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Spring 2015

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Studio Craft Volunteer Spotlight#UGAMFA2015

Georgia Museum of Art

University of Georgia

90 Carlton Street

Athens, GA 30602-1502

www.georgiamuseum.org

Admission: Free

HOURS

Tuesday, Wednesday, Friday and Saturday,

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

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

minutes prior.

Ike & Jane at the Georgia Museum of Art

Tuesday–Friday, 10 a.m.–2 p.m.

706.542.4662

Fax: 706.542.1051

Exhibition Line: 706.542.3254

Department of Publications

Hillary Brown

Publications Interns

Jennifer Brown and

Elizabeth Vogan

Design

The Adsmith

Mission Statement

The Georgia Museum of Art shares the

mission of the University of Georgia to

support and to promote teaching,

research and service. Specifically, as a

repository and educational instrument of

the visual arts, the museum exists to

collect, preserve, exhibit and interpret

significant works of art.

Partial support for the exhibitions and programs

at the Georgia Museum of Art is provided by the

Georgia Council for the Arts through the

appropriations of the Georgia General Assembly.

The Georgia Council for the Arts also receives

support from its partner agency, the National

Endowment for the Arts. Individuals, foundations

and corporations provide additional museum

support through their gifts to the University of

Georgia Foundation. The Georgia Museum of Art

is ADA compliant; the M. Smith Griffith

Auditorium is equipped for the hearing impaired.

Board of Advisors Mr. B. Heyward Allen Jr., chair

Dr. Amalia K. Amaki

Mrs. Frances Aronson-Healey

Mrs. June M. Ball

Dr. Linda N. Beard

Ms. Karen L. Benson

Mr. Fred D. Bentley Sr.*

Mr. Richard E. Berkowitz

Mrs. Jeanne L. Berry

Mrs. Devereux C. Burch

Mr. Robert E. Burton**

Mrs. Debbie C. Callaway**

Mr. Randolph W. Camp

Mrs. Shannon I. Candler,* past chair

Mrs. Faye S. Chambers

Mr. Harvey J. Coleman

Mrs. Martha T. Dinos**

Mrs. Annie Laurie Dodd***

Ms. Sally Dorsey

Professor Marvin Eisenberg*

Mr. Howard F. Elkins

Mr. Todd Emily

Ms. Carlyn F. Fisher*

Mr. James B. Fleece

Mrs. Phoebe G. Forio

Mr. John M. Greene**

Mrs. Helen C. Griffith

Mrs. M. Smith Griffith*

Mrs. Judith F. Hernstadt

Mrs. Marion E. Jarrell

Mrs. Jane Compton Johnson*

Mrs. George-Ann Knox*

Mrs. Shell H. Knox

Mr. David W. Matheny

Ms. Catherine A. May

Mr. Mark G. McConnell

Mrs. Marilyn M. McMullan

Mrs. Marilyn D. McNeely

Mrs. Berkeley S. Minor

Mr. C.L. Morehead Jr.*

Mr. Carl W. Mullis III, past chair

Mrs. Betty R. Myrtle

Mrs. Deborah L. O’Kain

Dr. Randall S. Ott

Dr. Gordhan L. Patel

Mrs. Janet W. Patterson

Ms. Kathy B. Prescott

Dr. William F. Prokasy IV*

Mr. Rowland A. Radford Jr.*

Ms. Margaret A. Rolando

Mr. Alan F. Rothschild Jr., chair-elect

Mrs. Dorothy A. Roush*

Ms. Jan E. Roush

Mrs. Sarah P. Sams**

Mr. D. Jack Sawyer Jr.

Mrs. Helen H. Scheidt**

Mr. Henry C. Schwob**

Ms. Cathy Selig-Kuranoff**

Mr. S. Stephen Selig III**

Mr. Ronald K. Shelp

Mrs. Margaret R. Spalding

Mrs. Dudley R. Stevens

Mrs. Carolyn W. Tanner

Dr. Brenda A. Thompson

Mrs. Barbara Auxier Turner

Mr. C. Noel Wadsworth*

Mrs. W. Harry Willson

Dr. Carol V. Winthrop

Ex-OfficioMrs. Linda C. Chesnut

Dr. William Underwood Eiland

Professor Chris Garvin

Mr. Kelly Kerner

Dr. Russell Mumper

Mrs. Julie Roth

Dr. Pamela Whitten

*Lifetime member

**Emeritus member

***Honorary member

Among the offerings at the museum this quarter, you will find a large exhibition of works of art and ephemera from Mexico’s Taller de Gráfica Popular, a printmaking workshop where artists expressed sociopoliti-cal opinion through biting and focused social commentary. An abiding

image, ubiquitous in the exhibition, is that of the skeleton or skull, associated both with Mexico’s celebrations of the Day of the Dead and its political commentary. In this exhibition, you will note such contemporary themes for the artists of the Taller as anti-fascism, agrarian reform, corruption of the church and poverty. As we prepared for this exhibition and selected the checklist, I was struck by the similarities of the issues confronted by Mexican artists between the wars with those of the leftist and socially conscious artists of our own New Deal era, a period well-represented by works, particu-larly prints, in our collections at the Georgia Museum of Art. Works on the walls of the museum now document such concerns in the 1940s as agrarian desolation, abortion and prenatal care and white flight to avoid desegregation. Those paintings act as a sort of bridge to a smaller exhibition we are also featuring of “cutting edge” (pun intended) 21st-century prints.

