama Jule Collins Smith Museum of Fine Art at Auburn

University, Auburn, Alabama Jupiter Inlet Lighthouse & Museum, Jupiter, Florida Kentucky Derby Museum, Louisville, Kentucky Knoxville Museum of Art, Knoxville, Tennessee

Lodge Cast Iron, South Pittsburg, Tennessee Louisiana Art & Science Museum, Baton Rouge, Louisiana Louisiana’s Old State Capitol, Baton Rouge, Louisiana McClung Museum of Natural History and Culture,

Knoxville, Tennessee Mississippi Arts and Entertainment Experience,

Meridian, Mississippi Mississippi Department of Archives and History,

Jackson, Mississippi Mississippi Museum of Art, Jackson, Mississippi MOCA Jacksonville, Jacksonville, Florida Morris Museum of Art, Augusta, Georgia Morse Museum of American Art, Winter Park, Florida MoSH (Museum of Science and History) – Pink Palace, Memphis, Tennessee Muscarelle Museum of Art, Williamsburg, Virginia Museum of Arts & Sciences, Daytona Beach, Florida Museum of the Cherokee Indian,

Cherokee, North Carolina National Museum of the Marine Corps, Triangle, Virginia National Museum of the Mighty Eighth Air Force,

Pooler, Georgia National Sporting Library & Museum,

Middleburg, Virginia North Carolina Museum of History,

Raleigh, North Carolina Oak Alley Foundation, Vacherie, Louisiana Orlando Museum of Art, Inc, Orlando, Florida Polk Museum of Art, Lakeland, Florida Reynolda House Museum of American Art,

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state news

Cummer Museum of Art and Gardens. Courtesy of Ryan Ketterman.

FLORIDA

The Cummer Museum of Art and Gardens in Jacksonville, FL is currently commemorating its 60th anniversary with a number of new exhibitions, staff members, initiatives, and celebrations.

Since its opening in 1961, the museum’s permanent collection has grown from 60 objects bequeathed by its visionary founder Ninah Cummer to more than 5,000 objects. The museum’s new exhibition Revolve: Spotlight on the Permanent Collection puts the collection in conversation with exciting loans from global contemporary artists including Tiffany Chung, Titus Kaphar, Amy Sherald, Yeesookyoung, Lalla Essaydi, and Calida Garcia Rawles. Even though they span generations, the works explore the evolution of technique, allegory, and perspective on the natural world. It is now open and runs through November 13, 2022.

This year, the Cummer Museum has also partnered with the Bold City Chapter of The Links, Inc. and Tiger Academy, an elementary school operated by First Coast YMCA. For the fifth-grade students of Tiger Academy, this program introduces them to multiple artistic disciplines, the creativity, and journeys of Jacksonvillebased art entrepreneurs, how to channel their inner talents and muses when considering their own eventual career paths, and healthy ways to express themselves. Early 2022 has seen the students taking what they have learned from the previous semester’s experiences with the Museum into the classroom as they work with their art teacher to create unique artworks around current themes such as identity, post-pandemic life, and social

unrest. With the help of their teachers and museum partners, students have been exploring these themes in a safe, creative, and fun way.

Thanks to a generous lead gift, 2022 also brings the $2 Million Dollar Challenge to the Cummer Museum as another way to celebrate the diamond anniversary. Every unrestricted gift received by the museum will be matched dollar for dollar. After a challenging two years for the museum due to lost revenue from the pandemic, this campaign will help fund dynamic new exhibitions and provide support across all departments, reinforcing our commitment to delivering the highest quality programs, events, and experiences.

Florida Museum of Natural History visitors can take a unique look behind the scenes, interact with scientists while they work and explore some of the museum’s coolest specimens in the “Science Up Close: Fantastic Fossils” exhibit. Come face-to-face with giant dinosaur skeletons, beautiful botanical fossils and ancient microscopic life. Watch museum curators, volunteers and students work on projects in a live lab like cleaning and rebuilding fossils and creating digital reconstructions. Researchers will join virtually from dig sites and collections to talk with guests, while touchable objects and interactive technology offer an engaging experience for all ages.

