Summer 2021 Preview by North Carolina Museum of Art

PREVIEW SUMMER J U N E–A U G U S T 2 0 2 1

preview : june – august

art in bloom

BACK I N B LO O M Thursday–Sunday, June 3–6, and Thursday–Sunday, June 10–13 J U N E 2 02 1

The NCMA’s annual fund-raising festival of art and flowers A perennial favorite, Art in Bloom displays the stunning creativity of floral designers who interpret works of art in the Museum collection. Proceeds support general operations, including virtual and live programs, throughout the year. For more information visit ncartmuseum.org/bloom or call (919) 715-5923. For ticket information and related events, see pages 12–14.

The NCMA’s Modern Harlem Renaissance Man

Golden Mummies: Reckoning with Colonialism and Racism in Egyptology

New and On View: Gerrit van Honthorst’s Portrait of a Woman

Maya Brooks: Curator’s Pick

My NCMA

Membership Matters

In Memoriam

Floral design by Terry Godfrey, AIFD, inspired by François Boucher and studio, Venus Rising from the Waves, circa 1766, oil on canvas, 56 × 45 in., Gift of Mr. and Mrs. Sosthenes Behn. Arrangement sponsored by Latin students at Broughton High School c o v e r : Sunflowers in the Museum Park

The sunflower display near Gyre in the Museum Park delights visitors every summer. Thirteen different varieties, combined with cosmos and zinnia, are used to create a vivid field. The flowers typically begin blooming in July and last until mid-September. A second, smaller sunflower planting will be seeded this summer below the Ellipse.

FRO M T H E D I R EC TO R Dear Members, I am so pleased that we have been able to welcome so many members back to the Museum in the last months, and I am looking forward with anticipation to the return of annual visitor favorites like the sunflower field and Art in Bloom alongside new in-person Park programming like Tai Chi and Morning Bird Walks. In addition to these exciting on-campus programs, we will offer opportunities to connect with the NCMA from home. While our usual outdoor summer concert series may look different, I encourage you to learn more about other creative performing arts opportunities, including the return of outdoor movies and pop-up Park performances, from the Museum’s new director of performing arts and film, Moses T. Alexander Greene. Read a Q and A with him on pages 2–3. We are continuing to present fresh perspectives on the collection through thematic exhibitions. To Be Young: Coming of Age in the Contemporary, on view in West Building, is a group show featuring artists working in a variety of mediums in the twentieth and twentyfirst centuries whose work reflects on the shared rites of passage and everyday life experiences of young people coming to maturity. It is both a nostalgic nod back to a time we can all relate to and a look forward to how the current racial justice movement and public health crisis may challenge these traditions. Learn more about a featured photograph from the exhibition on pages 10–11. As always thank you for your support as a member. I hope to see you at the Museum soon. With appreciation and my best,

Coming Soon! Park Welcome Center

At a Glance: NCMA Exhibitions

2021

Valerie Hillings

the ncma’s modern harlem renaissance man

The NCMA’s Modern Harlem Renaissance Man

the ncma’s modern harlem renaissance man

Though I have been blessed to achieve many goals, I would say my greatest accomplishment is my son, Marchell, who is a photographer in the metropolitan D.C. area. Preview: What role did the performing arts and film have for you growing up? MTAG: The performing arts played a monumental role while I was growing up. Though I sang in church starting at four or five years old, my entrée into the arts was through dance. I was a tap dancer from the age of seven until I left for college. I even competed in dance on the state level in high school. The summer before 7th grade I stumbled into musical theater, and my life changed. It was theater, dance, song, rhythm, and poetry wrapped into one, and I thrived! I found a place of safety and escape, joy and truth, and a universe of possibility on the stage. Around the same age, I saw the film A Soldier’s Story, and it was purpose-affirming and life-changing. Preview: What do you envision for the NCMA’s summer season of performing arts and film?

Director of Performing Arts and Film Moses T. Alexander Greene in front of Jacob Lawrence’s painting Forward, 1967, tempera on Masonite panel, 23 7/8 × 35 15/16 in., Purchased with funds from the State of North Carolina

Preview spoke with the Museum’s new director of performing arts and film, Moses T. Alexander Greene, about his background and plans for the 2021 summer season. Preview: Tell us a little bit about yourself. MTAG: I’m a proud 10th-generation New Yorker with deep roots here in North Carolina. A portion of my maternal lineage can be traced to the Somerset Place plantation in Creswell, N.C.; both sides of my paternal lineage date back to the early 1800s in Pitt, Beaufort, and Martin Counties, N.C. I see myself as a modern Harlem Renaissance man. (Smiles.) As a performing arts producer, I feel my purpose includes creating spaces of belonging for underrepresented voices. It’s a historic time for the arts nationwide, and I am humbled to be a part of changing the landscape of theater at the highest level in this country. As a playwright and actor, in January 2021 I received the 2020 BroadwayWorld Raleigh award for Original Script of the Decade for my play Pooled: A Gospel Musical Drama. In 2019 the work was named “one of the 25 best professional Black Theatre productions in the U.S., Europe, Africa and the Caribbean” by the National Black Theatre Festival and made its national debut there. As an arts advocate, I serve as chair of the City of Raleigh Arts Commission and am a founding member of the advisory group for Raleigh’s first Public Art Plan. Finally as a scholar and practitioner, I love how education expands one’s self-concept and consciousness. I teach film, media, communications, English, and African American Studies courses on the college level when I feel the need to get back into the classroom.

