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Exhibitions • Calendar of Events • Museum Notes • Gifts • Event Photos • In the Shop
Citation preview
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Volunteer Spotlight
American Alliance of Museums& Southeastern Museums
Conference
Fall 2014
facet
Elegant SaluteExhibitions
Southeastern MuseumsConference
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From the DirectorGeorgia Museum of Art
University of Georgia
90 Carlton Street
Athens, GA 30602-6719
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 Intern
Sara Adams
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 appropria-
tions of the Georgia General Assembly. The
council is a partner agency of 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,* executive
committee, 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, immediate 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
Mr. William F. Prokasy
Mr. Rowland A. Radford Jr.*
Ms. Margaret A. Rolando
Mr. Alan F. Rothschild Jr., chair-elect
Mrs. Dorothy A. 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
Mrs. Julie Roth
*Lifetime member
**Emeritus member
***Honorary member
Obviously, the invitation to speak came as a reflection of my position as director of the museum across the quad here. Yes, I was close. Yes, I was available. But I believe Gene Wright had other issues in mind when he invited me to address this class of graduates from the Lamar Dodd School of Art. You are among the first graduates here to reap the full benefits of collaboration and cooperation among the schools of art and music, the Performing Arts Center and the muse-um. Envisioned in the concept and eventual establishment of this part of campus was the notion that fine-arts education is essential to both individual and corporate achievement, something that is becoming clear to business leaders.
Critics see this kind of economic view as inimical to the artistic temperament, a kind of coarsen-ing of the aesthetic. On one level, I agree wholeheartedly that we are in danger of cheapening the ineffable by conjoining art with money. On another, I say, “Oh grow up!! And face the reality of dwindling resources and intense competition for sustainable practice in the fine and visual arts.” I hope you will be equally ambivalent and deliberate in choosing between the Scylla of underemployment as an artist or art historian and the Charybdis of “selling out.”
I am not going to belabor these points, but I shall remind you of what distinguished professor emeritus Jim Herbert proposed as a riddle to a gathering of young artists: “What is the differ-ence between an artist and an artisan?” Blank stares. Finally, he answered, “The artisan can do it twice.” I urge you to take that definition to heart as you prepare yourselves for careers in the visual arts: learn to be an artisan as well as an artist, a stylist as well as a writer, a designer of words. Artists, be not dismissive of your colleagues in art history, art criticism and art educa-tion: they are important to your future. Listen to them and learn because you can’t be cutting edge if you don’t know where the edge is.
This past weekend, I had the remarkable experience of traveling with a group of my overachiev-ing college friends, all of whom have made considerable marks on this world of ours. My friends hold dear to this day those ideals of the late 1960s and 1970s, and this trip through the Black Belt of Alabama was to rekindle our long-held beliefs that poverty and ignorance are not foregone conditions prescribed for mankind by immutable fate.
Our pilgrimage took us to the Rural Heritage Center in Thomaston where ladies fearful of the demise of their blighted community make pepper jelly and sell it to raise funds to save beloved landmarks. Next, we moved on down the road to the Rural Studio, one of the most remarkable educational enterprises I have encountered so far in a life of travel and study. We marched across the Edmund Pettus Bridge in Selma and attended church at Dexter Avenue Baptist, Martin Lu-ther King Jr.’s first pastorate. We stood before Maya Lin’s civil rights monument and read aloud the names of Viola Gregg Liuzzo and Jimmie Lee Jackson, martyrs whose graves we had visited earlier. Finally, we listened to one of our number tearfully acknowledge that, while our bodies have suffered the slings and arrows of age and infirmity, our illusions, thank God, are intact.
I asked my friends while we stood on the steps of the state capitol in Alabama what I should tell you. One said that you graduates will have to find your own way to happiness and to fulfillment, to a meaningful philosophy of life, as you will be fighting throughout your life the invasion and destruction of your privacy. Another hoped fervently that I would tell you that the bane of our current and future existence, unless we unite as all God’s creatures, is wanton, senseless violence. Others hoped you would use your artistry and intelligence to combat hunger and any other number of ills. Finally, one said, “too depressing all this; tell them to find happiness their own way on this glorious occasion of their maturity. They’ll figure it out.” And so you shall, for hers was the best advice, to which I will add a prayer that you succeed in finding contentment in living well.
And so, I wish you blessings every day of your lives. I hope for you the joy and satisfaction of following the good council of your now alma mater in urging you to “to teach, to serve, and to inquire into the nature of things.” What does that mean, you ask? I will tell you. Do not settle for the meretricious and the mediocre. Do not just muddle through. Abandon carelessness. Write great sentences. Teach important truths. Make objects beautiful in aspect and design as well as in meaning and symbol. Aspire to the sublime. Do good work. Yes, do good.
William Underwood Eiland
Director
Adapted from the commencement speech given at the Lamar Dodd School of Art in May 2014 by director William U. Eiland
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F E A T U R E S
Exhibitions
04Elegant Salute
09Curator of American Art
11Event Photos
15
Contents
04
09
10
11
12
14
15
Exhibitions
Elegant Salute
Volunteer Spotlight
Curator of American Art
Calendar of Events
Museum Notes
Event Photos
On the back cover:
Screamers 7-inch bootleg featuring a logo designed by Gary Panter.
Private collection.
On the front cover:
Braniff hostess wearing a pink Pucci uniform, 1967.
Braniff Airways Collection, History of Aviation
Collection, Special Collections Department, Eugene
McDermott Library, The University of Texas at Dallas.
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Gro
up p
hoto
of e
arly
Em
ilio
Puc
ci h
oste
ss u
nifo
rms
for
Bra
niff.