We have been working on the exhibition of Mexican artists for several years, and, as a consequence of my questioning a friend in California about source material, I had the fortune of meeting Art Hazelwood, a printmaker in the Bay Area whose own works reflect the tradition of José Guadalupe Posada and his followers as surely as if he were their contemporary. He, in turn, introduced me to the works of Ronnie Goodman, whose personal history gives his works especial force in exposing the scourges of homeless-ness, violent crime and despair. Because of the media in which they present their art and thoughts—linocuts, woodcuts and etchings—and their critical looks at war and poverty, they are direct descendants of the Talleristes; yet their themes are as current as Ferguson, ISIS and gun control.

As I worked with Mr. Hazelwood, and we were talking about trickle-down economics, I remarked on the imagery of a woman climbing over someone to get higher on the wealth pyramid. I commented on the iconography of plutocrat and money, with the pyramid itself calling to mind the one on the dollar bill. My “reading” of the image may have exasperated the artist, who finally noted that the real message of all his prints, as well as those of Ronnie Goodman, the Mexican muralists and the WPA-era Americans, is, in the final analysis, justice.

Kathy Rowan, who recently passed away, was a loyal member of the docent corps when I arrived at the museum back in 1989. When I think of her and her enthusiasm for the museum and for art in general, I smile. She was not above teasing me occasionally, and that gives me reason to laugh out loud. Several months ago, I received a note from the receptionist downstairs that Kathy was visiting the museum and, since she had heard that I needed money for a haircut, if I would come down she would see if she could inaugurate a director’s haircut fund. I was out of town that day and missed seeing her. I miss her still.

I would be remiss if I didn’t take this opportunity to thank our Friends and all our vol-unteers, sponsors and patrons, our honorees and our staff members who made Elegant Salute and our Black History Month Dinner back-to-back transformative events in our ongoing quest for excellence in programming and service.

William Underwood Eiland, Director

William U. Eiland and Friends board member Chris Peterson at Elegant Salute.

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F E A T U R E S

Exhibitions

04Volunteer Spotlight

10Elegant Salute

11Event Photos

15

Contents

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08

09

10

10

11

12

14

15

Exhibitions

Studio Craft Initiative

New Acquisition

Volunteer Spotlight

Experience UGA

Elegant Salute

Calendar of Events

Museum Notes

Event Photos

On the back cover:

Joe Camoosa

Time Release, 2015

Mixed media on canvas

75 1/4 x 59 inches

On the front cover:

Leopoldo Méndez (Mexican, 1902–1969)

“1 de Mayo. Elevar el nivel de vida del pueblo

mexicano,...”, 1947

Linoleum cut

32 1/2 x 24 1/2 inches (sheet)

Collection of Michael T. Ricker

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

From the international fight against fascism to

protecting the proletariat, El Taller de Gráfica Popular

(the Workshop for Popular Graphics, or TGP for short)

worked diligently to keep pertinent issues before

the populace of Mexico and the world. Covering the

period from the TGP’s predecessor, the LEAR (the

League of Revolutionary Writers and Artists), through

the most active years of the workshop, the exhibition

of approximately 250 works presents an extensive

collection of large-scale posters (carteles), small flyers

(volantes), books and pamphlets, powerful fine art

portfolios and calavera newspapers that exemplifies

TGP’s lasting contributions to the Mexican printmaking

tradition. The TGP used art to inspire and inform in a

country where literacy and communication technology

were not widespread. Images of revolution, resistance

and unity were often paired with anti-Nazi and anti-

fascist messages and printed on the economical, easily

distributed volantes and the larger, more visible carteles.

Remarkably prolific, the TGP produced works in a

wide variety of media, specializing in linoleum prints

and woodcuts. From Raúl Anguiano to Alfredo Zalce,

workshop membership included many notable

20th-century Mexican printmakers. The workshop

also instructed students from other countries in the

techniques of printing and printmaking. During the New

Deal era in the United States some Works Progress

Administration artists collaborated on projects with the

TGP. Several years later, during the U.S. civil rights

movement, Chicano and African American artists such

as Elizabeth Catlett would produce work there as well.

The proliferation of television and radio in Mexican

homes, along with a more stable political environment,

eventually made the use of carteles and volantes

for disseminating information unnecessary, and the

Alberto Beltrán (Mexican, 1923–2002)

Untitled (forest scene with Olmec head, campesino, and oil fields), ca. 1950

Linoleum cut

14 7/8 x 22 3/8 inches (sheet)

Collection of Michael T. Ricker

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workshop’s productivity slowed. The TGP will always be remembered,

however, as a distinct part of Mexican history, when art put social

and political issues before the people and brought them to life. The

accompanying catalogue, which will contain extensive scholarship and

images, will be one of the very first authoritative texts in English on the

workshop.

Curator: Sarah Kate Gillespie, curator of American art

Galleries: Virginia and Alfred Kennedy, Philip Henry Alston Jr.,

Boone and George-Ann Knox I, Rachel Cosby Conway, Alfred Heber

Holbrook, Charles B. Presley Family and Lamar Dodd Galleries

Sponsors: The W. Newton Morris Charitable Foundation and the

Friends of the Georgia Museum of Art

Attributed to Alberto Beltrán (possibly with Leopoldo Méndez)

Study for Vida y drama de México, 1957

Water-based pigment on paper

13 13/16 x 18 11/16 inches

Collection of Michael T. Ricker

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Ronnie Goodman

Nighttime Jazz, 2012

Linocut on paper

22 x 15 inches (sheet)

Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund

GMOA 2013.67

Two California Bay Area artists, Art Hazelwood

and Ronnie Goodman, confront and tackle such

present-day realities as homelessness, poverty,

war, corruption and violence in their art. Consonant

with the exhibition of works from Mexico’s Taller

de Gráfica Popular and squarely in its tradition of

sociopolitical commentary—and, perhaps most

important, populist in theme and medium—the

linocuts, woodcuts, etchings and books in this

exhibition show two skilled artists fearless in goading

viewers from complacency or from indifference to

injustice. They are artists not to be detoured from

speaking to the issues.

