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Summer 2015

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Membership Challenge ExhibitionsAthens Quilt

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 and Stella Tran

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., immediate

past 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,* executive

committee

Mrs. Faye S. Chambers

Mr. Harvey J. Coleman

Ms. Martha R. Daura***

Mrs. Martha T. Dinos**

Mrs. Annie Laurie Dodd***

Ms. Sally Dorsey

Professor Marvin Eisenberg*

Mr. Howard F. Elkins

Mrs. Judith A. Ellis

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,* executive

committee, past chair

Mrs. Betty R. Myrtle

Mrs. Deborah L. O’Kain

Dr. Randall S. Ott

Dr. Gordhan L. Patel

Mrs. Janet W. Patterson

Mr. Christopher R. Peterson

Ms. Kathy B. Prescott

Mr. Bill Prokasy*

Mr. Rowland A. Radford Jr.*

Ms. Margaret A. Rolando

Mr. Alan F. Rothschild Jr., chair

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, chair-elect

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

Ms. Cynthia Harbold

Mr. Kelly Kerner

Dr. Russell Mumper

Dr. Pamela Whitten

*Lifetime member

**Emeritus member

***Honorary member

Back in May, I reported to the Friends at their annual meeting that I and some 12 of our staff members had just returned from attending and volunteering at the meeting of the American Alliance of Museums in Atlanta. As I told the Friends board, “many of you have read about how Atlanta and Georgia are celebrating Museum Week, with reduced admissions and discounts to the cultural agencies and institutions within the perimeter. As you well know, the Georgia Museum of Art is free all the time, every day, every week, every month, every year. We are able to stay that way because of the generosity of our patrons—our collectors and donors like you.”

At that conference in Atlanta, we attended sessions, served on panels, joined our peer professional affiliates and, perhaps most important, networked with colleagues from around the world. Some 4,500 museum folk attended this convention. Much of our discussion and many of our workshops and classes were technical or philosophical: we talked about the museum as a social entity, its obligations to its communities and how the museum has to balance its programs (its very purpose) between its responsibilities to its collections and its mission to serve and to teach. We listened to our colleagues who are educators, registrars, conservators, publicists, fundraisers, administrators and curators. In a day devoted to academic museums, we found out how similar our practices and standards are to university and college galleries in China and Mexico, in Canada and Finland. Our proceedings were simultaneously translated into Spanish and Chinese, with interpreters in Arabic available as necessary. We may be a comparatively small museum in a rather fabulous college town in the Deep South, but the Georgia Museum of Art and its staff (as clearly evidenced by what was said and done at this conference) are entirely engaged in the issues of the day—the regional, national and international discussion of the fine arts as cultural legacy.

Three of those issues suffice to betray the range of our discussions: First, prices for works of art continue to rise, affecting our abilities to collect and to build collections. Second, deaccessioning continues to plague our field, especially academic museums, with the current discussion roiling over the definition of “direct care” and what that means for the use of proceeds from deaccessioning. Third, and most serious, we must counter the continuing degradation of our shared human heritage in Syria, Iraq and Yemen. Doesn’t it make sense to declare unequivocally that such wanton and malicious destruction is a war crime? Shouldn’t all museums throughout the world declare a mora-torium on the acquisition of any art or artifacts, manuscripts or treasure from that part of the world as long as the hostilities and looting continue? Perhaps these issues seem far removed from Athens, Georgia, here in our ivory tower, but we are precisely situated to engage them as part of an academic village that is dealing with events arising in and from the worlds of business and high finance, the world of law (public trust, fair use and copyright) and the entire globe, where international law and heretofore legal conven-tions seem to have lost any power to save humankind’s cultural legacy.

Before the conference was over, we were being called on to assist our colleagues in Nepal to help save, restore and repair the Buddhist temples and monuments of a dev-astated land. We are not isolated here in our museum. Through the visual arts and our mission of sustaining lifelong learning, we are central in this place and at this time to sustaining and expanding knowledge.

We don’t—we can’t—do it alone. We are dependent on our docents, our patrons, our do-nors and our audiences, on all of you. We can be engaged in protecting, stewarding and interpreting humankind’s creations, in the final analysis, because of the support of this great university and because of our Friends. In short, because of all of you.

William Underwood Eiland, Director

Director William U. Eiland at the

Louis Vuitton Museum in Paris.