Bra
niff
Airw
ays
Col
lect
ion,
His
tory
of A
viat
ion
Col
lect
ion,
Spe
cial
Col
lect
ions
Dep
artm
ent,
Euge
ne M
cDer
mot
t Lib
rary
, The
Uni
vers
ity o
f Tex
as a
t Dal
las.
exhi
bitio
nsex
hibi
tions
Insp
ired
by E
mili
o P
ucci
’s b
rief t
enur
e as
a s
tude
nt a
t the
Uni
vers
ity o
f Geo
rgia
in 1
935,
this
exh
ibiti
on c
eleb
rate
s th
e
Italia
n de
sign
er’s
tim
e in
the
Uni
ted
Stat
es a
nd h
is 1
00th
birt
hday
. It w
ill in
clud
e in
form
atio
n ab
out P
ucci
’s ti
es to
UG
A;
his
wor
k in
Por
tland
, Ore
., w
here
he
desi
gned
his
firs
t clo
thes
,
unifo
rms
for
the
Ree
d C
olle
ge s
ki te
am; h
is c
olla
bora
tions
with
U.S
. man
ufac
ture
rs, i
nclu
ding
Whi
te S
tag
and
Form
fit R
oger
s;
his
fligh
t atte
ndan
t uni
form
des
igns
for
Bra
niff
Airl
ines
; and
his
desi
gn fo
r N
ASA
’s A
pollo
XV
spac
e pa
tch.
A s
elec
tion
of
quin
tess
entia
l Puc
ci g
owns
, lin
gerie
, spo
rtsw
ear
and
swim
wea
r
from
the
colle
ctio
n of
Pho
enix
Art
Mus
eum
will
dem
onst
rate
how
Puc
ci’s
exp
erie
nce
in th
e U
.S. i
nspi
red
his
pref
eren
ce fo
r
com
fort
able
, eas
y-to
-wea
r fa
shio
n.
Cura
tor:
Mar
y K
oon;
inde
pend
ent c
urat
or
Galle
ries
: Cha
rles
B. P
resl
ey F
amily
and
Lam
ar D
odd
Gal
lerie
s
Spon
sors
: The
W. N
ewto
n M
orris
Cha
ritab
le F
ound
atio
n an
d th
e
Frie
nds
of th
e G
eorg
ia M
useu
m o
f Art
Emili
o Pu
cci i
n Am
eric
aOc
tobe
r 18,
201
4–Fe
brua
ry 1
, 201
5
Rob
ert S
chne
ider
, Will
Har
t, B
ill D
oss
and
Jeff
Man
gum
gre
w u
p in
Rus
ton,
La.
, spe
ndin
g
muc
h of
thei
r yo
uth
mak
ing
mus
ic o
n fo
ur-t
rack
reco
rder
s. In
the
early
199
0s, t
he fr
iend
s fo
rmed
the
Elep
hant
Six
Rec
ordi
ng C
ompa
ny, r
elea
sing
thei
r fir
st 7
-inch
EP
in 1
993,
by
Schn
eide
r’s b
and,
the
App
les
in s
tere
o. D
oss,
Har
t and
Man
gum
mov
ed to
Ath
ens,
Ga.
, lat
er th
at y
ear,
and
oth
er
frie
nds
soon
join
ed th
em. T
hey
form
ed a
n ar
tistic
scen
e th
at w
ould
com
e to
cha
ract
eriz
e m
uch
of th
e A
then
s ae
sthe
tic, w
ith s
uch
band
s as
the
Oliv
ia T
rem
or C
ontr
ol a
nd N
eutr
al M
ilk H
otel
,
man
y of
them
sha
ring
mem
bers
. The
ene
rgy
and
mom
entu
m th
ey b
roug
ht w
ere
insp
iring
, and
the
colle
ctiv
e gr
ew to
incl
ude
Elf P
ower
, Mus
ic T
apes
,
the
Ger
bils
and
Of M
ontr
eal.
Alth
ough
Ele
phan
t Six
is b
est k
now
n fo
r its
mus
ic, t
he v
isua
l art
s ha
ve a
lway
s pl
ayed
a
defin
ing
role
in th
e co
llect
ive’
s ac
tiviti
es, f
rom
albu
m c
over
s an
d sh
ow p
oste
rs to
thea
tric
al
stag
e pr
esen
ces.
Thi
s ex
hibi
tion
is p
art o
f a
city
wid
e se
ries
of a
rt e
xhib
ition
s an
d ev
ents
:
Ath
ens
Cel
ebra
tes
Elep
hant
Six
. The
mus
eum
’s
com
pone
nt w
ill in
clud
e w
orks
of a
rt u
sed
for
albu
m c
over
s, a
long
with
oth
er e
xam
ples
of t
he
visu
al c
ultu
re th
at h
elpe
d de
fine
the
colle
ctiv
e.
Art
ists
with
wor
k in
the
exhi
bitio
n in
clud
e H
art,
Dav
id B
arne
s, M
angu
m, S
teve
Kee
ne, J
ill C
arne
s
and
Terr
y R
owle
tt.
Cura
tor:
Lyn
n B
olan
d, P
ierr
e D
aura
Cur
ator
of
Euro
pean
Art
Galle
ries
: Rac
hel C
osby
Con
way
and
Alfr
ed H
eber
Hol
broo
k G
alle
ries
Spon
sors
: The
W. N
ewto
n M
orris
Cha
ritab
le
Foun
datio
n an
d th
e Fr
iend
s of
the
Geo
rgia
Mus
eum
of A
rt
The
. . .
of E
6, p
art o
f Ath
ens
Cele
brat
es E
leph
ant S
ixOc
tobe
r 4, 2
014–
Janu
ary 4
, 201
5
Will
iam
Cul
len
Har
t (A
mer
ican
, b. 1
971)
Bla
ck F
olia
ge
Acr
ylic
on
canv
as
37 x
37
inch
es
Col
lect
ion
of M
arc
Som
mer
(left)
Det
ail v
iew
of a
Bra
niff
host
ess
wea
ring
a bu
bble
hel
met
des
igne
d by
Em
ilio
Puc
ci.