MTAG: This summer we will offer remarkable multigenerational programming while adhering to State mandates for public health and safety as well as assembling. That understood, we will provide hybrid programming. Our rebranded Music at the Museum series (formerly Offstage Live) is an eclectic array of performances by North Carolina– based artists, including a social media contest for indie acts. Our traditional summer concert series will hopefully begin mid-September and continue until early November. Visitors can experience youth pop-up chamber music concerts, feel-good family films from yesteryear through our summer outdoor film series, and live jazz Friday and Saturday evenings in the Exhibition Café in East Building. Through a new partnership with Carolina Ballet, two nationally renowned choreographers will create and set a new work to be performed outdoors in our Museum Park Theater in August. Our gallery, Museum Park, and virtual content reflects a multiplicity of dance, music, theater, and film offerings. Preview: What’s your favorite work of art in the NCMA collection? MTAG: My favorite work of art is the Jacob Lawrence painting called Forward (1967). It speaks to me. I realize that I am experiencing a life born on the sacrifices and prayers of African Americans like my North Carolina ancestors. The painting reminds me that I come from generations of African Americans who dared not only to free themselves but to (as Toni Morrison said) “claim ownership” of being a “freed self.” Every day—whether through my role as director of performing arts and film at the NCMA, as part of a Broadway producing team, as an arts advocate in Raleigh, or in my most important role as a father—I make every effort to claim ownership of my freed self. Every day I endeavor to walk in my genius and to make my ancestors proud. Freedom is essential to doing both. Preview: What music are you listening to lately? MTAG: I listen to John Coltrane and the jazz greats every day. Then it’s a potpourri of NCMA Jukebox, Silk Sonic, old school R and B, neo soul, the Clark Sisters, Anthony Hamilton, and Jill Scott. There’s a new song by J. J. Hairston (“You're Gonna Live”) that resonates strongly with me as well.

golden mummies : reckoning with colonialism and r acism in egyptology

Golden Mummies: Reckoning with Colonialism and Racism in Egyptology Golden Mummies of Egypt is about more than just mummies. It’s about people and their hope for the afterlife at the time when Egypt was ruled by the Macedonian Greeks and subsequently the Romans. In addition to learning about mummification, visitors to the exhibition will gain an understanding about multiculturalism, self-representation, and religious beliefs during this fascinating period. Just as important the show and its accompanying catalogue lift the veil on colonialism and racism in Egyptology. A Colonial Enterprise Egyptology is undeniably entangled with European economic and military interests in Egypt because Egypt has been a gateway to Asia and an African country located at the crossroads of strategic trade routes to subSaharan Africa, the Mediterranean, and the Middle East. In 1882 Great Britain invaded Egypt, securing access to the Suez Canal, and it occupied the country for the next 40 years. Set against this historical backdrop, the heyday of archaeological exploration in Egypt—by adventurous upper- and middle-class white males—appears much less glamorous to our modern eyes. While archaeologists sought to learn more about ancient peoples and cultures, archaeology (which can otherwise foster understanding and acceptance of those different from us) was a colonial enterprise that promoted Eurocentric supremacy.

golden mummies : reckoning with colonialism and r acism in egyptology

foreign excavators could share the discoveries—with Egypt having first right of refusal and ostensibly keeping the most important finds. (While this was a great step in helping Egypt keep its cultural heritage at home, the initiative mirrored the political and economic control of Egypt’s debts to Western powers.) Through the partage of excavated material, many museums in Europe and the U.S. were able to build Egyptian collections—including the Manchester Museum. While there are just a few brief mentions about this in the exhibition, the Golden Mummies catalogue devotes a chapter to Britain’s colonial expansion into Egypt, putting archaeology, collection building, and the antiquities trade into their sociopolitical and economic contexts and highlighting how the finds from Hawara made their way to Manchester. The partage system officially ceased in the 1980s, when Egypt passed its 1983 antiquities law, and all excavated materials now remain in the country (as is the case with most countries around the world). Nowadays foreign museums are also becoming more transparent about the formation of their collections, especially if they are the result of colonization. Petrie, Skulls, and Faces Sir Flinders Petrie is a looming figure in Egyptology. Commonly regarded as the “father of Egyptian archaeology,” Petrie was renowned for his scientific excavation methods as well as his interest in more mundane objects of daily life. What is often unknown or relegated to a footnote by his biographers, however, is that Petrie was a proponent of eugenics—the practice or support of a program to “improve” the human race by selectively breeding traits deemed “superior” and “discontinuing” traits considered “inferior.”