The Polk Museum of Art at Florida Southern College announced plans for a $6 million expansion and renovation of the museum. The expansion will add more than 10,000 sq. ft. of gallery, classroom, and art laboratory space, more than tripling the museum’s main gallery space. Construction on the new addition is expected to begin late this year, with a projected completion in the spring of 2024.

“We are elated to build upon the legacy of this impressive museum of fine arts and, through the affiliation of FSC and the museum, now pursue an expanded agenda to offer exhibitions of our treasured permanent collection and welcome an increasing number of visiting exhibitions from the great museums of the world,” said Dr. Anne B. Kerr, president of Florida Southern College and member of the PMoA Board of Directors. “We are proud to be a Smithsonian

Digging into fossils at the Florida Museum of Natural History.

Affiliate Museum, and this expansion will also enable additional exhibits from the Smithsonian to be shared with our community and students. This expansion of the museum will result in a dynamic arts venue that will greatly enrich the cultural offerings in our community.” The two-story addition will be located on the northwest side of the present building. The sleek design of the expansion will modernize the museum’s current façade and will add more than 10,000 square feet to the existing 1988 building. The expansion will include much needed new multi-functional exhibition and educational spaces, including galleries to feature artwork from the museum’s large permanent collection from around the globe.

“We continue to build upon a tremendous legacy here at the Polk Museum of Art,” said Lynda Buck, board chair of the Polk Museum of Art. “These transformational gifts now allow us to make the community’s vision for the PMoA a reality, as we realize the museum’s enduring mission to enhance lives through inspirational and engaging art experiences for all, from the very young to centenarians. This expansion sets the stage for the museum’s status as a world-class academic museum, a community institution that serves students and our citizens.”

Along with the modern expansion, plans also include renovating the museum’s current entrance, replacing flooring throughout the first floor, and updating the second floor galleries, classrooms, and office spaces. These additional changes will also allow the museum to expand its current collections storage, which houses 2,800 works, as well as create flexible study, archival, and classroom spaces.

Rendering of expansion at the Polk Museum of Art.

“Since the affiliation between the museum and Florida Southern in 2017, the Museum has aspired to become a top-tier academic and community museum for learners of all ages,” said Dr. H. Alexander Rich, executive director and chief curator of the Museum and chair of Florida Southern College’s Department of Art History and Museum Studies, housed in the museum. “Now with this exciting expansion, our whole community will benefit. The new spaces will showcase art from across time and cultures, and the museum can continue to grow as an innovative site for learning for its entire artloving community, including our students.” In addition to his museum responsibilities, Dr. Rich leads FSC’s Art History and Museum Studies program, one of the only higher education programs operated from a museum, providing college students the opportunity for engaged learning with internships and hands-on learning.

With the new changes, the Polk Museum of Art and Florida Southern College continue their trajectory toward becoming home to one of the nation’s leading academic fine art museums and scholarly centers for the study of the arts and visual culture. The expansion will provide additional hands-on experiences for students, including internships, volunteer opportunities, and preprofessional development programs.

GEORGIA

The Andrew Low House Museum partnered with the Davenport House Museum, Ships of the Sea Maritime Museum, and Historic Savannah Foundation to host the “Pioneers in Preservation Series; The Transatlantic Slave Trade and Its Legacy,” The series was held November 2021, and led by Honorary Chair Carol Bell, former Mayor Pro Tem.

The Pioneers in Preservation was funded by The ACE Grant community program and Georgia Humanities. It was a free, multi-day series of events that familiarize the Coastal Empire and Lowcountry communities with the

history of the Transatlantic Slave Trade and its legacy. Each day during the event a new program was hosted at a partnering museum site to provide a unique and engaging experience for attendees.