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F E A T U R E S

Exhibitions

04New Acquisitions

09Guerrilla Girls

10Event Photos

15

Contents

04

09

10

11

11

12

14

15

Exhibitions

New Acquisitions

Guerrilla Girls

Membership Challenge

Interpreting the Kress Collection

Calendar of Events

Museum Notes

Event Photos

On the back cover:

Ralph Chessé (American, 1900–1991)

Flight into Egypt, 1947

Oil on canvas

22 1/2 x 25 inches (framed)

Extended loan from Bruce Chessé and the

Chessé Arts Collection

On the front cover:

Various

Calaveras resurrectas (Resurrected Skulls) (detail

and enlargement), 1954

Small codex-form booklet with 40 pages, including

three gatefolds: reproductions and type/lettering

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

Collection of Michael T. Ricker

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Two San Francisco 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, the

linocuts, woodcuts, etchings and books in this exhibition

show two skilled artists fearless in goading viewers from

complacency or from indifference to injustice.

Goodman, born and raised in San Francisco, had a

troubled youth and lived on the streets before being

convicted of burglary. During his sentence, he attended

the San Quentin Arts in Corrections Program taught by

Hazelwood. Since serving his time, he has remained

homeless but continues to make art, obtaining his

materials through Hospitality House, a San Francisco

homeless resource center, and working in a friend’s studio

space. Goodman is also a distance runner and credits that

practice with helping him stay sober.

Hazelwood studied at the University of California at Santa

Cruz and traveled to Asia after graduation. He lived in

Vienna to focus on his art and eventually settled in San

Francisco. Although his art was already overtly political,

it became even more so as he made screen prints for

Street Sheet, a San Francisco newspaper focused on

homelessness. Hazelwood has also created work for the

Western Regional Advocacy Program, which distributes it

under a Creative Commons license.

Both artists draw on the tradition of the Works Progress

Administration Federal Art Project in their creation of

striking black-and-white prints, conveying strong political

messages through their art.

Curator: William U. Eiland, director

Galleries: Martha Thompson Dinos and Dorothy Alexander

Roush Galleries

Sponsors: The W. Newton Morris Charitable Foundation

and the Friends of the Georgia Museum of Art

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

Ronnie Goodman

No More Homeless Deaths, 2012

Linocut on paper

30 x 22 inches (sheet)

Georgia Museum of Art, University of Georgia; Museum

purchase with funds provided by the Byrnece Purcell Knox

Swanson Acquisitions Fund

GMOA 2013.59

Ronnie Goodman

San Quentin Jazz, 2012

Linocut on paper

22 x 15 inches (sheet)

Georgia Museum of Art, University of Georgia; Museum purchase

with funds provided by the Byrnece Purcell Knox Swanson

Acquisitions Fund

GMOA 2013.68

Ronnie Goodman

The Letter of Rejection, 2012

Linocut on paper

22 x 15 inches (sheet)

Georgia Museum of Art, University of Georgia; Museum

purchase with funds provided by the Byrnece Purcell Knox

Swanson Acquisitions Fund

GMOA 2013.66

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

“Lines of Inquiry” features 11 drawings from the collection of Giuliano Ceseri, on extended

loan to the Georgia Museum of Art. Beth Fadeley worked with students in Professor Shelley

Zuraw’s spring 2015 class “The Art of Drawing” to organize this exhibition and invite

the audience to explore the techniques, themes and stylistic developments in European

drawing from the Renaissance to the Baroque. This special exhibition is possible because

of the guidance of Dr. Lynn Boland, Pierre Daura Curator of European Art at the Georgia

Museum of Art, and Dr. Shelley Zuraw, associate professor of art at the Lamar Dodd School

of Art.

Guest curator: Beth Fadeley, doctoral candidate, art history, Lamar Dodd School of Art

Gallery: Alonzo and Vallye Dudley Gallery

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

Museum of Art

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

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

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

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

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

that show African American subjects enacting biblical scenes and

scenes from everyday life. After relocating to San Francisco in 1928,

Chessé worked as an artist and puppeteer. The success of his

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

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

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

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

of French Fauvism is especially clear. The exhibition includes

four of Chessé’s puppets and several linocuts showing varying

interpretations of Punch and Judy.

Curator: Laura Valeri, associate curator of European art

Gallery: George-Ann and Boone Knox Gallery II

Sponsors: The W. Newton Morris Charitable Foundation and the

Friends of the Georgia Museum of Art

Philipp Peter Roos, called Rosa da Tivoli (German, 1657–1706)

Goat, n.d.