Sir Flinders Petrie, 1903. His excavation techniques revolutionized Egyptology, but his embracing of eugenics has marred his legacy.

Archaeological digs were dominated by Western excavators, who rarely credited the hundreds of Egyptian workers who did the strenuous excavation work. In 1888–89 and 1910–11, the gilded mummies and other objects featured in the exhibition were discovered at Hawara by skilled workmen hired by British archaeologist Sir Flinders Petrie. One of the repercussions of colonization is the partage system (French, meaning sharing; in English also called division of finds), devised by Petrie and the French head of the Antiquities Service in Egypt. This meant that both the Egyptian Antiquities Service and the

In his examination of the exposed skulls of mummies and their portraits from Hawara— including the spectacularly beautiful and naturalistic encaustic paintings, the so-called Faiyum portraits—Petrie used prejudiced opinions to argue for racial hierarchies. As one might imagine, Petrie identified Egyptian traits as not so favorable Screenshot from the Archaeology and Interpreting the Past in comparison to European features. If video in Golden Mummies of Egypt one considers how codified and idealized Egyptian art is—even with more realistic Roman portraits—Petrie’s arguments are even more dubious because they are based on misinterpretation of the archaeological material. When one understands that the purpose of these portraits and masks was to liken the deceased to a god to facilitate rebirth in the afterlife, an exact likeness of the individual is not necessary, and thus these portraits cannot be used to create “facial reconstructions” of Egyptians in Greco-Roman Egypt.

golden mummies : reckoning with colonialism and r acism in egyptology

Wall Quotes in the Exhibition

GO LDEN M U M M I ES O F EGY PT

Visitors to Golden Mummies will notice in the seven sections large quotes on the walls. Some are quite lovely; others will make one pause because they do not seem culturally sensitive or appropriate—at least to our modern sensibilities. These words, spoken or written by Petrie and his contemporaries, reflect the biases of the late 19th and early 20th centuries. The quotes invite visitors to reflect on racial and other prejudices and help us view the content of the exhibition with renewed awareness and sensibility.

March 6–July 11, 2021 East Building, Level B, Meymandi Exhibition Gallery

The world has changed drastically since the Petrie excavations at Hawara that yielded the golden mummies found in the exhibition. Today new generations of Egyptologists are reassessing the archaeological material, revising the biases of past interpretation, and working toward redressing prejudiced views of Egypt and Africa that originated with the colonial history of Egyptian archaeology. Golden Mummies of Egypt is helping the field of Egyptology take a critical look at its past.

free

for member’s first visit $20 Nonmembers $17 Seniors

$14 Youth ages 7–18

The NCMA thanks our Media Sponsor, Capitol Broadcasting Company, Inc., and WRAL-TV, and the Golden Mummies of Egypt Leadership Committee for their support of this exhibition:

B R I N G T H E B OO K H O M E The lavishly illustrated Golden Mummies exhibition catalogue—written by Manchester Museum Egyptologist Campbell Price—is not a typical catalogue with entries for each work of art. Instead the author delivers a deep dive into the themes of the exhibition, discussing each within its religious, cultural, and sociopolitical context. The catalogue is available at a discount for NCMA members in the Exhibition Store and online at visit.ncartmuseum.org.

presenting sponsors

Nancy and Ron McFarlane Carol and Rick McNeel

Supporting Sponsors Chris and Brian Ciaverella PNC Bank Anna and Jim Romano P a r t i c i p at i n g S p o n s o r s Connie and Elliot Bossen Mary J. C. Cresimore Sesha and Dean Debnam Kristin and John Replogle TM Medical Properties, LLC

Golden Mummies of Egypt is developed and produced by Nomad Exhibitions. In Raleigh additional support for this exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Egyptian, from Hawara, Mummy of a man, circa 117–138 c.e., human remains, linen, and plaster, Manchester Museum, © 2019 Manchester Museum / Michael Pollard Photographer

Commit tee Members Spiro Macris Bing Sizemore

new and on view : gerrit van honthorst ’s portrait of a woman

new a nd on view:

Gerrit van Honthorst’s Portrait of a Woman

This charming portrait of an unknown woman was painted by Gerrit van Honthorst, a Dutch artist working in the first half of the 17th century. Honthorst was born and trained in Utrecht, a small city just outside of Amsterdam, and first made a name for himself when he went to Italy, sometime after he turned 18. While in Italy Honthorst was based in Rome and became enamored with the works of the Italian painter Michelangelo Merisi da Caravaggio (1571–1610). Caravaggio was known for his dramatic naturalism and especially for his use of chiaroscuro, exaggerated contrasts of light and dark. While Honthorst never met Caravaggio, his paintings were accessible all over Rome, and Honthorst also worked for several of Caravaggio’s former patrons. Honthorst introduced candles as a direct light source in his Caravaggesque paintings and was so skilled in these kinds of scenes that after his death he earned the nickname Gherardo delle Notti (Gerard of the Nights). Honthorst returned to Utrecht in 1620, where he sought the patronage of the court in The Hague, the diplomatic center of the Netherlands. He initially continued his Caravaggesque painting style, but there was apparently little interest at the Dutch court for this type of painting, so he quickly began to move away from it. His paintings after 1620 are increasingly brightly colored and pastoral in theme, featuring shepherds

new and on view : gerrit van honthorst ’s portrait of a woman

fame, and having worked briefly as the portrait painter to a king, he was in high demand. From this point on, Honthorst almost exclusively produced portraits. His two biggest patrons were Elizabeth Stuart and Amalia von Solms, the wife of the Dutch governor, the highest-ranking official in the country. Honthorst produced dozens of portraits for these two patrons. The NCMA Portrait of a Woman, an exciting new acquisition, is part of the sets of portraits that Honthorst actively produced in the 1630s and was probably made as part of a set for Amalia von Solms. Honthorst introduced pastoral elements into these courtly portraits, often dressing his sitters as shepherdesses. This is certainly the case with our unknown woman. The red sash cutting across her bodice and especially the flowing veil behind her are practically trademarks of Honthorst’s pastoral portraits.

Gerrit van Honthorst, Portrait of a Woman, 1632, oil on panel, 29 1/4 × 23 1/4 in., Purchased with funds from the Charles E. and Pauline Lewis Hayworth Endowed Fund, the Ron and Jeanette Doggett Endowed Fund for European Art, and with funds from the North Carolina State Art Society and the Mary Duke Biddle Foundation Fund, by exchange

and shepherdesses in idyllic landscapes or fanciful costumes. In 1628 Honthorst was invited to London to paint portraits for King Charles I. Charles’s sister Elizabeth Stuart probably had a hand in arranging this invitation, as she was in exile in The Hague after losing the throne of Bohemia (present-day Czech Republic) to the Spanish Hapsburgs. When Honthorst returned from England, he was an artist of even greater international

The addition of this work to the NCMA’s collection doubles our holdings of Dutch courtly portraits, which were not particularly popular among American collectors in the 19th and 20th centuries when most museum collections were being formed. Indeed, of the relatively few American museums that house works by Honthorst, even fewer can

speak directly to this important, courtly aspect of his work. The painting joins our two works by Hendrick ter Brugghen, increasing the representation of the Utrecht “Caravaggisti,” a group of Utrecht artists who all journeyed to Italy and were inspired by Caravaggio.

H O N T H O R S T FA S T FAC T S born: died:

1592, Utrecht, The Netherlands

1656, Utrecht, The Netherlands

posthumous nickname:

the Nights

Gerard of

Candles illuminate many of his early paintings.

why?

married:

cousin

Sophia Coopmans, a distant

i n f l u e n c e d by:

Caravaggio, Abraham Bloemaert, Michiel van Mierevelt influenced:

de la Tour

Rembrandt, Georges

friends:

Hendrick ter Brugghen and the other Utrecht “Caravaggisti” f a n c i e s t c l i e n t:

England

King Charles I of

coolest sit ter:

Elizabeth Stuart, the exiled Queen of Bohemia and Electress Palatine r e a l ly i n t o :

chiaroscuro, portraits

m o s t fa m o u s pa i n t i n g :

Christ before the High Priest (circa 1617), National Gallery, London

Gerrit van Honthorst, The Concert, 1623, oil on canvas, 48 5/8 × 80 11/16 in., National Gallery of Art, Washington, D.C., Patrons’ Permanent Fund and Florian Carr Fund, 2013.38.1. Image courtesy National Gallery of Art, Washington

m o s t e n t e r ta i n i n g p a i n t i n g :

The Concert (1623), National Gallery of Art, Washington, D.C.

maya brooks : cur ator 's pick

m aya b r o o k s :

Curator’s Pick

IMAGE FPO

maya brooks : cur ator 's pick

Deandry appears in Bill Bamberger’s Boys Will Be Men series about the emergence of masculine culture. Bamberger explores how boys evolve—their simultaneous camaraderie and isolation. He also interrogates their view of themselves as shaped by their expectations of what it means to be a man. Here Deandry symbolizes universal adolescence, a conflicting relationship between innocence and adulthood that spans all races and classes of people.