(rig
ht)
Bra
niff
host
ess
mod
elin
g in
a p
ink
Puc
ci u
nifo
rm h
oldi
ng a
n um
brel
la s
tand
ing
in th
e fr
ont p
art o
f a je
t eng
ine.
Bot
h B
rani
ff A
irway
s C
olle
ctio
n, H
isto
ry
of A
viat
ion
Col
lect
ion,
Spe
cial
Col
lect
ions
Dep
artm
ent,
Euge
ne M
cDer
mot
t Lib
rary
,
The
Uni
vers
ity o
f Tex
as a
t Dal
las.
5
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exhibitionsBoxers and Backbeats: Tomata du Plenty and the West Coast Punk SceneOctober 4, 2014–January 4, 2015
David Xavier Harrigan, a.k.a., Tomata du Plenty (1948–2000), was one of
the founders of Seattle’s early-1970s punk scene with the Ze Whiz Kidz
counterculture theatre troupe and fronted acclaimed L.A. synth-punk band
the Screamers. In 1982, Du Plenty found an old set of paints and brushes in
an alley behind Hollywood Boulevard and began to paint. He also appeared
as an art critic on the public access cable television show “What’s Bubbling
Underground?” in the late 1980s and early 1990s.
This exhibition features a series of portraits of boxers and musicians that
Du Plenty painted in the mid-1990s, donated to the museum by Gordon W.
Bailey. Prints and zines by other artists of the West Coast punk scene provide
background: Gary Panter designed the Screamers logo, Mark Vallen was known
for his fanzines and album covers, Winston Smith was the designer for the Dead
Kennedys in San Francisco, and Raymond Pettibon designed the logo and other
graphics for Black Flag and the Minutemen. These and many other visual and
cultural sources informed Du Plenty’s paintings. As Du Plenty once quipped,
“Punk rock, especially in the early days, . . . these people had library cards.”
In his art, as in his life, Tomata embraced his outsider status, saying he would
rather sell 100 pictures for $25 each than one picture for $2,500. Today, his
bold portraits of those he admired are powerful testaments to the vitality of the
scene he helped form.
Curator: Lynn Boland, Pierre Daura Curator of European Art
Gallery: Boone and George-Ann Knox Gallery I
Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the
Georgia Museum of Art
(left) Tomata du Plenty
Al Singer, 1995
Mixed media on wood
Approx. 14 x 21 inches
Georgia Museum of Art, University of Georgia; Gift
of Gordon W. Bailey in honor of R.E.M. Michael
Stipe, Peter Buck, Mike Mills and Bill Berry
GMOA 2012.209
(top right) Tomata du Plenty
Rolando LaSerle, 1996
Mixed media on paper
Georgia Museum of Art, University of Georgia; Gift
of Gordon W. Bailey in honor of R.E.M. Michael
Stipe, Peter Buck, Mike Mills and Bill Berry
GMOA 2012.219
(top left) Tomata du Plenty (b. David Xavier
Harrigan) (American, 1948–2000)
Henry Armstrong, 1996
Mixed media on paper
Georgia Museum of Art, University of Georgia; Gift
of Gordon W. Bailey in honor of R.E.M. Michael
Stipe, Peter Buck, Mike Mills and Bill Berry
GMOA 2012.214
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Odilon Redon (French, 1840–1916) made three series
of prints based on Gustave Flaubert’s “Temptation of St.
Anthony.” Inspired by Pieter Bruegel the Elder’s image
of the early Christian ascetic being tempted repeatedly
by the devil, Flaubert crafted a play-like work that
provides ample material for Redon’s typical mysterious
and fantastical imagery. This exhibition consists of the
complete set of Redon’s third series (1896) illustrating
Flaubert’s work.
Curator: Laura Valeri, associate curator of European art
Galleries: Dorothy Alexander Roush and Martha
Thompson Dinos Galleries
Sponsors: The W. Newton Morris Charitable Foundation
and the Friends of the Georgia Museum of Art
The Nightmare Transported into Art: Odilon Redon’s “St. Anthony”November 1, 2014–January 25, 2015
Not Ready to Make Nice: Guerrilla Girls in the Artworld and BeyondDecember 6, 2014–March 1, 2015
“Not Ready to Make Nice” illuminates and contextualizes
the important historical and ongoing work of the Guerrilla
Girls, highly original, provocative and influential artists
who champion feminism and social change. Focusing
primarily on recent work from the past decade, the
exhibition features rarely shown international projects that
trace the collective’s artistic and activist influence around
the globe. In addition, a selection of iconic work from the
1980s and 1990s illustrates the formative development of
the group’s philosophy and conceptual approach to arts
activism. Documentary material includes ephemera from
famous actions, behind-the-scenes photos and secret
anecdotes that reveal the Guerrilla Girls’ process and the
events that drive their incisive institutional interventions.
This multimedia, expansive exhibition illustrates that the
work of the anonymous, feminist-activist Guerrilla Girls is
as vital and revolutionary as ever.
Curator: Neysa Page-Lieberman
In-House Curators: Lynn Boland, Pierra Daura Curator
of European Art, and Sarah Kate Gillespie, curator of
American art
Galleries: Virginia and Alfred Kennedy, Philip Henry Alston
Jr. and Alonzo and Vallye Dudley Galleries
Sponsors: The W. Newton Morris Charitable Foundation
and the Friends of the Georgia Museum of Art
(top right) Odilon Redon
Je suis toujours la grande Isis! Nul n’a encore
soulevé mon voile! Mon fruit est le soleil! (I am still
the great Isis! Nobody has ever yet lifted my veil!