Georgia Museum of Art, University of Georgia; Extended loan

from the collection of Giuliano Ceseri

GMOA 1995.199E

Ralph Chessé (American, 1900–1991)

The Adam Family, 1943

Oil on canvas

25 x 30 1/2 inches (framed)

Extended loan from Bruce Chessé and the

Chessé Arts Collection

GMOA 2013.103E

Ralph Chessé July 11–October 4, 2015

It found its way to the museum through Jim Thompson, news editor at the Athens Banner-Herald. Cecelia Ross received the quilt as a bequest from its maker when Ross worked in a hospice in Venice, Florida, but did not remember her name. She contacted Thompson to see if he could find out more about it, recalling that the quilt’s maker had spoken of Athens with great fondness. Thompson believes it is possible the maker was Mabel Shumate (1908–1998), a nurse whose mother, Carrie Long, was a native of Carlton, Georgia, and is buried there, but further research remains to be done.

Ross said, “The maker was a lifelong resident of Athens and loved your town. . . . I am pleased to return this to the ‘proper home.’” Dale Couch, curator of decorative arts at the museum, pointed out the recurring use of red, white and blue as a patriotic motif, one that would have been appropriate in the 1940s around World War II. Made of cotton, possibly derived from feed sacks, and showing a combination of hand and machine stitching, the quilt features a pattern of large hexagons that reveal hidden six-pointed stars of lighter-colored material in the spaces in between. It is an excellent fit with the museum’s effort to study the decorative arts of the state and the Athens area, and it is presently on display in the Martha and Eugene Odum Gallery, in the permanent collection wing.

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

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

George Washington Nicholson (American,

1832–1912)

Winter Morning, ca. 1880

Oil on canvas

22 1/4 x 30 1/4 inches

Georgia Museum of Art, University of Georgia;

Museum purchase in memory of Harry

Leonidas Gilham Jr.

GMOA 2015.14

Unidentified maker from Athens, Ga.

Quilt (detail), ca. 1940–50

Cotton

Georgia Museum of Art, University of Georgia;

Gift of Jim Thompson on behalf of Cecelia Ross

GMOA 2014.242

Dating from the 1940s, this quilt was made in Athens by an as yet unidentified woman from the scraps of fabric she used to make clothes for her daughter.

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Throughout my studies at UGA’s Lamar Dodd School of Art, from which I recently graduated with a master’s degree in art education, I became increasingly interested in museum education and in engaging museum visitors with art in meaningful and memorable ways. For my final graduate project, I developed an educational program focusing on the exhibition “Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond” (on view at the museum Dec. 6, 2014–March 1, 2015). I invited UGA student organizations and Women’s Studies classes to the museum, where they viewed the exhibition and made their own art in response to the displays. The Guerrilla Girls are a group of anonymous women who refer to themselves as the “conscience of the art world” while working to draw attention to the under-representation of women in museums and galleries. Their focus has also expanded to address gender-based issues in Hollywood film, politics and pop culture.

I was initially drawn to the Guerrilla Girls’ work because they use facts and humor to expose inequality. Their work makes feminism accessible by making viewers laugh or pause and reflect. The exhibition contained multiple interactive components, including a chalkboard wall with the prompt “I’m not a feminist but if I was, this is what I would complain about....” Visitors were encouraged to write their own responses. Another element was a wall of “Love Letters and Hate Mail” written to the Guerrilla Girls. Again, visitors were invited to contribute their own responses. My goal was to create a program that built upon the learning and engagement already encouraged by the design of the exhibition.

During the programs I facilitated, students were encouraged to make connections between the Guerrilla Girls’ work and their own experiences. Through engaging in dialogue and using guiding worksheets, students considered how gender inequality exists in their communities, on campus and in their own lives. In large groups, students discussed specific works of art that stood out, connections they made with the exhibition and the techniques that make those works successful.

Students then went into one of the museum’s classrooms to respond visually to the exhibition through collage. I encouraged students to create a poster that made a statement about gender or feminism. The open-endedness of this project led to rich and varied responses. Students investigated the representation of women in the arts, violence and sexual harassment, the pay gap between men and women, racism, gender roles, body image, aging, current events and the media’s construction of beauty. Making use of magazine images allowed them to alter and give new, resistant meaning to images and text appropriated from popular culture. They critically considered media culture and the messages advertisements often send.

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

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

Meghan McFerrinIntern, Education Department

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

in Action

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

W e are fortunate that the Samuel H. Kress Foundation has awarded the Georgia Museum of Art with a Kress Interpretive Fellowship for 2014-15. Brittany Ranew began

in this position last September. Since that time, she has worked on public and family programming and school tours at the Georgia Museum of Art, including a public tour focused on mysteries in the museum’s collection in April. She also completed a teaching packet based on the Georgia Museum of Art’s Samuel H. Kress Study Collection.