“We had a wonderful and engaging lineup for our guests. We wanted our visitors to thoroughly enjoy learning the history behind the City of Savannah. Some of the history is tragic and heartbreaking, some is remarkable and uplifting – but it all went into making our city what it is today. “We hoped to tell the full story in a truthful and reverent way,” HSF Education and Research Associate Kimberly Newbold said. “Working with partner museums made it possible to do a series of programs that one museum could not have done alone. We are grateful for the collaboration of the Davenport House Museum, Ships of the Sea Maritime Museum, the Andrew Low House Museum, and everyone who supports HSF’s efforts to preserve Savannah’s heritage.”

Rebecca Eddins, Andrew Low House Museum Executive Director, said. “This collaborative effort between our three respective museums represents a meaningful and lasting partnership. We are able to pool our resources and provide visitors with an engaging experience of this important topic.”

Located just five miles south of Alpine Helen in White County, Georgia, the Folk Pottery Museum of Northeast Georgia was founded in 2006 with the purpose of showcasing the handcraft skills of one of the South’s premier grassroots art forms. The museum’s exhibit space explores the historical importance and

Folk Pottery Museum Director poses with newly inducted Trustees. From L to R: Meghan Gerig, Garrison Baker, Charlie Thomas, and Steve Winter.

changing role of folk pottery in southern life. It is the premier museum of its kind in the Southeast. The institution has seen some exciting changes in the past few months.

Aiming to be more inclusive and better serve the community, the museum’s Board of Trustees voted to remove entrance fees to the museum. Instead of charging admission, the museum is now accepting donations. The museum has been experimenting with other ways to fundraise.

“Not only does removing the admission fee make the museum more accessible, but it also gives our staff more time to focus on larger fundraising projects that keep donors engaged and involved” says Meghan Gerig, director of the Folk Pottery Museum. “We look forward to working with other institutions to brainstorm more fundraising projects.”

Most recently, the museum held a silent auction that included 18 pieces of regional folk pottery which brought in just over $3,000. The auction included pieces donated by local folk potters such as Roger Corn, Mike Craven, and Stanley Ferguson. The selected pieces varied, ranging from figural animals to utilitarian pots and jugs.

The museum previously operated under the Collections Committee, a group of volunteers with connections to folk pottery and an interest in the museum. With the new year, the committee changed its named to the Folk Pottery Museum Board of Trustees. Although the responsibilities of the group will not change, the group anticipates this name change will more clearly define the role of its members. Stewart and Chris Swanson, sons of founding donors Dean and Kay Swanson, were recently elected co-chairs of the Trustees. In addition to these changes, the Folk Pottery Museum Board of Trustees welcomed three new members during their Celebrating Folk Pottery reception held on February 11.

“I am honored to play a part in the Folk Pottery Museum at SNCA,” says Dr. Steve Winter, a retired reverend, and active White County community member. “I look forward to helping share the rich tradition of folk pottery and the stories of local potters who have, literally and figuratively, molded this region for generations.” Temporary exhibits are still coming along at the museum. In early April, the Folk Pottery Museum will present the second installment of the Women in Folk pottery series: “The Men Won’t Tell Us Anything”: Women of Georgia Folk Pottery (Born 1950s- today). The exhibit will include 9 women who were either born into folk pottery families or learned the trade through apprenticeships.

For more information about the museum, please visit folkpotterymuseum.com or call 706-878-3300. The Folk Pottery Museum of Northeast Georgia is a property of the Sautee Nacoochee Community Association, a non-profit 501(c)3 organization. Events at the Folk Pottery Museum of Northeast Georgia are supported, in part, by the Swanson Family Foundation. To learn more, visit www.snca.org.

Museums and scholars revisit the story of American modernism regularly, but few exhibitions have examined modernist works on paper. “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker,” on view from March 5 to September 4, 2022, at the Georgia Museum of Art at the University of Georgia, hopes to change that conversation. The exhibition includes approximately 150 works by 70 artists, both well-known and overlooked, and will be accompanied by a catalogue published by the museum.

Modernism reflected global shifts in thought and expression, partially because of the industrial revolution. The Armory Show of 1913, which opened in New York, is generally accepted as the starting point of American modernism. Although few American artists exhibited work there, its influence was wide-reaching, and artists who saw the show soon began experimenting with abstract form and new subject matter in response.