The photograph seems to ask us to look ahead, to imagine this boy in the future.

The photograph seems to ask us to look ahead, to imagine this boy in the future. He sits in an empty staircase, head bowed and eyes closed, solemn and contemplative. He is introspective. His clasped hands and tight shoulders indicate tension. He is waiting for something. What happens in the moments following this picture? How will his circumstances change? The longer I examined the image, the more I felt a sense of anticipation. I envisioned something—maybe a noise or a person—disrupting Deandry’s meditation. I imagined he would open his eyes, sigh to himself, and move on to the next action. Then I started pondering my journey through maturity with this picture in mind. I thought about my transition into womanhood and how I struggled with feeling so green. I went from a child playing with dollhouses and dreaming about working in a museum to a curator organizing her first exhibition. It often seems as if I am still longing for a disruption, something to prompt my development.

Bill Bamberger, Deandry, 2001; printed 2005, giclée digital print, 42 × 42 in., Purchased with funds from the William R. Roberson Jr. and Frances M. Roberson Endowed Fund for North Carolina Art

Preview asked Maya Brooks, Mellon Foundation Assistant Curator and curator of the ongoing exhibition To Be Young, to name her favorite work in the exhibition and to tell readers why it resonates. Deandry became my favorite piece from the To Be Young exhibition because it resonated with my own coming-of-age story. Coming of age is a transformative period of life that forces us to reckon with transitioning out of childhood. It culminates from socially constructed traditions and responsibilities that determine how we form our personalities, aspirations, and attitudes. For some certain ages or ceremonial celebrations indicate entry into adulthood. Meanwhile lived experiences force other individuals to accept adult obligations despite their age. In either case coming of age compels us to consider where childhood ends and adulthood begins.

Coming of age is paradoxical in that sense. If we do not take a moment to sit in our transitions, we miss them. However life’s circumstances often pressure us to await the future. This photograph reminds me to balance between the two instincts. I hope visitors will pause in front of it when they experience the exhibition. I encourage them to focus on the figure’s demeanor, take a breath, and then ask, “so what’s next?”

TO B E YOU NG : COM I NG O F AG E I N TH E CO NTEM P O R A RY Through February 6, 2022 West Building, Contemporary Galleries free

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Lectures, Tours, Enrichment For paid events minor fees and taxes may apply.

SUMMER EVENTS As the days get longer and opportunities to gather safely continue to increase, we encourage you to follow us on social media and visit ncartmuseum.org to discover exciting new programs beyond what you find listed here. We are staying flexible so that we can offer even more ways to engage as the summer progresses. A R T I N B LO O M E V E N T S Be sure not to miss these events:

Modern Florals in Watercolor Virtual Demonstration Friday, June 4, noon–1:30 pm f r e e ; registration required* Drop in over lunch or stay the whole time as N.C. artist Amy Richards creates whimsical florals using basic watercolor techniques. No individual instruction will be provided; feel free to follow along on your own. Flowers in Motion: Film, Music, and Fashion Saturday, June 5, 7–8:30 pm $9 Members $10 Nonmembers This three-part virtual fund raiser hosted by Chelsea Flower Show five-time gold medal winner Joseph Massie includes the documentary Flower Punk, a performance by H. C. McEntire and friends, and a floral fashion show.

A R T I N B LO O M T I C K E T S Thursday–Sunday, June 3–6 Thursday–Sunday, June 10–13 $18 Members $20 Nonmembers f r e e for children 6 and under Visit both weeks with a two-week bundled ticket $27 Members $30 Nonmembers f r e e for children 6 and under Limited capacity; may not be used for two visits in one week MINDFUL MUSEUM The Mindful Museum program offers opportunities to calm the mind, open the heart, process emotions, cultivate inspiration, and find more connection both with art and our community. Tickets/registration/updates: visit.ncartmuseum.org Virtual Art and Self-Care Hour Wednesday, June 2, 7–8 pm $7 Members $9 Nonmembers Join Jesalyn Keziah, MSW, for a creative exploration of self-care and play as we intentionally honor the shift into summer’s expansion. All mediums and levels of art experience are welcome. Virtual Slow-Art Appreciation: Art in Bloom Edition Thursday, June 3 and June 10, 7–8:30 pm p a y a s y o u w i s h ; registration required* Slow art is a growing movement to mindfully observe and communally appreciate art. During these special 90-minute sessions, you will be guided through a