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

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

Interpreting the Kress Collection

Membership Challenge

Numbers are not the whole story and our membership is extraordinarily generous, but on July 15 we are kicking off a three-month campaign to increase that amount by 100 households.

The dollars that come from membership help fund almost everything we do here at the museum: programming for families, educational opportunities for undergraduate and graduate students, exhibitions that bring something new to our community, outreach across the state and more. They help us keep admission free to all, an exceptionally important goal for the official state museum of art.

We’re reaching out first to lapsed members with a digital campaign that reminds them just how much we need their contributions, but we have also set a goal of upgrading at least 60 current members to the Contributing ($100) level of membership or higher. That level may seem like a reach, but it entitles you to reciprocal membership benefits (including free or reduced entry rates, as well as museum shop discounts) at more than 1,000 museums across the United States and Canada. It also provides crucial additional funding for us at little to no extra cost on our end, allowing us to direct a greater percentage of your membership dollars to museum programming, making your museum a stronger and better institution.

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

Michele TurnerDirector of Membership

Membership Challenge

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

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

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Brittany Ranew has been taking photos of herself in front of various

Kress buildings. This one is in Daytona Beach, Florida.

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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 self-guided visit led by an instructor, a docent-led tour or students who will be coming on their own to complete an assignment.

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

Special Events

Third ThursdayThursday, July 16, August 20 and September 17, 6–9 p.m.Seven of Athens’ established venues for visual art (the Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné, the Classic Center and ATHICA) hold this event devoted to art in the evening hours, on the third Thursday of every month to showcase their visual-arts programming. A free shuttle service, courtesy of the Classic Center, runs every 30 minutes. Details are posted at 3thurs.org.

90 Carlton: SummerFriday, July 17, 5:30–8:30 p.m.The Friends of the Georgia Museum of Art present this reception featuring the summer exhibitions. Enjoy catering by Epting Events, gallery activities, door prizes and “Ask the Experts.” Free for members, $5 nonmem-bers. Join or renew at the event for complimentary admission. Call 706.542.4662 for more details. RSVP to gmoarsvp@uga.edu or 706.542.4199.

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

Student NightThursday, September 10, 6:30–8:30 p.m.Join the Student Association of the Georgia Museum of Art for a night of music, food, fun and DIY projects in printmaking, celebrating “El Taller de Gráfica Popular: Vida y Arte.” Student night is generously sponsored by the Friends of the Georgia Museum of Art and the UGA Parents and Families Association.

Lectures & Gallery Talks

Panel Discussion: El Taller de Gráfica Popular: Vida y ArteThursday, August 20, 7 p.m.Join artists Arturo García Bustos and Rina Lazo (members of El Taller de Gráfica Popular) and scholars on the print workshop for a lively discussion of the workshop and prints in the exhibition. Partially in Spanish, with live translation.

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

Family Days

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

Puppetry Party Saturday, July 18, 10 a.m.–noonFamilies are invited to check out paintings, puppets and works on paper by artist Ralph Chessé, then create their own scarf marionette puppets in the Michael and Mary Erlanger Studio Classroom. Participants will also receive basic puppeteer instruction so they can put on a show back at home! This program will include a performance of

“The World of Anansi the Spider,” presented by the Columbia Marionette Theater in the auditorium at 11 a.m. The show will last approximately 30 minutes and features several folk tales narrated by the storyteller Anansi, a classic character in African, Jamaican and Gullah stories.

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

pencil case and notebook.

Line, Shape and Form Saturday, September 12, 10 a.m.–noonLine, shape and form are three important building blocks of works of art. Explore the ways artists use these elements to compose works of art in the permanent collection, then create your own masterpiece to take

home.

Films

¡Viva México! Film SeriesPresented in conjunction with the exhibition “El Taller de Gráfica Popular: Vida y Arte.”

This film series is generously sponsored by

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

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

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

Tours

Tour at Two: Highlights from the Permanent CollectionWednesday, July 1, 15 and 29; September 2, 16 and 30, 2 p.m.Led by docents.

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

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

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

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

Artful Conversation: Ralph ChesséWednesday, August 5, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth conversation about selected works in the exhibition “Ralph Chessé.”

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

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

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

Tour at Two: “El Taller de Gráfica Popular”Wednesday, September 9, 2 p.m.Led by Sarah Kate Gillespie, curator of American art.