“Graphic Eloquence” aims to show the ways modernist experimentation played out through printmaking and other paper-based media, as artists invented new technologies and reinvented old ones. The exhibition includes examples of works in casein, cellocut, charcoal, collage, collagraphy, colored pencil, conté, encaustic (gesso-wax), gouache, graphite, ink, intaglio, lithography, mezzotint, monotype, oil, serigraphy, silverpoint, tempera, watercolor, woodcut, and wood

From the Georgia Museum of Art’s exhibition Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker: Maybelle Stamper (American, 1907–1995), Song a - Float, 1951. Color lithograph with hand additions, ed. various, 9 1/16 × 7 13/16 inches. Promised gift of Michael T. Ricker.

From the High Museum of Art’s exhibition What is Left Unspoken, Love: Rina Banerjee’s Take me, take me, take me . . . to the Palace of Love. Courtesy of the artist.

engraving. Its artists range similarly across the United States, including particularly strong examples by Texas artists from the Fort Worth Circle, proving once again that modernism was not purely an East Coast phenomenon.

Many of the works featured in the exhibition are part of a gift to the museum. Curator of American art Jeffrey Richmond-Moll said, “We are grateful to Michael Ricker for generously gifting these diverse expressions of the American modernist spirit to the museum. Works on paper are a longstanding strength of our museum, and Ricker’s donation will decisively deepen the stories we tell about this medium and the evolution of American abstraction across broader geographies and artistic networks.”

This spring, the High Museum of Art in Atlanta presents an exhibition featuring contemporary artworks from the early 1990s through the present that examine the different ways that one of the most powerful forces of life — love — is understood, expressed or perhaps left unspoken. On view now through Aug. 14, 2022, What Is Left Unspoken, Love juxtaposes iconic works that represent watershed moments in the history of contemporary art, such as Felix Gonzalez-Torres’s ‘Untitled’ (Perfect Lovers) (1987-1990), with art of the past decade, including six works created especially for the exhibition, such as Our Love Was Deeply Purple (2021) by Alanna Fields. The exhibition considers love as a profound subject of exploration from time immemorial that is nonetheless still relevant to the contingencies of 21st-century life.

“Recognizing that division and separation are prevalent in our current moment, it is only fitting to mount an exhibition focused on love: a universal theme that ultimately underscores what binds and strengthens us all,” said Rand Suffolk, the High’s Nancy and

Holcombe T. Green, Jr., director. “We hope that it will remind audiences of the common thread that brings us together as families, friends, and as a community.”

Works on view explore concepts of love from the most intimate of relationships between two people, through the ties that bind family and friends, to social movements that promote the worth and well-being of community. At its most epic, the exhibition deals with the family of humankind and its connection with the natural world, as well as the pursuit of wisdom or love of knowledge, while promoting the notion that love is worth analyzing at this moment, particularly as an agent of change and a force for good.

“Where I grew up, love is an embarrassing feeling that is often left as an understanding but not given voice,” said the High’s Wieland Family Curator of Modern and Contemporary Art Michael Rooks. “For many people, to say ‘I love you’ can be debilitating, so, a goal of the exhibition is to consider how love might be an empowering experience rather than an exercise in futility, something tangible rather than an illusion, or a moral virtue rather than an emotional weakness.”

What Is Left Unspoken, Love features nearly 70 works, including painting, sculpture, photography, video, media art and installation, by more than 35 diverse and multigenerational artists based in North America, Europe and Asia. These artists include Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Jana Vander Lee, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Carrie Mae Weems and Akram Zaatari.