Curator: William U. Eiland, director

Galleries: Martha Thompson Dinos and Dorothy

Alexander Roush Galleries

Sponsors: The W. Newton Morris Charitable

Foundation and the Friends of the Georgia Museum

of Art

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

Patrick Brien

Cloud Tracking (detail), 2014

Oil, acrylic and spraypaint on panel

49 3/8 x 49 1/2 inches

Nineteen emerging talents from eight different

areas at the Lamar Dodd School of Art will

present their work in the annual MFA exhibition

at the Georgia Museum of Art, a tradition dating

back to the early days of the museum and the

art school. This year’s students are: Patrick

Brien, Joseph Camoosa, Andrew Indelicato, Allan

Innman and Mahera Khaleque, drawing and

painting; Winnie Gier, Anna Gay Leavitt, Georgia

Rhodes and Lucas Underwood, photography;

Mark Johnson, ceramics; Tyler Leslie and Jessica

Machacek, printmaking; Cameron Lyden and

Lillian Smith, jewelry and metals; Louisa Powell

and Phillip Scarpone, sculpture; Andrew Soper

and Bo Wang, interior design; and Zipporah

Thompson, fabric design.

Curators: Sarah Kate Gillespie, curator of

American art; Todd Rivers, head preparator;

Katie Geha, gallery director, Lamar Dodd School

of Art

Galleries: Virginia and Alfred Kennedy, Philip

Henry Alston Jr. and Alonzo and Vallye Dudley

Galleries

Sponsors: The Lamar Dodd School of Art, the W.

Newton Morris Charitable Foundation and the

Friends of the Georgia Museum of Art

Master of Fine Arts Degree Candidates ExhibitionApril 11–May 3, 2015

Georgia Rhodes

Roadtrip

Archival inkjet print

24 x 30 inches

This exhibition will feature the work Jay Robinson

has created since a fire in the mid-1990s destroyed

much of his home and his studio. Since then,

Robinson has changed the direction of his work

and reinvented himself as an artist. While his later

works may call to mind the work of Joan Miró, this

interpretation would miss the way in which these

paintings return to a key interest of his early career:

the nature of the universe, especially as understood

through particle physics. In the works of art in this

exhibition, Robinson explores the universe and

presents his imaginings of subatomic particles and

their fundamental fields.

Curators: William U. Eiland, director, and Todd

Rivers, head preparator

Gallery: Boone and George-Ann Knox Gallery II

Sponsors: The W. Newton Morris Charitable

Foundation and the Friends of the Georgia

Museum of Art

Jay Robinson

Untitled abstract, n.d.

Acrylic and India ink on paper

20 x 16 inches

Georgia Museum of Art, University of Georgia;

Extended loan from the artist

GMOA 2014.18E

Jay Robinson

Untitled abstract, n.d.

Acrylic, 23K gold lead, aluminum leaf and India ink on papyrus

13 x 17 inches

Georgia Museum of Art, University of Georgia; Extended loan from the artist

GMOA 2014.13E

Pierre Daura (1896–1976): Picturing

Attachments

Through April 19, 2015

Rachel Cosby Conway, Alfred Heber

Holbrook, Charles B. Presley Family and

Lamar Dodd Galleries

Small Truths: Pierre Daura’s Life and Vision

Through April 19, 2015

Boone and George-Ann Knox Gallery I

Chaos and Metamorphosis: The Art of Piero

Lerda

Through May 10, 2015

Martha Thompson Dinos and Dorothy

Alexander Roush Galleries

Terra Verte

Through July 1, 2015

Jane and Harry Willson Sculpture Garden

Jay Robinson: Quarks, Leptonsand PeanutsMarch 28–June 21, 2015

Don’t Miss

Georgia Rhodes

Roadtrip

Archival inkjet print

24 x 30 inches

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Studio craft is an excellent adjunct to the museum’s decorative arts program, which has already established itself as a leader in early regional decorative arts . . .

Todd Hoyer

Turned bowl, n.d.

Burned and gilded mesquite

5 x 4 x 4 inches

Georgia Museum of Art, University of Georgia; Gift of

Arthur and Jane MasonGMOA 2014.122

Philip Moulthrop

Rounded bowl, 1987

Loblolly pine

11 (high) x 11 (diameter) inches

Georgia Museum of Art, University of

Georgia; Gift of Arthur and Jane MasonGMOA 2014.124

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Virginia Dotson

Turned bowl, 1987

Arizona walnut

2 x 10 x 10 inches

Georgia Museum of Art, University of Georgia; Gift

of Arthur and Jane MasonGMOA 2014.121

H istorically, crafts have provided utilitarian objects, many excellent examples of which are in the museum’s Martha and Eugene

Odum Gallery. Studio crafts emerged to celebrate skill and to produce objects with a greater emphasis on their artistic dimensions than their utility.

When Alfred Heber Holbrook established the Georgia Museum of Art, in 1945, he came to Athens because of a vibrant art department and a receptive community hungry for artistic growth. The University of Georgia’s programs and such crafts practitioners as Ann Orr and Eulalia Amos helped Athens grow into a center for American craft, a scene that continues to thrive. As most UGA students came from Georgia, to speak of Georgia craft is almost to speak of Athens. At the same time, craftspeople from other parts of the country were attracted here. The mix produced an intoxicating air of craft creativity that was national, regional and local all at once.

The Georgia Museum of Art’s Henry D. Green Center for the Study of the Decorative Arts has announced a special interest in studio craft and an intent to collect comprehensively in that area. While collecting strengths certainly exist in local and regional materials, every effort will be made to collect representative American studio craft.