Artful Conversation: “McIntosh County Shouters”Wednesday, September 23, 2 p.m.Join Callan Steinman, associate curator of education, for a discussion of Art Rosenbaum’s “McIntosh County Shouters.”

Workshops & Classes

Teen StudioThursday, August 27, 5:30–8:30 p.m.Teens ages 13–18 are invited to participate in this workshop led by local artist and educator Kristen Bach. Teens will explore the politically engaged work of Mexican printmakers in the exhibition “El Taller de Gráfica Popular: Vida y Arte,” then experiment with various printmaking techniques in the studio classroom. Pizza dinner and drinks are included. This program is free, but space is limited. Call 706.542.8863 or email callan@uga.edu to reserve a spot.

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

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

1. Painted clay Catrinas ($65 each)

2. Papier-mâché dove centerpiece ($19.99)

3. Decoupage wooden Catrina boxes ($30 large, $18 small)

4. Milagro votive ($20)

5. Montesinos painted angels ($35 each)

6. Catrina market bags ($12.95)

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Stella Tran joined the museum staff as

assistant editor in April. Tran has worked at the Institute

of Contemporary Art in Boston in digital marketing

strategy and design and most recently as a research

assistant at Harvard and in program evaluation for the

International Center at the Carl Vinson Institute of

Government at UGA.

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The museum acknowledged its Federal Work-Study students and volunteer interns

at the annual Student Appreciation Celebration on April 14. Staff members talked about students’ projects, and each

student received a commemorative paperweight featuring the image from his or her identity badge.

Curator of American art Sarah Kate Gillespie and her husband, Marc Belli, welcomed their

sweet baby, Roy Christopher Belli, to the museum family on April 2.

Alfred Heber Holbrook Society Mrs. George-Ann Knox

The Knox Foundation

Winthrop Foundation of Athens, Georgia

Patron Alex and Janet Patterson

Mr. Alan F. Rothschild, Jr. through the Fort

Trustee Fund, Community Foundation of

the Chattahoochee Valley

Director’s Circle Dave and Devereux Burch

Dr. and Mrs. James W. Cooper

Mrs. Ellen Gibson

Mr and Mrs. Mark G. McConnell

David R. Mulkey

Mr. and Mrs. Benjamin Tarbutton

David and Cece Warner

Mr. and Mrs. Richard Woodruff

Sustaining Mrs. Carolyn Bush

Designated Todd Emily

Mr. John Greene

Mr. and Mrs. John F. McMullan

Mr. and Mrs. Anthony Montag

John and Margaret Page

Drs. Gordhan and Virginia Patel

Alex and Janet Patterson

In memory of Lynn Bryant by William

Underwood Eiland

In memory of Daniel H. Magill by Cole and

Margie Kelly

In memory of Thomas W. Mapp by Gordhan

and Virginia Patel

In memory of Cammie Holmes McCook by

Cole and Margie Kelly

In memory of Roy and Charlene Miller by

Susan and Jim Cooper

In memory of Kathy Rowan by Carol Dolson

In memory of Edward Burke Sams by Cole

and Margie Kelly

In honor of Dale Couch by Peggy Galis

Many thanks to the members of the Public

Affairs and Statewide Outreach Committee of

the Board of Advisors who provided generous

support for Just My Imagination: June

Ball, David Matheny, Marilyn McMullan,

Gordhan and Virginia Patel and Janet

Patterson.

Contributions to the Board of Advisors

Memorial Acquisitions Fund: Faye Chambers,

Berkeley Minor and Gordhan and Virginia

Patel

Congratulations and many thanks to the

following members of UGA’s Class of 2015

who made generous Senior Signature Gifts to

the Georgia Museum of Art:

Taylor A. Bartik

Sherry S. Bennett

Shelley E. Bonin

Victoria T. Carroll-Jave

Margaret Davis

Terri Edgar

Katherine B. Foster

Caitlin M. Jones

Bit N. Kim

Ashlyn L. Love

Jonathan D. Lynn

Samuel A. Payne

Jennifer Pena

Vicki K. Pratt

Michelle A. Sawyer

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

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.orgBECOME 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.

JOINJOIFolk and Folks: Variations on the VernacularThe Eighth Henry D. Green Symposium of the Decorative Arts

Family Day

Black History Month Dinner

Family Day

Teen Studio

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

Save the date!

Feb. 4–6, 2016

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UNIVERSITY OF GEORGIA

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Athens, Georgia 30602-1502

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