An African American outsider artist kidnapped into a life at sea is the center of a new, landmark exhibition at the South’s oldest public art museum. The Art of William O. Golding: Hard Knocks, Hardships, and Lots of Experience opens April 1 at the Jepson Center for the Arts, part of Telfair Museums, in the heart of Savannah, Georgia’s historic district. Golding, the African American son of a Reconstruction Georgia lawmaker, was tricked aboard a sailing vessel as a youth while playing on Savannah’s riverfront in the 1880s. He spent nearly 50 years circling the globe on a

Catalogue cover for the Jepson Center’s exhibition The Art of William O. Golding.

variety of sailing and steam ships before returning to the U.S. Marine Hospital in Savannah, where he spent his final years illustrating his experiences from memory in fantastical, detailed scenes of the ports he claimed to have visited throughout his life, from China to the horn of South America. This original exhibition, the largest ever presented of Golding’s work and organized by Telfair curator Harry DeLorme, brings together more than 70 of his drawings for the first time.

“Golding’s story is both an exciting and poignant seagoing tale,” DeLorme said. “His life intersected with major events in world history, and he left his mark in drawings that are chock full of creative invention, personal symbolism, and sailor’s lore. His work reflects his pride of service as a Black seaman in the U.S. Navy during times of war, and he deserves a much larger place in the history of American art.”

Golding’s drawings are held in major collections throughout the United States, including at the Smithsonian American Art Museum in Washington, D.C., the American Folk Art Museum in New York, the Georgia Museum of Art in Athens, and the Morris Museum of Art in Augusta. In its permanent collection, Telfair holds 23—almost one-fifth—of the 130 drawings he is thought to have produced in his lifetime.

Golding claimed to have worked aboard “all kinds of ships, from a whaler to a man o’ war,” and his subjects include whalers and warships, as well as merchant vessels and luxury steam yachts of his day, and famous earlier ships from the Age of Sail. His work is idiosyncratic and full of detail, particularly his port scenes filled with waterfront bars and sailors’ boarding houses, churches, civic buildings, and tiny, expressive human figures. His work combines sailors’ lore, fact, fantasy, and personal symbols, including a distinctive sun that resembles a compass rose.

Although Golding had no formal training, late in his life he worked with the materials he had at hand: pencils, crayons, and paper from local dimestores provided by an artist named Margaret Stiles, who volunteered at the U.S. marine hospital and helped the artist sell his work. Golding never attracted the attention paid to a few other artists of the African American south active in the 1930s and ‘40s, such as Bill Traylor and William Edmondson. Largely forgotten for decades after his death in 1943, Golding’s work was covered in a national art magazine, Art in America, in 1970 and appeared in several exhibitions and folk art survey books. His work is still little known and long overdue for reassessment, both for aesthetic and historical reasons.

The Art of William O. Golding: Hard Knocks, Hardships, and Lots of Experience is funded by a special grant from the National Endowment for the Arts and accompanied by a substantial catalogue, with new research that has yielded surprising details about the artist’s life and work.

It took chutzpah to launch Georgia’s only Jewish museum 25 years ago, so it is only fitting that the William Breman Jewish Heritage Museum marks its silver anniversary with the appropriately titled exhibition History with Chutzpah.

The exhibition presents an artifact-rich and interactive immersion into the colorful history of Jewish culture in Georgia and Alabama that serves as the foundation of Jewish life in the Southeast today.

History with Chutzpah is “driven by stories,” co-curator Sandra Berman said, illustrated and enhanced by more than 300 objects, documents, photographs, and oral histories. It will give voice to many people—past and present—whose experiences, achievements and perspectives are reflected in The Breman’s deep archival collections.

Co-curator Jane Leavey giving tour at the Breman Jewish Heritage Museum.

The exhibit draws strongly from the Ida Pearle and Joseph Cuba Archives for Southern Jewish History. Seeded by a gift from Atlantan Erwin Zaban in 1984, the archive has grown to be one of the country’s most respected repositories documenting Jewish life.

Berman was the archivist who began organizing and building the archive for the Jewish Federation of Atlanta even before a Jewish museum was on the drawing board. Her Chutzpah co-curator Jane Leavey was the museum’s founding director who got it there.

Breman Museum Executive Director Leslie Gordon knew that they were the perfect dynamic duo to organize a 25th anniversary exhibit about those who have helped shaped Jewish life in Georgia and Alabama from 1733 to today. enhancing communities in both states.