My fruit is the Sun!)
Lithograph on thick wove paper
Georgia Museum of Art, University of Georgia; Gift
of James B. Anderson
GMOA 1984.18.15
(bottom right) Odilon Redon
Saint-Antoine: Au secours, mon Dieu! (Saint
Anthony: Help me, O my God!)
Lithograph on thick wove paper
Georgia Museum of Art, University of Georgia; Gift
of James B. Anderson
GMOA 1984.18.1
(above) Do Women Have to Be Naked to Get Into the Met Museum?, 1989–2011
Digital print on fabric
96 x 216 inches
(above) Odilon Redon
La Mort: C’est moi qui te rends sérieuse; enlaçons-nous (Death: It is I who makes you serious; let us embrace)
Lithograph on thick wove paper. Georgia Museum of Art, University of Georgia; Gift of James B. Anderson
GMOA 1984.18.19
In 2005, Professor Katherine Schwab, professor of art
history at Fairfield University, began experimenting with
graphite and pastel on paper to develop a new method of
recording her observations of the East and North metopes
on the Parthenon, the most prominent temple on the
Athenian Acropolis, in Greece. A metope (pronounced
MEH-ta-pee) is a rectangular section of the frieze that runs
around the top of many Doric-era or classically influenced
buildings, and the ones on the Parthenon include
particularly well-known but very damaged sculptural
reliefs. A tension emerges in Schwab’s drawings between
what is preserved and what has been lost, creating a
theme of presence within absence. They let us reimagine
the Parthenon metopes in our time and experience their
sustained mythological narratives. Schwab’s drawings
combine artistic ability and archaeological expertise,
and, through the process of drawing, she has made new
observations and discoveries. This exhibition is organized
by the Bellarmine Museum of Art at Fairfield University,
Creighton University and the Timken Museum of Art.
Curator: Mark Abbe, assistant professor of ancient art,
Lamar Dodd School of Art
In-House Curator: Laura Valeri, associate curator of
European art
Gallery: Boone and George-Ann Knox Gallery II
Sponsors: The W. Newton Morris Charitable Foundation
and the Friends of the Georgia Museum of Art
An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. SchwabSeptember 13–December 7, 2014
Scottish artist Patricia Leighton has been making art
in the public realm for more than 25 years, creating
large-scale permanent commissions that relate to the
history of a given site and relevant environmental and
ecological conditions. She views the integration of art
and site as a collaborative process and works in tandem
with a diverse creative team of professionals from fields
such as ecology, engineering, architecture and landscape
architecture. Leighton’s installation in the museum’s
sculpture garden consists of six “growing cubes,” elevated
frameworks of steel filled with living vegetation, sited
throughout the three tiers of the space. “Stone Levity,” a
sculpture by Leighton’s husband, Del Geist, is installed
in the Performing and Visual Arts Complex quad, in front
of the Performing Arts Center. Leighton will speak at the
museum Thursday, Sept. 25, at 5:30 p.m.
Curator: Annelies Mondi, deputy director
Gallery: Jane and Harry Willson Sculpture Garden
Sponsors: The W. Newton Morris Charitable Foundation
and the Friends of the Georgia Museum of Art
Terra Verte May 31, 2014–May 31, 2015
exhibitions
The Prints of Mary Wallace Kirk
Through October 12, 2014
Martha Thompson Dinos and Dorothy
Alexander Roush Galleries
Shapes That Talk to Me: The Athens
Scene, 1975–85
Through October 19, 2014
Permanent collection galleries
XL
Through November 16, 2014
Virginia and Alfred Kennedy and Philip
Henry Alston Jr. Galleries
Tristan Perich: “Machine Wall Drawing”
Through November 18, 2014
Patsy Dudley Pate Balcony
Don’t Miss
Katherine A. Schwab
Parthenon North Metope 25: Eros and Aphrodite protect Helen
as she runs to a statue of Athena, 2009
Graphite on paper
Bellarmine Museum of Art, Fairfield University
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An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. SchwabSeptember 13–December 7, 2014
This event takes 12 to 18 months of planning by the
various committees, which focus on everything from
décor to fundraising. These wonderful volunteers make
this event a success every time, and we greatly appreciate
their hard work and commitment.
This year’s theme means an about-face from the previous
Elegant Salute, which focused on minimalism and a strict
black-and-white décor, and one of the things that makes
the event such a special one is how much it changes each
time. Warm greens and peaches will evoke the agriculture
of the state, and hosts David Matheny and Michael
Montesani aim to celebrate Georgia’s heritage as well as
the role of the museum in the state.
Director William U. Eiland always says, “we’re not the
museum of Georgia art; we’re the Georgia Museum of
Art,” but that status as the official art museum of the state
of Georgia and our presence on the campus of the state’s
flagship university means we have an important outreach
component and a responsibility to help tell the story of
Georgia through works of art created in the state or by
Georgia artists. Matheny and Montesani also plan to
invite prominent Georgians to form an informal host
committee for the event in the hope of raising the mu-
seum’s profile statewide. As new director of membership
Michele Turner puts it, “The museum is a treasure of
Georgia, and we want to share it with the personalities
who are also treasures of Georgia.”