These aims have been advanced tremendously by several recent gifts. Dennis Trombatore provided 12 pieces of pottery by Michael Simon and an example of Ron Meyers’ work. Simon’s ceramics were the subject of an exhibition at the museum in 2013, and he is a paramount example of a craftsman who migrated to Athens. Another recent gift included 25 examples of Meyers’ work. The museum owns 25 pieces by Amos and several by Orr, a world-connected Athens silversmith. We are arranging for a wonderful and large gift from Martha Connell, who operated the gallery American Craft in Atlanta and handled the finest crafts in the nation. Another major gift, by Arthur and Jane Mason, of almost 30 important turned wood bowls, includes the names of almost every major maker of that genre. An exhibition of works from that gift is planned for next spring.

Studio craft is an excellent adjunct to the museum’s decorative arts program, which has already established itself as a leader in early regional decorative arts, many of which were created with related technology. American craft is a critical component of our ability to teach and our capacity to reach. It bears relevance to our constituency of students and our community of patrons. In the years to come, we hope to be able to mount an outstanding exhibition from our growing collection that will explore the Athens crafts scene and its connection to the national canon.

Dale L. Couch, curator of decorative art

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Michael Simon (American, 1947)

Rectangular box with lid, mid-1990s

Salt-glazed stoneware

5 1/2 x 3 1/4 x 4 1/2 inches

Georgia Museum of Art, University of Georgia;

Gift of Dennis TrombatoreGMOA 2014.188

T his painting by Thomas Waterman Wood serves several important functions within our collection. First, it fills a very

large gap that currently exists in 19th-century American genre painting. Second, while on its surface it seems to smack of overt sentimentality, one can infer deeper political messages based on Wood’s other works. His most well-known series of paintings, “A Bit of War History” (1865–66), features an African American man as contraband, soldier and veteran and was apparently inspired by the sight of a Kentucky veteran on homemade wooden crutches.

Many of Wood’s subsequent paintings treat politicized subjects, both white and African Americans. When examined in light of Wood’s larger oeuvre and his obvious interest in

the politics and shifting social norms of a post–Civil War era, his seemingly innocuous images of African Americans can be read as deliberately reassuring depictions of a newly emancipated population for a white, northern audience. The black man is shown as docile, humane, kind to animals and children—in short, not a threat. When paired with existing works in our collection from the same era that also treat African American subjects (such as George Henry Hall’s “Boys Pilfering Molasses” and Winslow Homer’s “Taking Sunflower to Teacher”), this image will help us begin to tell a more complete story about visualizations of race in the Civil War period.

Sarah Kate Gillespie, curator of American art

Thomas Waterman Wood (American, 1823–1903)

The Kitten (also known as Pompey and the Kitten), 1873

Oil on canvas

20 x 16 inches

Georgia Museum of Art, University of Georgia; Museum purchase

with funds provided by the Collectors of the Georgia Museum of Art

GMOA 2014.138

Barnard has been involved with the Friends of the Georgia Museum of Art for four years, including on its board of directors. Originally from Birmingham, Ala., he has always valued art and taken advantage of visiting museums during his travels. In junior high and high school, he realized making art was probably not for him, but his interest in it remained.

Barnard moved to Greensboro, Ga., in 2006 and thought the High Museum of Art, in Atlanta, would be the closest visual arts center, but he soon learned of the Georgia Museum of Art and made multiple visits. His involvement with the museum was greatly influenced by his friends, spe-cifically former Friends president Paige Carmichael. Barnard said, “Through [her] I found out about the Friends, joined the Friends and was nominated to serve on the board, which was great.”

Michele Turner, the museum’s director of membership, pointed out how active the Collectors are in holding fundraisers and other events that help bolster the museum’s acquisitions. A number of important works in the collection,

including the Thomas Waterman Wood painting highlighted on the previous page, have been funded by the Collectors.

Turner said, “The Collectors’ role is very important. Greg came onto the board of the Friends in the last few years and has really stepped up in every area we’ve asked him to—he was a natural fit with this group.”

Barnard’s involvement heightened quickly, and he has had the opportunity to learn from Myrtle. He said, “I didn’t completely understand The Collectors, who they were or what they were doing for a little while. But, as I learned about it and attended events, I started to learn that [Betty] was responsible for creating a very special experience for people who love the museum, and that involved showing and educating people about all the ways art surrounds us. Not just in museums.”

With Myrtle’s advice and guidance, Barnard believes he is headed in the right direction. He said, “It’s an overused metaphor, but I can’t think of a better one: Betty has set the bar very high. But she has also been crucial in helping

me think through some possibilities for the future, and I’m very excited.”

Although Barnard is still fairly new to Athens (he moved here a little more than a year ago) and says “undertaking a job like this can be challenging for a newcomer,” Myrtle has helped him network as she showed him the ropes.

He said, “I would like to see the Collectors grow. I think [the group has] a very valuable mission and a very important role to fulfill, and I would like to see that expand and become even more of a force on behalf of the museum and the Athens community.”

Barnard says he loves the community and the constant presence of art in Athens. He said he plans to have the Collectors “continue to explore the rich variety of places and collections within Athens and nearby, including Madison, Milledgeville, the Lake Oconee area, Demorest, Savannah and, of course, Atlanta.” Barnard believes this region of Georgia has a great deal to offer that is eye-opening, enjoyable and memorable. He also wants the group to visit cities such as Houston, Nashville and Charleston because they are not difficult to travel to and have exciting options for the Collectors.

“The Georgia Museum of Art is a jewel that I’m not sure everyone in Georgia appreciates or understands. I’m very excited about the opportunity to continue to educate people in Georgia about this wonderful asset that they have,” said Barnard. “This is their museum, and it’s an excellent example for a museum—it’s on a very high level compared to many across the country, and it’s just really great to be involved with it.”