“Museums are important because without them, without archives, people can be forgotten,” Gordon said. “Jane and Sandy were insistent even before the founding of the Breman Museum that these stories be captured and treated with respect, for the insights and lessons that they would provide in the future. Now with History with Chutzpah important chapters of our past come alive once again.”

So, what is this “chutzpah” that serves as the exhibit’s connecting thread? Chutzpah is a Yiddish word that describes a person boasting a character that is bold, audacious, gutsy. People with chutzpah, also derived from the Hebrew word huspah, do not lack self-confidence or nerve. The word originally carried a connotation that leaned toward the negative. But in English, it has taken on a broader, more positive meaning, emphasizing an individual’s courage, mettle, or ardor. It is those latter meanings that History with Chutzpah embraces. The exhibit is expected to remain on view for at least three years.

LOUISIANA

Recordings preserve information. This can include an idea, a sound, a moment in time—the important outcome remains the same: the record. At the LSU Museum of Art’s exhibition State of the Art: Record, the artworks reveal a broad expanse of this concept. Some

Kellie Romany, In an Effort to be Held, 2016–2019, oil on ceramic, dimensions variable. Courtesy of the artist. At the LSU Museum of Art.

of these artists grapple with the constantly unfolding historical record. Others use their work as a way to record concepts too big for words or too abstract for simple explanation. Others employ their artistic skills to order their surroundings, transforming chaos into something manageable. Record speaks to the task of documenting the random, confusing, and sometimes inexplicable, and underscores a desire to return to the existing record in order to reconsider.

These 20 artists represent a sample of American art created in recent years. The approaches, backgrounds, and details of these artists’ practices vary widely but the echoes across works and sections of the show speak to broader trends in contemporary art in this country. Organized around the theme of “record,” this focused exhibition invites visitors to consider how these artists put this theme into action. Artists included in this exhibition are David Harper, Damian Stamer, Carla Edwards, Jenelle Esparza, Marcel Pardo Ariza, Kate Budd, Mari Hernandez, Tabitha Nikolai,

Enrico Riley, Jordan Seaberry, Diego Rodriguez-Warner, Frances Bagley, Peter Everett, Mae Aur, Alex Chitty, Paul Stephen Benjamin, Jill Downen, Kellie Romany, Nicolas Lobo, and Cory Imig.

The artists in State of the Art: Record explore the concept of record in three sections: historical record (preserving history and re-constructing history); seeking the intangible; and finding order. In her selfportrait Colonizer, Mari Hernandez reconstructs and re-imagines history by wearing a wig, cheap prosthetics, layers of makeup, and a basic costume to highlight the constructed and fake nature of the portrait. Drawing on her Chicana heritage and the history of her native Texas, Hernandez assumes the guise of European colonists whose portraits don’t fully reveal the traditions of colonization associated with historical artworks. Also featured is Jordan Seaberry’s Blueberry (The Right to Self), which seeks the intangible, presenting a kaleidoscopic exploration of family histories, memories, and tangled relationships. The artist layers multiple materials—photographs, clippings, and more—to create a personal tapestry of his past, present, and future.

Other artists attempt to find order through creating patterns and breaking down ideas to develop understanding. Kellie Romany’s In an Effort to be Held are ceramic discs stained with oil paint, mimicking nineteenth-century anthropologist and ethnographer Felix von Luschan’s chromatic scale of skin color. Paul Stephen Benjamin explores the depth of meaning and possibilities contained in the color black. He asks the question, “What is the color black?” In Daily Meditations, Benjamin draws from his daily ritual of manually typing out his thoughts about black. When you visit this exhibition, write your daily mediation in the LSU Museum of Art (LSU MOA) lobby and place it on the wall to create a community installation inspired by Paul Stephen Benjamin’s Daily Meditations. Also submit your own ideas and creations to LSU MOA’s zine project of what the term ‘record’ means to you until May 1, 2022. This exhibition will be on view until June 19, 2022 at the LSU Museum of Art.