The evening will consist of a cocktail reception followed
by a formal dinner and an after-party, with two tiers of
tickets (full event or after-party only), to encourage
philanthropy in younger generations. Guests will enter
and sign in at the heated tent in the Jane and Harry
Willson Sculpture Garden, where the cocktail reception
will take place. Seating for dinner, which will be catered by
Epting Events, will be in the M. Smith Griffith Grand Hall,
named in honor of the woman who, appropriately enough,
founded Elegant Salute. Following dinner, guests will
return to the sculpture garden to enjoy dessert and
dancing to tunes by DJs Alfredo and Zdog during the
after-party, which takes the exhibition “Emilio Pucci in
America” as its theme.
Alicia Muzzy
Intern, Department of Communications
Volunteers:
Event Chairs:
David Matheny
Michael Montesani
Committee Chairs:
After-Party:
Airee Edwards
Everett Long
Décor:
Maggie Hancock
Flowers:
Lucy Allen
Food:
Kate Lynch
Fundraising:
Greg Barnard
Gloria Ricks Taylor
Logistics:
Lori Scott
Publicity:
Cheri Leavy
Social:
Devereux Burch
Amburn Power
With Elegant Salute XIV, “An Elegant Salute to Georgia,” coming up on January 31, we are in full-on planning mode, with save-the-dates going out before we head to press and formal invitations being mailed this fall.
The museum is a treasure of Georgia, and we want to share it with the personalities who are also treasures of Georgia.”
“
ElegantSalutePlanningContinues
Maggie Hancock’s sketch for a floral arrangement.
(left to right) Greg Barnard, Airee Edwards, Gloria
Ricks Taylor, Maggie Hancock, Devereux Burch,
David Matheny and Michael Montesani
“There are so many people I am indebted to,” she says. “There are so many people who have made this work. I have a lot of good friends.”
Art has always been a part of Betty’s life. After she and her husband lived in Virginia and Delaware, they settled in Athens, and her husband, Ed, became the president of the Friends of the Georgia Museum of Art. At one meeting of the Friends board, she was asked to head the newly re-created Collectors group.
“They asked me if I would do it,” she recalls. “And I’ve been excited about it ever since. After all, that’s what friends are for!”
Betty, who was the 2011 Georgia Association of Museums and Galleries Volunteer of the Year, highlights all of the interesting aspects that come with the role: trips to places such as Vienna and Paris, one-of-a-kind visits to art collectors and all of the true friends she has made along the way. Most important, she loves learning, whether it’s about new places, new people or new acquisitions.
Over the years, Betty and the Collectors have helped add hundreds of objects to the museum’s permanent collection. Through Betty’s dedication, events such as this year’s Bella Notte have helped raise the funds necessary to augment the museum’s reputation, not only in Georgia, but in the overall museum commu-nity. But Betty remains humble as she discusses the monumental contributions she has made.
“There are so many people I am indebted to,” she says. “There are so many people who have made this work. I have a lot of good friends.”
There is no denying Betty’s essential role in build-ing the museum into what it is today. She has personally helped enrich the collection, donating significant pieces of silver.
Curator of decorative arts Dale Couch specifically mentioned that he relies on Betty’s expertise regularly, especially when it comes to silver, and
commended her for her help in building the museum’s collection.
Director William U. Eiland could not begin to praise Betty’s service to the museum enough. He said, “Betty Myrtle, who serves on our Board of Advisors and our Board of the Friends (whew, already), has been the long-serving head of our Collectors’ group (double whew!). Years ago, frustrated over our inability to make acquisitions of significance and merit, given our paltry funds for buying art, I decided to disband the Collectors and start over, and then I asked Betty to revivify the group. And, boy, did she!”
He continued, “Due to Betty’s hard work, her lively imagination and her firm commitment, the Collec-tors are the group to whom I go first to buy objects. Moreover, our Collectors not only raise money for the museum and have fun doing so on trips and at gatherings in homes, museums and galleries, but they also learn about and even study in some depth art of all kinds and of all periods. Betty insisted that we must both acquire art for the collections and educate our patrons in doing so. Thus, you see why I consider asking Betty Myrtle to serve as the leader of the Collectors to be among the smartest things I have done as the director of this museum. It was also among the easiest things I have done in my tenure: because of her love for the museum, all I had to do was ask.”
This testament indicates the legacy Betty leaves behind as she steps down as chair of the Collectors. Though she will enjoy the extra time for traveling and revisiting her old antiques business, she won’t be going too far.
“It has been 12 years. I just need a little bit of time to do something else. Besides,” she jokes, “I’m sure the museum will have something else for me to do!”
Betty has devoted the last several years to making sure the stories of artists, paintings and individual art collectors are told, preserved and made public. And through her selfless dedication and unwavering adherence to the Collectors’ mission of acquisitions and connoisseurship, she has made sure future visitors to the museum can enjoy all of the art she holds so dear.
Jessica Hennenfent
Intern, Department of Communications
F or Betty Myrtle, art is all about telling a
story. And, as chair of the Collectors for
the last 12 years, she has been instrumental in
making sure the museum’s story continues
through trips, fundraisers and acquisitions to
the permanent collection. Now, she’s making
plans to hand over the reins.
Betty MyrtleVolunteer Spotlight:G
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After more than a year with no curator to shepherd the largest part of its collection, the Georgia Museum of Art added Sarah Kate Gillespie as its new curator of American art July 1. Gillespie most recently served as assistant professor of art history at York College, City University of New York (CUNY), where she taught classes on 19th- and 20th-century American art, African American art and the history of photography, but she says she was eager to get back to museum work and out of the ivory tower. Much as she loves the scholarly side of the job, she also expresses great enthusiasm for the role museums play in the community and for their ability to engage different kinds of audi-ences. She can’t pick a favorite part about putting together an exhibition, being torn between the conceptual/research phase and the nitty-gritty of making that vision a reality. The latter, she points out, is one of the things that separates museums from strict academia.