centering practice and intentional observation of a floral design and artwork pairing. For ages 16 and up. Virtual Slow-Art Appreciation Wednesday, July 21 and August 4, 7–8 pm f r e e ; registration required This hour-long virtual program guides you through centering techniques and a breathing practice followed by an intentional observation of one work of art from the NCMA’s collection. For ages 16 and up. Outdoor Ritual for the Summer Solstice Monday, June 21, 6:30–8:30 pm Museum Park, Ellipse $25 Members $27 Nonmembers Join Andrea Rice to celebrate the arrival of summer with meditation, movement, and journaling, plus a discussion of solstice rituals and current astrological patterns. Bring a yoga mat and notebook. All skill levels welcome; ages 16 and up. Space is limited. Virtual Poetry Hour Wednesday, July 7, 7–8 pm $7 Members $9 Nonmembers Join Jameela F. Dallis to write ekphrastic poems inspired by the Museum’s collection. Ekphrasis means description in Greek, and these poems are often vivid descriptions of works of art. Discussion and sharing encouraged. For ages 16 and up. Virtual Sensory Journey through Art Thursday, July 8 and August 12, 7–8 pm f r e e ; registration required Join Arts Access for a virtual sensory-style experience with art. Intended for adults who are blind, low vision, or have a learning need. Registration includes a kit of sensory objects; audio description and captioning will be provided. For ages 16 and up.

V I R T UA L L EC T U R E S A N D DISCUSSIONS The NCMA’s free virtual lectures and webinars, accessible to art lovers worldwide, feature curators, professors, artists, and staff who provide in-depth examinations of exhibitions, the Museum’s permanent collection, and its history. Tickets/registration/updates: visit.ncartmuseum.org

Claude Monet, The Cliff, Étretat, Sunset, 1882–1883, oil on canvas, 23 13/16 × 32 3/16 in., Purchased with funds from the State of North Carolina

Visiting Étretat: A Virtual Trip with Monet Tuesday, July 13, 7–8:30 pm f r e e ; registration required Join NCMA docent Diane Beckman for an interactive webinar featuring the works of Claude Monet from our collection. She will explore Monet’s life and work and share personal stories to convey her special connection to Étretat, France. FILMS NCMA film programming consists of classic and contemporary short and feature-length films across genres, countries, and languages that promote diversity, represent the communities we serve, complement the Museum’s exhibitions and collection, and inspire, encourage dialogue, and instill a sense of belonging. Tickets/registration/updates: visit.ncartmuseum.org Outdoor films at the NCMA return this summer! Experience big-screen movie magic under the stars. Enjoy classic movies that will make you nostalgic for decades past. Visit our website in June for the film schedule.

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NCMA Film Club: Flower Punk Friday, June 11, 7–8 pm Virtual f r e e ; registration required* June’s selection, for Art in Bloom, is a documentary about Japanese botanical artist Azuma Makoto and his extraordinary floral sculptures. Watch the film at your convenience, and then join a discussion with three Art in Bloom floral designers.

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PA R K P R O G R A M S The Museum Park is a wonderful place to explore on your own, and it also lends itself to unique experiences designed to deepen connections to nature, art, and people. This summer expect a variety of small outdoor gatherings promoting natural history, art in the Park, and movement to get the blood flowing, including monthly bird walks and weekly tai chi. And stay tuned to the website for upcoming sunflower fun! Tickets/registration/updates: visit.ncartmuseum.org

Flower Punk still courtesy of Alison Klayman

*We rely on your support and generosity during Art in Bloom, the Museum’s annual fund raiser. Proceeds support general operations, including virtual and live programs, throughout the year. If you are attending a free Art in Bloom event, please consider making a donation.

P E R FO R M I N G A R T S Our vision is to create remarkable, multigenerational performing arts programming for the state of North Carolina. In order to achieve this, we promote belonging, cultural arts production, the exploration of our residents’ rich histories, and music, dance, and theater that reflect diverse narratives and lived experiences. Tickets/registration/updates: visit.ncartmuseum.org Music Sign up for our newsletter at mailchi.mp /ncartmuseum/subscribe to stay up-to-date on the second season of Music at the Museum virtual concerts, the status of the summer and fall outdoor season, and more. Visit the NCMA from Home web page for playlists inspired by NCMA Recommends featured artworks.

Park Tours Saturdays in June, 10:30 am–noon Saturdays in July, August, September, 9:30–11 am Museum Park, Ellipse f r e e ; registration required Enjoy art and nature during a two-mile-long tour that leads past site-specific works and sustainable natural areas. Meet your guide at the Ellipse. No tour June 19. Registration required; space is limited.