Mattie CannonIntern, Department of Communications

After 12 years as chair of the Collectors, Betty Myrtle has officially passed the baton to Greg Barnard, and he has big plans for the membership group that plans trips to visit private collections.

THE GEoRGIA MuSEuM oF ART HAS woRkED wITH THE CLARkE CounTy SCHooL DISTRICT (CCSD) SInCE 2005 to offer all 5th-grade classes field trips to the museum, thanks to the generous support of Buddy and Lucy Allen. This program is now part of Experience UGA, an initiative through UGA’s Office of Service-Learning and the College of Education. Now in its second year, Experience UGA is working with CCSD to bring all grade levels to UGA each academic year. The goal of the program is to show students the many facets of the university in their community and generate excitement about higher education.

The museum’s 5th-grade tour program serves as a model for Experience UGA and now includes an additional stop at the Hugh Hodgson School of Music, during which 5th-graders take part in university students’ rehearsals for band or orchestra. This year, all 14 elementary schools in CCSD will participate in this program at the museum through interactive tours in the galleries and a studio project in which students are asked to design sculptures for the Jane and Harry Willson Sculpture Garden inspired by Patricia Leighton’s works there. By the end of the school year, more than 1,000 CCSD students will have visited the museum. These students will be invited to a special Family Day (April 18) that will feature some of the studio projects from each school.

This academic year, the museum also welcomed 10th-grade students from CCSD. Students in the art education course I teach each fall, “Engaging Art Museum Audiences as Student Docents,” designed an interactive tour for these high school students as a service-learning component to the class. The student docents worked with the 10th-graders to engage with the permanent collection and

special exhibitions through hands-on projects, video and music components on iPads and conversations in the galleries. The university students were able to learn more about working with teenagers in a museum and how to incorporate opportunities for high school students to choose which works to see and what to do on their tours. During the 10th-graders’ visits to UGA, they also met with educators and students from the Performing Arts Center, Hugh Hodgson School of Music, Lamar Dodd School of Art, department of theatre and film studies and department of dance for interactive programs and performances.

The goal of welcoming CCSD students here for tours is to facilitate an experience in the museum that is positive and interactive. We want students to know that the museum is a place where they can engage with art and relate the works that they see to their own lives. Showing them all that the museum has to offer is the best way to ensure they continue to visit museums.

Carissa DiCindioCurator of Education

ExPERIEnCE uGA AT THE GEoRGIA MuSEuM oF ART

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T he Georgia Museum of Art at the University of Georgia raised $168,000 in cash sponsor-ships on Jan. 31 as part of its biennial gala, Elegant Salute. “An Elegant Salute to Georgia” was the 14th edition of the event, organized by the Friends of the Georgia

Museum of Art, the museum’s membership program, and co-chaired by David Matheny and Michael Montesani.

After cocktails, guests proceeded into the M. Smith Griffith Grand Hall for dinner catered by Epting Events featuring Georgia products including pecans and peaches. After dinner, guests returned to the garden to witness a change of décor for dessert and dancing. DJs Alfredo and Zdog pro-vided music for this after-party, themed “Get Your Pucci On” in honor of the museum’s “Emilio Pucci in America” exhibi-tion. After-party chairs Airee Edwards and Everett Long put together a fashion parade with models dressed in Pucci’s creations and narrated by Mary Koon, guest curator of the exhibition. Many guests also wore Pucci-themed attire.

Photographs by Melissa Pepin.

$10,000Mr. Todd Emily

Mrs. M. Smith Griffith

Lidwina Grayson Kelly

John and Marilyn McMullan

Mr. C.L. Morehead Jr. & Flowers, Inc. Retail

Kathy Prescott and Grady Thrasher

SPONSORS

$1,000Armentrout, Matheny, Thurmond, P.C.

Athens Regional Health System

The Athens Printing Company

George Gregory Barnard

Drs. Larry H. and Linda N. Beard

Richard and Lynn Berkowitz

Mr. John Ahee and Dr. Paige Carmichael

Mae and Louis A. Castenell

Classic Party Rentals

Drs. Claire and Bob Clements

Harvey and Paquita Coleman

Dr. and Mrs. James W. Cooper Jr.

Betsy and Blair Dorminey

Anna Burns Dyer

Epting Events

Drs. Jon and Nadine Forché—Five Points Eye Care

Richard and Anne Hathaway

Dr. and Mrs. E. VanLandingham Herrin

Mr. and Mrs. Robert P. Hunter Jr.

Marion E. Jarrell

Ms. Marylin S. Johnson

Col. and Mrs. W. Kenneth Jordan

John Knowlton

Shell and Wyck Knox

$5,000Mr. and Mrs. B. Heyward Allen Jr.

Anonymous

Faye and Edward Chambers

David and Becky Matheny

Randall and Sheila Ott

Richard and Ann Woodruff

$2,500Beauty Everyday: Rinne Allen, Kristen Bach and Rebecca Wood

Devereux and Dave Burch

Heirloom Café & Fresh Market

Gregory and Jennifer Holcomb

Jeffrey Atlanta

Jim and Jane Johnson

Kate Lynch

Dr. and Mrs. D. Hamilton Magill

Melissa Pepin Photography

C. Van and Libby V. Morris

David Mulkey

Julie and Ira Roth

Dudley Stevens

The Tom and Edwina Chastain Johnson Family Foundation

Norman and Peg Wood

Susan and Tom Landrum

Cheri and Vance Leavy

Marjorie and Mark McConnell

Mr. and Mrs. Charles Miller

Berkeley and Dan Minor

Jim and Karen Moncrief

Wm. Fred B. Moorman, M.D.