When asked what the role of museums is, she responds, “to be open” and “to show the public art and let them engage with it in an accessible way but without dumbing it down too much.” She says that making museums feel welcoming is an important aspect of curatorial practice and that “going to museums shouldn’t feel like an art history class.” Not that there’s anything wrong with art history. Gillespie received her doctorate in that field from The Graduate Center, CUNY, in 2006, a master’s degree in it from the George Washington University and a bachelor’s degree in it from Mount Holyoke College. She just wants to be clear that you
don’t have to understand everything you see in a museum to enjoy the experience of visiting one. It’s her responsibility to provide information without making visitors feel like they’re going to be tested on what they learn.
Her museum experience includes serving as Luce Curator of Fine Arts at the Brooklyn Historical Society, where she reinstalled the permanent collection (one of her first tasks here, too), organized an exhibition on family portraits, conducted re-search, published on 19th-century drawings by William Moore Davis that focused on African American life in Dutch Colonial Brooklyn and worked with high school students to help them organize an exhibition for which they served as curators. She seems particularly enthusiastic about being on a university campus and the many oppor-tunities the location brings to work with students, stressing how valuable it is for them to have contact with real objects, especially if they’re in fields other than art and art history.
Gillespie says she feels the position is a “meaty” one, with a great “diversity of responsibilities,” which is part of what attracted her to it. Athens was a perfect blend of small town (she and her husband have a running joke that everything is a 7-minute drive away) and the cultural opportunities of a larger city. She’s also a great appreciator of good food and live music, both of which we have in abundance.
Her research interests have focused most strongly on early photography, producing her book “‘One Thing New Under the Sun’: Crosscurrents in the Early American Daguerreotype, 1839-51,” forthcom-ing from MIT/Smithsonian Press in the fall of 2015. When she presented a talk at the museum as part of her interview process, she spoke on the photog-rapher Doris Ulmann, a New Yorker who made regular trips to Appalachia in the early 20th century to document its denizens and traditional crafts, and she hopes to organize a major exhibition of Ulmann’s work here in the near future.
Gillespie has ideas already for the upcoming rein-stallation of the permanent collection, including the incorporation of many more works on paper and, as you’d expect, photography. She’s also committed to making connections across disciplines and putting together shows that do the same, which makes her a perfect fit with the museum’s philosophy.
Hillary Brown
Director of Communications
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Curator Sarah Kate Gillespie Joins the Museum
Much as she loves the scholarly side of the job, she also expresses great enthusiasm for the role museums play in the community...
calendar
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: AutumnFriday, October 10, 5:30–8:30 p.m.The Friends of the Georgia Museum of Art present a quarterly reception featuring the fall exhibitions. Enjoy light refreshments by Epting Events, gallery activities, door prizes and “Ask the Experts” at 7 p.m. Free for members. $5 nonmembers. Call 706.542.4662 for more details.
Museum MixThursday, October 16, 8:30 p.m.–midnightCome to our free late-night art party and enjoy refresh-ments, access to all the galleries and music by a live DJ.
Third ThursdayThursday, October 16, November 20 and December 18, 6–9 p.m.The museum, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné and ATHICA are open to showcase visual-arts programming. Visit 3Thurs.org for a calendar of events.
Symposium: Rethinking the Parthenon: Color, Materiality and AestheticsFriday and Saturday, October 17 and 18Robin Osborne, of Cambridge University, will deliver the keynote speech, “The Parthenon as a Work of Art,” Friday at 5:30 p.m. Other speakers, scheduled for Saturday, include Eleni Aggelakopoulou, Acropolis Restoration Service; Barbara Barletta, University of Florida; Jasper Gaunt, the Michael C. Carlos Museum; Scott Pike, Willamette University; Peter Schultz, Concordia College; Katherine Schwab, Fairfield University; Giovanni Verri, the Courtauld Institute of Art/the British Museum; and Bonna Wescoat, Emory University. Free and open to the public. Cosponsored by the Willson Center for Humanities and Arts, the William C. Devaux Fund of the Classics Depart-ment, the Lamar Dodd School of Art, the Ancient Polychromy Network and anonymous donors. In conjunc-tion with the exhibition “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab.”
Andrew Ladis Trecento SymposiumThursday–Saturday, October 23–25Free and open to the public. Visit our website for a complete schedule. Sponsored by the Samuel H. Kress Foundation.
“Adwords/Edward”Wednesday, November 12, 3:30 p.m.Experience the first composition inspired by, composed for (by Kevin Ernste of Cornell University), and performed on Google Glass. Commissioned by Cynthia Johnston Turner, the Hugh Hodgson School of Music’s new professor of conducting and director of bands, “Adwords/Edward” musically explores the ramifications of wearable technology. Refreshments will be served.
Make It an EveningThursday, November 13, 6–8 p.m.Enjoy coffee, dessert and a gallery tour by Pierre Daura Curator of European Art Lynn Boland at the museum before the Russian State Symphony Orchestra’s perfor-mance in Hodgson Hall. Jittery Joe’s coffee and Cecilia Villaveces’ cakes $5 per person. Purchase tickets for the concert at pac.uga.edu.
Student NightThursday, November 13, 8–10:30 p.m.Join the Student Association of the Georgia Museum of Art for a night of music, food, fun and DIY projects. Student night is generously sponsored by UGA Parents & Families Association.
Holiday Book SaleTuesday–Friday, December 2–5Come shop for your loved ones at the museum’s annual holiday book sale, featuring new and used publications in all genres. We take credit cards! If you have books you’d like to donate, please contact us at 706.542.4662. We’ll even come pick them up and give you a donation form for
your taxes.
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Inclement Weather
The Georgia Museum of Art follows the inclement
weather policies of the University of Georgia. When
the university is closed, the museum is closed as well.