Morning Bird Walk Saturday, June 19, July 17, August 21, 8:30–10 am Museum Park, Ellipse f r e e ; registration required Join Park Ranger Chantal Taunton on a walk through the Museum Park in search of migratory and native birds. Please bring your own binoculars, notebook, and pen. All levels welcome; for ages 8 and up. Space is limited. Summer Full Moon Walk Thursday, July 22, 8:30–10 pm Museum Park, Ellipse f r e e ; registration required Join us for an after-hours evening in the Museum Park. Enjoy a guided moonlit walk to experience nature and art at night. For ages 16 and up. Space is limited. FA M I LY P R O G R A M S There’s always something new for families to discover at the NCMA! Our virtual and in-person programs allow artists of all ages to experience the power and wonder of arts and nature. Tickets/registration/updates: visit.ncartmuseum.org

Tai Chi in the Park Tuesday, June 1, 8, 15, 22, 29, 7–8 pm Museum Park, Ellipse f r e e ; registration required This ancient Chinese martial art combines slow, gentle, flowing movements with focused attention and deep breathing. Taught by Imari Colón of East Cloud Kung Fu. All skill levels welcome; for ages 16 and up. Space is limited. Generously supported by the CARES Act.

Virtual Art Snacks Wednesday, June 9, July 14, August 11 Calling all little artists! Try a tiny taste of the Museum from home with activities for 3- to 5-year-olds and their caregivers. New videos and activities are released monthly on ncartmuseum.org.

NCMA To Go Activity Kits Saturday, June 19 and July 10 f r e e ; registration required Get creative at home with NCMA art and artists. Each kit includes materials for a complete hands-on project. Designed for all ages to enjoy; written instructions are included. Reserve online and pick up on-site. Visit ncartmuseum.org for details. Creative Processing for Families Sunday, June 20 and August 15, 2–3 pm f r e e ; registration required In this series families reflect together on big (and sometimes tough) ideas about the world and ourselves. Virtual workshops include guided conversations about artworks and art-making projects with a focus on process and exploration. Visit ncartmuseum.org for details. Family Growga Live Saturday, June 26, July 24, August 28, 9–9:45 am Museum Park, Ellipse $6 Members $8 Nonmembers Experience movement and mindfulness with our friends at Growga. This class incorporates yoga, art, and basic mindfulness techniques such as deep breathing and relaxation. Bring your own mat. All participants ages 7 and up must have a ticket. Best for ages 6 and up. Family Studio: Sculpture Park-a-palooza Saturday, July 17, 10 am–noon Museum Park $8 Members $10 Nonmembers Help us create a temporary pop-up installation in the Museum Park. Families will make collaborative largescale sculptures that respond to the environment. All participants must have a ticket. Best for families with children ages 5 to 11.

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Summer Camps for Kids Only a few spots left. Sign up today! Monday–Friday, June 14–August 20, 9 am–4:30 pm $275 Members per camp $305 Nonmembers per camp With painting and drawing, storytelling and nature walks, the NCMA’s camps are a fun place to discover art both indoors and out. L I B E R AT I O N S TAT I O N L I V E !

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Drawing in the Park with Maureen O'Neill Saturday, July 17, 9 am–noon Rain date: Sunday, July 18, 9 am–noon Museum Park f r e e ; registration required Join us to draw in the Museum Park! We are excited to invite artists back to work together as we take some early morning inspiration from nature to create art that intuitively responds to our surroundings. Virtual Studio Workshop: Watercolor Block-ins with Mario Robinson Saturday, August 7 and 14, 1:30–3 pm $45 Members $50 Nonmembers In this two-part virtual workshop, master watercolorist Mario Robinson will share his technique of laying in monochromatic blocks of color through a series of delicate washes to build a solid foundation for any watercolor painting.

Photo by Mick Schulte

Saturday, June 19, 10 am–noon Museum Park Theater f r e e ; registration required Honor Juneteenth with an in-person story time with Victoria Scott-Miller of Liberation Station. There will be art activities for families as well as music and dancing! Space is limited; register your family now. S T U D I O WO R K S H O P S Create along with professional artists both local and international in our series of virtual and inperson workshops. Summer gives us the beautiful opportunity to explore the Museum Park in new ways as we safely make works with creatives in our community. Tickets/registration/updates: visit.ncartmuseum.org

E D U C ATO R S The North Carolina Museum of Art believes that the arts are essential to all classrooms and supports educators across North Carolina who teach in and through the arts. Integrating the arts helps collapse the walls of the traditional classroom and make students more aware of the interdisciplinary world they inhabit. Register at learn.ncartmuseum.org/events, except where noted. Self-Guided Student and Youth Group Visits Chaperones required; 1 adult per 10 students or youths For groups of 10 or more, please complete a request form at bit.ly/NCMAyouthtours 10 or more days in advance to avoid over-scheduling the galleries.

Online Course: Art and SEL June 22–August 18 $32 Members $40 Nonmembers This self-paced 10-hour course will introduce artsbased strategies that engage students and educators in transformative Social Emotional Learning (SEL). Participants receive a certificate of participation for 10 hours (1 CEU, with prior approval from local school system). Vital Health: Virtual Educator Workshop with Reflective Journaling Program offered Tuesday, June 15, and Tuesday, June 29, 4–5:30 pm Virtual f r e e ; registration required Visit NCMALearn at learn.ncartmuseum.org for updates about this program.