Carl and Marian Mullis

Deborah and Dennis O’Kain

Richard C. Owens

Jinx and Gordhan Patel

Janet and Alex Patterson

Chris and Sarah Peterson

Dr. and Mrs. William L. Power

Karen W. Prasse, M.D.

William F. and Pamela P. Prokasy

Letitia and Rowland Radford

Doris Ramsey

Caroline and Ted Ridlehuber

Lori and Tom Scott

Margie Spalding

Homer and Mary Louise Stark

Mr. and Mrs. W. Rhett Tanner

Gloria Ricks Taylor

Mr. and Mrs. James C. Turner

Kendell and Tony Turner

David and Cecelia Warner

Mr. and Mrs. Gerry Whitworth

Wilmington Trust

Mr. and Mrs. Robert Winthrop II

ExPERIEnCE uGA AT THE GEoRGIA MuSEuM oF ART

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Schedule a Visit to the Georgia

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

Special Events

90 Carlton: SpringFriday, April 10, 5:30–8:30 p.m.The Friends of the Georgia Museum of Art present a special edition of the museum’s quarterly reception, highlighting this year’s Master of Fine Arts degree candidates exhibition. Free.

Slow Art DaySaturday, April 11, 10 a.m.–5 p.m.Come take a break from UGA’s spring scrimmage activities or just from the rat race. This event encourages people all over the world to visit local museums and galleries to look at art slowly.

Third ThursdayThursday, April 16, May 21 and June 18, 6–9 p.m.Seven of Athens’ established venues for visual art hold

“Third Thursday,” an event devoted to art in the evening hours, on the third Thursday of every month. The Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné, the Classic Center and ATHICA will be open from 6 until 9 p.m. on those nights to showcase their visual-arts programming. A free shuttle service, courtesy of the Classic Center, runs every 30 minutes.

Museum MixThursday, April 23, 8 p.m.–midnightThe museum’s thrice-annual late-night art party features a live DJ, free refreshments and all the galleries open until midnight. #museummix

Friends Annual MeetingThursday, April 30, 5:30 p.m.Join us for the annual meeting of the Friends of the Georgia Museum of Art. Reception and director’s talk to follow. Free and open to the public. RSVP to gmoarsvp@uga.edu or 706.542.4199.

Lectures & Gallery Talks

Adelheid GealtThursday, April 9, 5:30 p.m.The exhibition “Pierre Daura (1896–1976): Picturing Attachments” focuses on the many ways Daura’s attachment to his wife, Louise, and daughter, Martha, found expression in his work over a lifetime. Dr. Adelheid Gealt, curator of the exhibition and author of the accom-panying catalogue, will provide her insights into how Daura responded visually to his family by comparing his choices to those of other artists. Reception to follow.

MFA SpeaksThursday, April 23, 5:30–7 p.m.In these dynamic talks the 19 MFA candidates will each have 3 minutes to give you a glimpse into their work. They then take to the galleries to engage directly with visitors. Cosponsored by Lamar Dodd School of Art.

Director’s TalkThursday, April 30, 7 p.m.Join museum director William Underwood Eiland for a talk on the exhibition “Jay Robinson: Quarks, Leptons and Peanuts.”

Family Days

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

Earth Day Celebration Saturday, April 18, 10 a.m.–noon

“Earth” without “art” would just be “eh.” Celebrate Earth Day by exploring the work of environmental artist Patricia Leighton in her exhibition in the sculpture garden. Kids

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Apply to Become a DocentThe Georgia Museum of Art’s docent corps is a specially trained group of volunteers who lead tours of the museum’s permanent collection and temporary exhibitions. The next Community Docent Education session will start in fall 2015. Apply online at http://georgiamuseum.org/give/volunteer

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You know that the Museum Shop is a great source for exhibition catalogues and scholarly texts, but did you know it's also a perfect spot to pick up some fun art-related reading? From the fascinating history behind the creation of a priceless masterpiece to true stories of talented forgers and con men to learning more about items that might be lurking in your attic, these paperbacks will educate and entertain art lovers of all kinds.

are invited to experiment with earth pigments in a soil-painting activity and to bring a plastic bottle or container and create a recycled hanging planter to take home. In conjunction with this Family Day, the museum will also host a special student reception for Athens 5th-graders who visited the museum for a field trip this year. Refreshments will be served.

Jay Robinson: Quarks, Leptons and PeanutsSaturday, May 9, 10 a.m.–noonView the quirky and colorful work of Jay Robinson in the exhibition “Jay Robinson: Quarks, Leptons and Peanuts,” then experiment with gouache and watercolor to create your own work of art in the Michael and Mary Erlanger Studio Classroom.

Printmaking workshopSaturday, June 20, 10 a.m.–1 p.m.Check out gorgeous examples of Mexican printmaking in the exhibition “El Taller de Gráfica Popular: Vida y Arte” and participate in interactive gallery activities, then experiment with different printmaking techniques and create a print of your own with help from Double Dutch Press and students from UGA’s printmaking and book arts department.

Films

EspañaEnCorto: 3rd Annual Spanish Short Film FestivalWednesday and Thursday, April 1 and 2, 7–9 p.m.EspañaEnCorto is a short film festival that offers UGA students and community members an inside look at current short films directed by up-and-coming Spanish filmmakers. They inspire a unique perspective on the languages, cultures and current topics that influence Spanish artistic and cinematic production. Although most of these films are unknown to North American audiences, they are highly entertaining, interesting and thought provoking. An interactive discussion of the films follows each screening; all films will feature subtitles in English.

Tours

Tour at Two: Humor in ArtWednesday, April 1, 2 p.m.Led by Lynn Boland, Pierre Daura Curator of European Art.

Thursday Twilight Tour: Highlights from the Permanent CollectionThursday, April 16, May 21 and June 18, 6 p.m.Led by docents.