State of the Art: Record is organized by Crystal Bridges Museum of American Art, Bentonville,

Arkansas. The national tour of State of the Art 2020 is sponsored by Bank of America with additional support from Art Bridges. This exhibition and its programming are sponsored locally by a generous grant from Art Bridges. LSU MOA also thanks the generous donors to the LSU MOA Annual Exhibition Fund for making this exhibition possible. Visit LSU Museum of Art’s Facebook and Instagram pages @lsumoa regularly for program announcements and exhibition updates. For more information: www.lsumoa.org

MISSISSIPPI

New, collaborative, state-of-the-art playground at the

LeFleur’s Bluff Education and Tourism Complex

in Jackson, Mississippi, is open! The long-awaited LeFleur’s Bluff Complex (LBC) officially opened with a press conference and celebration on December 9, 2021! Located on the shared campus of the Mississippi Department of Wildlife, Fisheries, and Parks’ Museum of Natural Science and the Mississippi Children’s Museum in Jackson, the LBC offers recreational activities through the LeFleur’s Bluff Playground, Spotter’s Adventure Trail, and an outdoor pavilion. Scientists, educators, and wellness experts collaborated to create this one-of-a-kind outdoor play experience, which includes 80 play activities, 73 of which are inclusive for children with accessibility needs. Made possible by a $3.86 million grant from Blue Cross & Blue Shield of Mississippi Foundation, Mississippi’s largest playground is designed to become a fun, beloved play space for future generations.

Children who play and learn in nature are more physically active, more engaged in learning, and more emotionally healthy. “Outdoor experiences build visual-spatial skills, strengthen observation and creativity, improve concentration, and enhance motor and imagination skills,” said Angel Rohnke, Director of the LeFleur’s Bluff Complex. This 21st century, 30,000-squarefoot playground is separated into different play areas based on age, for children ages 6 months to 12 years old. “All structures on the playground promote physical activities—from providing greater freedom to run, jump, and climb, to supporting reduced stress levels,” said Emily Hoff, Executive Director for the Mississippi Children’s Museum.

Coverings: Coverings that shade over 75% of the playground, making the area below up to 30 degrees

Playground at LeFleur’s Bluff Education and Tourism Complex.

cooler for year-round outdoor play. Accessibility: An accessible We-Go-Swing, made to host children with and without wheelchairs.

World’s First: The first-in-the-world Wedra play structure (designed for youth 6-23 months old).

Hedra Towers: The fifth location in the USA with a Hedra® Towers play structure featuring an 18-foot slide (geared toward 5- to 12-year-olds).

Spotter’s Adventure Trail, a walking trail located east of the playground, leads the way to conveniently visit both museums and the playground. The trail, scheduled to open later in 2022, features a fun, engaging, and unique interactive outdoor experience through the original story of Spotter the Otter and friends. Nutrition concepts are incorporated throughout the trail. As Spotter leaves his den to travel down the Pearl River, he encounters various animals and learns about their habitats, what they eat, and how they survive. Sensory experiences mark the trail, such as different textures for children to touch and different sounds to hear. Outdoor experiences like these build visual-spatial skills, strengthen observation and creativity, improve concentration, and enhance motor and imagination skills.

The outdoor pavilion, west of the playground, supports multiple functions for both museums, includes tables

Exhibition promotion for Jagged Path at the Blowing Rock Art & History Museum.

and seating for up to 50, and serves the practical need of covered space for students and families. An adjacent sloped lawn allows the structure to be used as an openair amphitheater for large assemblies. The pavilion is also scheduled to open later in 2022.

Learn more about the LeFleur’s Bluff Playground and the LeFleur’s Bluff Complex at #MSProjectPlayground and https://www.mdwfp.com/museum/see-visit/ lefleurs-bluff-playground/.