CO M M E M O R AT I N G J U N E T E E N T H Friday–Sunday, June 18–20 In person and virtual f r e e ; registration required Join us for a Juneteenth weekend of music and films, both in person and virtually, to remember and commemorate the history and resilience of African Americans. Friday evening will feature a virtual performance, streamed online with limited tickets for a Museum Park Theater viewing. Saturday will include in-person film screenings with related discussions. DJ Thoro will be spinning in the Museum Park on Sunday. Visit our website for a detailed schedule of events.

membership matters

Membership Matters

in memoriam

In Memoriam

Summertime, and the NCMA is ready to be one of your favorite destinations, whether you are coming to relax in our 164-acre Museum Park, absorb the beauty of the Museum’s collection, or spend time with those close to you. If you have yet to experience the wonder of Golden Mummies of Egypt, there is still time to use your member benefit for a free visit. If you are a Patron-level member or above, you have the opportunity to receive two additional tickets to bring guests to enjoy the exhibition with you. Are you looking for a place to reconnect with friends? The Museum is the perfect spot to gather for that long-overdue lunch, cup of coffee, or glass of wine. Through our new partnership with Catering Works, you receive 10 percent off all food and beverage purchases. At the time of this publication, we have plans to bring back by midsummer a member favorite: outdoor movies. Finally, as summer winds down, we look forward to celebrating you, our loyal members. All of September will be Member Appreciation Month, filled with special events and benefits as our way of saying “thank you” for being part of seeing us through a challenging time for the NCMA. membership

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The North Carolina Museum of Art mourns the passing of former Foundation Board Member Joan Gillings. Joan was a stalwart champion of the Museum and a generous donor in virtually every area of need. She served on the Foundation Board from 2007 to 2016. At the time of the opening of West Building in 2010, she wrote, “I am so excited to be part of the ‘Grand Opening’ of the new wing of the Museum. I commend you for all your hard work to put the NC Museum of Art ‘on the map.’” Understanding that a strong institution is an endowed institution, Joan extended her commitment to the Museum beyond her board service. We remain grateful for her generous support of the Museum's operating endowment, which funds all of our programs. When it became apparent that we needed an improved area for curators to view and study works in our collection, she made the Gillings Scholars Room possible. She was always ready to help when help was needed. We are forever grateful for her generosity, both in treasure and in spirit. She will be missed.

at a gl ance : ncma exhibitions

coming soon ! park welcome center

coming soon!

at a g l a n c e

Park Welcome Center

NCMA Exhibitions Art in Bloom, presented by PNC June 3–6 and June 10–13, 2021 Golden Mummies of Egypt Through July 11, 2021 Moataz Nasr: Delicate Balance Through July 25, 2021 The Bacchus Conservation Project: The Story of a Sculpture Through July 31, 2021 Reflections on Light: Works from the NCMA Collection Through August 15, 2021

In February construction started on a new Park visitor center, which will open in late fall 2021 in the Ann and Jim Goodnight Museum Park. The Park Welcome Center will provide accessible restrooms, a kiosk, a meeting space, concessions, and a covered deck with views to the beautiful landscape of the upper Park. Designed by in situ studio, based in Raleigh, with landscape architects Surface 678, the Park Welcome Center will feature a flexible interior that includes a concessions area offering light refreshments and a help desk to welcome visitors with information about the Park and Museum programs. The center’s sloping ceiling is designed with a “periscope” skylight framing a view of the Park’s 100-year-old smokestack. During the pandemic 934,000 NCMA visitors have found a safe way to experience art in the open air. “However restrooms and refreshments are the most requested amenities,” said the NCMA’s planning director, Dan Gottlieb, “so we are excited to have a terrific design to provide those and more—a place to meet before or after a walk or gallery visit or just to enjoy the view and a beverage from the covered deck. We are grateful to Wake County, which provided substantial funding for this special project.” Until the center’s completion, visitors may experience construction vehicles entering the building site from the District Drive entrance and should use caution approaching or leaving the Museum campus.

To Be Young: Coming of Age in the Contemporary Through February 6, 2022

EXHIBITION TICKETS Reserve exhibition tickets at visit.ncartmuseum.org. Exhibition tickets also allow automatic entrance to the permanent collection. HOURS Wednesday–Sunday, 10 am–5 pm

Admission to the Museum’s permanent collection is free. The NCMA is a division of the Department of Natural and Cultural Resources, D. Reid Wilson, secretary. Exhibitions in Preview are made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for these exhibitions is made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

This exhibition is co-organized by the North Carolina Museum of Art and the Mucha Foundation, Prague.

Alphonse Mucha: Art Nouveau Visionary October 23, 2021–January 23, 2022

Coming in October

R E T UR N SE RV I C E R EQ UE ST ED

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