Spotlight Tour: Highlights from the Permanent CollectionSunday, April 12, May 17 and June 14, 3 p.m.Led by docents.

Artful ConversationWednesday, April 8, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth discussion of Daniel Garber’s “Spring Panel” (1931–32).

Tour at Two: “Jay Robinson: Quarks, Leptons and Peanuts”Wednesday, April 15, 2 p.m.Led by museum director William Underwood Eiland and chief preparator Todd Rivers.

Tour at Two: Museum Mysteries

Wednesday, April 22, 2 p.m.Join Brittany Ranew, Kress Interpretive Fellow, to explore unknowns about works of art in the permanent collec-tion.

Tour at Two: Highlights from the Permanent Collection Wednesday, April 29, May 27, June 10 and 17, 2 p.m.Led by docents.

Tour at Two: “Chaos and Metamorphosis: The Art of Piero Lerda”Wednesday, May 6, 2 p.m.Led by Laura Valeri, associate curator of European art.

Artful ConversationWednesday, May 13, 2 p.m.Join Callan Steinmann, associate curator of education, for an in-depth gallery conversation about Reginald Marsh’s “Lifeguards” (1933).

Tour at Two: Museums for a Sustainable SocietyWednesday, May 20, 2 p.m.Join docents for a tour in celebration of International Museum Day, celebrated the week of May 18 and focusing on sustainability this year.

Artful ConversationWednesday, June 3, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth discussion of Joan Mitchell’s “Close” (1973).

Tour at Two: “El Taller de Gráfica Popular: Vida y Arte”Wednesday, June 24, 2 p.m.Led by Sarah Kate Gillespie, curator of American art.

Workshops & Classes

Teen StudioThursday, April 9, 5:30–8:30 p.m.Teens ages 13–18 are invited to take part in this free gallery tour and art-making workshop, led by local artist and educator Kristen Bach. Participants will explore the exhibition “Chaos and Metamorphosis: The Art of Piero Lerda,” then create their own colorful mixed-media works of art inspired by the show. Pizza and drinks are included. This program is free, but space is limited. Please call 706.542.8863 or email callan@uga.edu to reserve a spot.

Studio DrawingThursday, May 7, 14, 21 and 28, 6:30–8:30 p.m.Athens-based artist and educator Brian Hitselberger will lead a series of drawing courses that serve as introduc-tions to techniques and materials. Both enthusiastic beginners and more seasoned practitioners are welcome. Topics to be covered include contour, value, simplifica-tion and detail, drawing on-the-fly and more focused, detailed methods of mark-making. All sessions will use the museum’s collection as source material, including its archives and many works not regularly on display. Drawing media to be introduced and discussed are brush and ink washes, ink pen, colored pencil and hard and soft graphite. A materials fee of $15 covers a small but useful array of tools as well as a sketchbook in which all techniques and drawings will be created throughout the month. This course is intended not only to introduce a variety of drawing methods, but to explore new ways of engaging with museums. Call 706.542.8863 to register.

"Red Brick, Black Mountain, White Clay: Reflections on Art, Family, and Survival" $16

“Scandals, Vandals, and DaVincis: A Gallery of Remarkable Art Tales” $15

“What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art” $20

“Provenance: How a Con Man and a Forger Rewrote the History of Modern Art” $17

“The Art Detective: Adventures of an Antiques Roadshow Appraiser” $16

Cosponsored by UGA’s department of Romance languages and by UGA Parents and Families Association.

The museum’s Board of Advisors In February, the museum received the College

Art Association’s Alfred H. Barr Jr. Award for

Smaller Museums, Libraries, Collections and

Exhibitions for its exhibition catalogue “Cercle

et Carré and the International Spirit of Abstract

Art.” The museum has applied for the Barr

Award, which recognizes exhibition catalogues,

many times previously, but this is the first time

it has received it. The museum also received

four awards from the Southeastern Museums

Conference, a certificate of commendation for

“Cercle et Carré” as an exhibition and three for

publications design—a silver award in the

Newsletter category for Facet; an honorable

mention for the exhibition catalogue

“Exuberance of Meaning: The Art Patronage of

Catherine the Great (1762–1792)”; and an

honorable mention for the brief catalogue

“Inspired Georgia: 28 Works from Georgia’s

State Art Collection”—and the award for

Museum Exhibition of the Year (Budget >

$100,000) for “Art Interrupted: Advancing

American Art and the Politics of Cultural

Diplomacy” from the Georgia Association of

Museums and Galleries.

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Athens artist Hildegard Timberlake and her son Tom Timberlake have been

researching the surviving work of Athens artist Mary Franklin. The museum owns

four oil paintings by Franklin, two of which are high-quality examples of the

artist’s work that are in poor yet treatable condition due to their previous life in a

university dormitory. The condition problems included extensive losses to the

original frames and stains, dents, and paint loss. The museum maintains a long

list of works of art in need of conservation, and these works are conserved

whenever scarce funds are made available for this purpose. Hildegard and Tom

indicated their wish to fund conservation of these two paintings and provided a

check to the museum in October for the estimated cost of conservation of

“Tunisian Girl with Jug.” The painting was promptly delivered to conservator

Susan Jones in Atlanta and returned to the museum in December following the

completion of treatment. Hildegard, her husband Richard Timberlake, Tom, and

friends visited the museum’s collection study room on December 17 to view the

newly conserved painting and frame (pictured above). Pleased with the outcome

of their donation, Hildegard and Tom made another donation in January 2015 to

cover the cost of conserving the other Franklin painting in consideration,

“Tunisian Street Scene.”