NORTH CAROLINA

The Blowing Rock Art and History Museum (BRAHM) is excited to announce the opening of its newest exhibition, Jagged Path: The African Diaspora in Western North Carolina in Craft, Music, and Dance. This interdisciplinary exhibition will showcase art and historical content stemming from the African roots of Western North Carolina. The curatorial team (Marie T Cochran, Laurie Goux, and Fred J Hay) has worked to create an exhibit that sheds light on the obscured history of African contributions to craft, music, and dance in the Appalachian region. This exhibit will feature artifacts, historic images and works from eight living artists and creators that possess unique connections to African culture spanning from the 17th to 21st centuries. Jagged Path will debut with the intent to demonstrate how African traditions that survived the Middle Passage have shaped the culture of Western North Carolina that we know today through interviews, performances, historic artifacts, artist residencies, and more.

Everyone can find something to love about this exhibit through its interactive programs and wide range of mediums that go beyond just the canvas. This exhibit will entice audiences with its rich culture and abundance of talents while simultaneously educating viewers about a momentous part of Western North Carolina’s history. Jagged Path opens on April 30th and will remain on display at BRAHM until October 22nd. To learn more visit: https://www.blowingrockmuseum. org/see/jagged-path.

Historic Rosedale is pleased to present We Built This: Profiles of Black Architects and Builders in North Carolina, a traveling exhibit from Preservation North Carolina. We Built This is part of an educational program about the history and legacy of Black builders and craftspeople in North Carolina. This traveling exhibit highlights the stories of those who constructed and designed many of North Carolina’s most treasured historic sites. Spanning more than three centuries, We Built This provides more than two dozen personal profiles and historical context on crucial topics, including slavery and Reconstruction;

Historic Rosedale.

the founding of HBCUs and Black churches; Jim Crow and segregation; and the rise of Black politicians and professionals.

“Bringing high quality, relevant exhibits, such as We Built This, to the community is an important aspect of our mission and responsibility,” commented Tom Spada, President, Board of Directors, the Historic Rosedale Foundation. Mr. Spada continued, “Through sharing our multi-facet history with the community and visitors to our site, we hope to create a sense of belonging and unity.” The African American Legacy at Historic Rosedale project was created to further expand and promote the truthful, compassionate, and equitable presentation of the African Americans at Historic Rosedale. Because of the sensitive nature of many of these truths, the African American Legacy Committee has collaborated with a broad and diverse group of individuals, starting with the descendants of those enslaved who lived and worked on the site. The We Built This exhibit will run from April 1, 2022, through June 11, 2022, in the circa 1815 house at the Historic Rosedale site, located at 3427 N. Tryon Street, Charlotte, North Carolina.

At the North Carolina Museum of History, the exhibition River Bridge: Sunken Secrets examines the history of a trade port called River Bridge on the Pasquotank River north of Elizabeth City. In use for hundreds of years by Indigenous people, the name of the site, River Bridge, comes from a bridge built before the Revolutionary War that allowed for easier travel in the

At the North Carolina Museum of History.

twisting backwaters of eastern North Carolina. The site also featured customshouses and warehouses, where workers loaded and unloaded cargo, people shopped for goods, and news circulated from both sides of the Atlantic.

Today, the only reminders of this once-important center of commerce are a few support pilings and several vessels submerged just below the river’s surface, as well as a large collection of artifacts, many of which are spotlighted in this exhibit.

“This unique exhibition shows how archaeology can provide an interesting view into the history of a location that was used for more than 350 years as a center for trade and even visited by George Washington on his southern tour,” Director Ken Howard said. Visitors will explore the world of River Bridge through over 250 objects that have been excavated from the riverbed. They will see objects that tell the story of the people, goods, and ideas that circulated around the waterways of eastern North Carolina and will gain insight into daily life: what people ate, how they decorated their homes, the trades they worked in, and how they navigated the world around them. They also will learn about the fascinating world of underwater archaeology.

River Bridge will be on display at the North Carolina Museum of History from April 16 through September 2, 2022. River Bridge is a traveling exhibit that resulted from a collaboration between the Underwater Archaeology Branch of the NC Office of State Archaeology and the Museum of the Albemarle.