Announcements are posted to www.uga.edu and
www.uga.edu/news, appear on Athens Charter cable
channel 15 and can be heard on Athens radio stations
880, 960 and 1340 (AM) and 88.9, 90.5, 91.7, 97.9,
102.1, 103.7 and 106.1 (FM).
All events are free and open to the public unless otherwise noted.
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Tour at Two: “Emilio Pucci in America”Friday, November 7, 2 p.m.Led by Mary Koon, independent curator.
Tour at Two: “American Landscapes in the Permanent Collection”Tuesday, November 11, 2 p.m. Led by Sarah Kate Gillespie, curator of American art.
Director’s TourWednesday, November 12, 2 p.m.Join William U. Eiland, director of the Georgia Museum of Art, for a tour of the permanent collection.
Artful ConversationThursday, November 13, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth discussion of Howard Thomas’s painting “Little Grand Canyon Yellow” (1964).
Tour at Two: “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab”Friday, November 14, 2 p.m.Led by Mark Abbe, assistant professor of ancient art history, Lamar Dodd School of Art.
Tour at Two: “Emilio Pucci in America”Thursday, December 3, 2 p.m.Led by Mary Koon.
Artful ConversationWednesday, December 10, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth discussion of Elaine de Kooning’s painting
“Bacchus #81” (1983).
Tour at Two: “The Nightmare Transported into Art: Odilon Redon’s ‘St. Anthony’”Wednesday, December 17, 2 p.m.Led by Laura Valeri, associate curator of European art.
Lunch and Learn: Feminism and the Guerrilla GirlsFriday, October 3, 12:30–1:30 p.m.UGA faculty and staff are invited to join Lynn Boland, Pierre Daura Curator of European Art, and Sarah Kate Gillespie, curator of American art, for a look ahead at the upcoming exhibition “Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond.” Lunch will be provided, but space is limited. Please email Carissa DiCindio, curator of education, at [email protected] to reserve a space.
Drawing in the GalleriesThursday, October 16, November 20 and December 18, 5–8 p.m.Visitors are invited to sketch in the galleries during these hours. No instruction provided. Pencils only.
Teen StudioThursday, November 6, 5:30–8:30 p.m.Teens ages 13–18 are invited to explore art and music in this art workshop led by local artist and educator Hope Hilton. Participants will tour the exhibitions “Boxers and Backbeats” and “The . . . of E6,” then create their own music posters and album art. Pizza and drinks will be provided. This program is free, but space is limited. Please call 706.542.8863 or email [email protected] to reserve a spot.
ArtbotsNovember 12–14, open during museum hoursCome experiment with art-making machines with the team from The Hatch, a makerspace in Athens. Cospon-sored by The Hatch.
Workshops & Classes
Films
Tours
Family Days
Shouky Shaheen Lecture: The Parthenon Metope Sculptures: Reimagining the Lost NarrativesThursday, October 2, 5:30 p.m.The Shouky Shaheen Lecture brings a distinguished nationally or internationally recognized artist or scholar to present a lecture at the University of Georgia’s Lamar Dodd School of Art each year. This year’s lecture, “The Parthenon Metope Sculptures: Reimagining the Lost Narratives,” will be held at the Georgia Museum of Art and presented by artist and professor Katherine Schwab, in conjunction with the exhibition “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab.”
Alfred Heber Holbrook Lecture: Carl Strehlke Thursday, October 23, 5:30 p.m. Carl Brandon Strehlke, adjunct curator, John G. Johnson Collection, Philadelphia Museum of Art, will deliver the keynote speech of the Andrew Ladis Trecento Sympo-sium: “Curating the Renaissance.”
Gallery TalkThursday, November 6, 5:30 p.m.Join Lynn Boland, Pierre Daura Curator of European Art, for a tour of the exhibitions “Boxers and Backbeats” and
“The . . . of E6.”
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.
Art and Music Saturday, October 11 and 18, 10 a.m.–noonLearn how art and music intertwine by exploring the exhibitions “Boxers and Backbeats” and “The . . . of E6.” for inspiration, then head down to the Michael and Mary Erlanger Studio Classroom to create your own band poster.
Happy Birthday, GMOA!Saturday, November 8, 10 a.m.–1 p.m.Celebrate the 66th anniversary of the day the Georgia Museum of Art opened its doors to the public in this special extended Family Day, presented in cooperation with the Performing Arts Center. Explore highlights of the museum’s permanent collection with a scavenger hunt, design a birthday card inspired by your favorite work of art and create your own button to take home. Refreshments will be served.
Pucci Holiday CelebrationSaturday, December 13, 10 a.m.–noonExplore the colorful, funky fashion of designer Emilio Pucci in the exhibition “Emilio Pucci in America,” then create your own Pucci-inspired marbled holiday orna-ments in the Michael and Mary Erlanger Studio Class-room. Enjoy a special holiday performance by the
Meridian Women’s Choir. Refreshments will be served.
Music on Film Series Presented in conjunction with the exhibitions “Boxers and Backbeats” and “The . . . of E6.”
“The Past is a Grotesque Animal”Thursday, November 6, 7 p.m.This 2014 documentary is a personal, accessible portrait of an artist—frontman Kevin Barnes of the Athens-based band Of Montreal—whose pursuit to make transcendent music at all costs drives him to value art over human relationships. 2014, NR, 77 min.
Lectures & Gallery Talks “Population: 1”
Thursday, November 20, 7 p.m.From the depths of a bunker comes one man’s musical send off to the world’s last empire. A twisted history lesson from punk favorite Tomata du Plenty (The Screamers) featuring members of Los Lobos, Vampira, the notorious El Duce (Kurt and Courtney), Fluxus artist Al Hansen and his Grammy-winning grandson Beck, among many others. 1986, NR, 72 min.