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Alfred Heber Holbrook Society Drs. Larry H. and Linda N. Beard

Beverly H. Bremer

The Chu Family Foundation

The Daura Foundation

Judith A. Ellis

Mrs. Caroline M. Gilham

Helen C. Griffith

Mrs. M. Smith Griffith

The Turner Family Foundation, Inc.

Benefactor Patricia Deitz

MOTSTA Fund of the Community Foundation of

Northern Virginia

Piedmont Charitable Foundation

Dudley Stevens

Patron LaTrelle F. Brewster

Margaret A. Rolando

Dr. and Mrs. Richard H. Timberlake Jr.

Director’s Circle Jeanne L. Berry

Drs. Richard and Anne Hathaway

Judith F. Hernstadt

Theodora Johnson

David and Becky Matheny

Drs. Gordhan and Virginia Patel

Jane Payne

Doris A. Ramsey

Michael T. Ricker

Mr. and Mrs. Walter A. Sams

Mrs. Patricia Staub

Sustaining Lee B. Durham

Mr. and Mrs. Alex Crumbley

Mr. and Mrs. Joseph R. Knappenberger

Drs. Stephen and Sherrie Olejnik

Designated Chaparral Foundation

Robert and Suzanne Currey

Mr. and Mrs. Robert G. Edge

The McCormack Foundation

Mr. and Mrs. Anthony Montag

In memory of Martha Connell by William

Underwood Eiland

In memory of Homer Cooper by William

Underwood Eiland

In memory of Matt Friedlander by William

Underwood Eiland

In memory of Frances Yates Green by Jane

Beadles and John Dunham, Mr. and Mrs.

Thomas R. Flickinger, Phoebe G. Forio, Peggy

and Denny Galis, Felton Jenkins III, Mr. and

Mrs. Herbert Ladds Jr., Mr. and Mrs. L. Jack

Powell, and Mr. and Mrs. William C. Smith

In memory of Andrew Ladis by Robert W. Eiland

and Patricia and Tom Wright

In memory of Bill Mason by William Underwood

Eiland

In memory of Dick May by William Underwood

Eiland

In memory of Kathy Rowan by William Underwood

Eiland and Carol and Rob Winthrop

In memory of D. Jack Sawyer Sr. by William

Underwood Eiland

In memory of Ann Scoggins by Sheri Jacobsen

In memory of Janice Lee Van Engen by William

Underwood Eiland

In memory of Richard Weigert by Elizabeth

McGhee

In honor of Richard and Lynn Berkowitz by William

Gitlin and Missy and Larry Sanchez

In honor of Faye Chambers, Annie Laurie Dodd and

C.L. Morehead Jr. by Richard and Lynn Berkowitz

In honor of William Underwood Eiland by Robert W.

Eiland and Patricia and Tom Wright

In honor of Lee Epting by Jackie and Tony Montag

In honor of Frannie Green Hilsman by Hamilton

and Meika Hilsman

In honor of Ann Kingston by Jonathan and Lyssa

Harvey

In honor of Annelies Mondi by Patricia and Tom

Wright

In honor of Ruthann Walton by Jonathan and

Lyssa Harvey

In honor of Stevi Smith Wansley and Elizabeth

Dunn Wansley by William Dunn Wansley

In honor of the Staff of the Georgia Museum of Art

by Richard and Lynn Berkowitz

2014 Contributors to the Board of Advisors

Memorial Acquisitions Fund: B. Heyward Allen

Jr., Jeanne Berry, Shannon Candler, James

Fleece, Catherine May, Marilyn McNeely, Carl

Mullis, Russell Mumper, Betty Myrtle, Deborah

O’Kain, Randall S. Ott, Kathy Prescott

June and July

Day camps, day cares and

community centers are

invited to the museum to

participate in this special

free summer program.

Kids will learn about the

legacy of a famous Mexican

printmaking workshop in

the exhibition “El Taller

de Gráfica Popular: Vida y

Arte” through an interactive

gallery tour, then take part

in a hands-on printmaking

activity. Call 706.542.0448

or email branew@uga.edu

to make a reservation for

your group.

ART ADVEnTuRES

The Georgia Museum of Art received the following gifts between November 1, 2014 and February 10, 2015:

recognized Bill Prokasy with a

lifetime membership at its meeting this

January. Prokasy’s service on the Board of

Advisors and as president of the Friends of the

Georgia Museum of Art, his financial gifts, his

cooperation with and encouragement of the

staff and his advocacy at the campus, state

and federal levels have benefited the museum

immeasurably. Prokasy was for ten years the

Vice President of Academic Affairs at UGA

and, as such, he was the administrator

responsible for the museum. In this capacity

he supported the museum in countless ways

through his advocacy at the university level.

Perhaps his greatest legacy is UGA’s

Performing and Visual Arts Complex. Following

his retirement from UGA, in 1998, Prokasy

was elected to the Board of Advisors, and he

and his wife, Pamela, were co-presidents of

the Friends from 2002 to 2004. His chairing of

the board’s Public Affairs and Statewide

Outreach Committee from 2007 to 2013

strengthened the museum’s mission as the

official state museum of art and advanced the

interests of other Georgia arts organizations.

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Sax Studio Flash Mob

MFA opening

BECOME A MEMBER Of THE fRIEnDS Of THE GEORGIA MUSEUM Of ART. Support our programming and exhibitions.Join on our website, georgiamuseum.org, or call 706.542.0830.

JoinJoiTrecento Conference

Family Day Guerrilla Girls Install

June and July

90 Carlton Autumn

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UNIVERSITY OF GEORGIA

90 Carlton Street

Athens, Georgia 30602-1502

www.georgiamuseum.org

address service requested

non-profit org.

u.s. postage

paid

athens, ga

permit no. 49

Mexican Prints

Studio Craft

Volunteer Spotlight

spring 2015