“Abbott Pattison: Celebrating 60 Years of the Iron Horse”Friday, November 7, 4–5:30 p.m.UGA Special Collections Libraries auditoriumThis year marks the 60th anniversary of the installation of renowned sculptor Abbott Pattison’s “Iron Horse” sculpture on UGA’s Myers Quadrangle, the riot after its placement and its removal. The Brown Media Archives preserves all the interview materials and prints of Atlanta filmmaker Bill VanDerKloot’s award-winning 1980 documentary, “Iron Horse,” which recounts the events through interviews with alumni who were involved. Join us for a free screening of the film with a discussion by VanDerKloot and faculty from the Lamar Dodd School of Art and the Georgia Museum of Art. Reception follows.
“Earth Red: Howard Thomas Paints a Gouache”Thursday, November 13, 5:30 p.m.Join us for special screenings of Jim Herbert’s first film, dating from 1964. Introduced by Margaret Compton, media archives archivist. Cosponsored by the Walter J. Brown Media Archives & Peabody Awards Collection, University of Georgia Special Collections Libraries and
the Lamar Dodd School of Art.
Tour at Two: Highlights from the Permanent CollectionWednesday, October 1, November 5 and 19, 2 p.m.Led by docents.
Tour at Two: “Boxers and Backbeats” and “The . . . of E6”Wednesday, October 8, 2 p.m.Led by Lynn Boland, Pierre Daura Curator of European Art.
Artful ConversationWednesday, October 15, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth discussion of Andrée Ruellan’s painting “Crap Game” (1936).
Spotlight Tour: Highlights from the Permanent CollectionSunday, October 19 and December 14, 3 p.m.Led by docents.
Tour at Two: “Aspects of Modernism: American Art of the 1920s and 1930s”Wednesday, October 22, 2 p.m.Join Sarah Kate Gillespie, curator of American art, for a tour of the permanent collection.
Tour at Two: “An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab”Wednesday, October 29, 2 p.m.Led by Chiara Tondi Resta, University of Georgia undergraduate honors classics student.
Tour at Two: “The Nightmare Transported into Art: Odilon Redon’s ‘St. Anthony’”Thursday, November 6, 2 p.m.Led by Laura Valeri, associate curator of European art.
Films are generously sponsored by:
The University of Georgia will spotlight the arts during a nine-day festival in November when members
of the UGA Arts Council will host events and activities that include concerts, theater and dance
performances, art exhibitions, poetry readings, author panels and book signings, lectures and discus-
sions on the arts and creativity and more. Look for on our calendar for Spotlight on the Arts events at
the Georgia Museum of Art.
The museum recently received two national awards for publi-cations. The exhibition catalogue for “Exuberance of Meaning: The Art Patronage of
Catherine the Great (1762–1796)” earned an honorable mention in the category of Art
(Adult Nonfiction) at Foreword Reviews’ 2013 IndieFab Book Awards. Asen Kirin, associ-
ate professor in and associate director of the Lamar Dodd School of Art, served as the
book’s primary author and the exhibition’s curator. Foreword Reviews’ IndieFab Book of
the Year Awards are judged by a select group of librarians and booksellers from across the
country who evaluate over 1,500 entries in 60 categories to determine the best work from
today’s indie authors and publishers.
“Cercle et Carré and the International Spirit of Abstract Art” earned an honorable mention
in the Exhibition Catalogue category of the American Alliance of Museums’ 2014 Publica-
tions Design Competition. Designer Roy Brooks of Fold Four took the group’s commitment
to modern design and abstraction as inspiration, choosing black-gilded edges and two
different text stocks, each used to represent a different section of the book. AAM’s
Museum Publications Design Competition has evaluated and awarded graphic design of
museum publications for more than 25 years. Its panel of graphic designers, museum
professionals and publishers judges publications based on overall design excellence,
creativity and ability to represent an institution. Winners will be featured in a special
section of the November/December issue of AAM’s bimonthly magazine, Museum.
The museum’s educational program Art Adventures was included in an exhibition titled
“Museums: pARTners in Learning” July 1–Aug. 29 in Washington, D.C., created through a
partnership between the Association of Art Museum Directors (AAMD) and the United
States Department of Education. The exhibition displayed student art and creative writing
resulting from AAMD member museums’ innovative educational programs offered in
partnership with their local schools.
AAMD also highlighted the museum’s Fifth-Grade Tour Program in “Next Practices in Art
Museum Education,” a resource that compiles information about AAMD member muse-
ums’ innovative approaches to engaging the public with the arts through diverse learning
opportunities. The publication features 100 case studies of practices AAMD member
museums have designed and implemented, emphasizes the many forms art museum edu-
cation can take and provides practical and inspiring ideas for future programming at
institutions worldwide.
The docent class of 2014 graduated at the annual docent end-of-year luncheon
in May, after a great year of learning about the collection and temporary exhibitions, as
well as how to engage audiences on tours. By the time you read this, the class of 2015
will be working on the same process.
In addition to bringing on board Sarah Kate Gillespie as
our new curator of American art (you can
read more about her elsewhere in this
issue), we have hired Michele Turner as
our new director of membership. Michele
was already at the museum, working in
special events, where her careful eye for
detail and commitment to thinking about
what could possibly go wrong in any
situation served her well. We have no
doubt she will use her formidable skills to
continue to move membership in the right
direction. Sarah George, our previous
director of membership, left us at the end
of May to move back to the West Coast
with her husband, Brig.
AWARDS AND RECOGNITIONS
NEW DOCENTS STAFF
Alfred Heber Holbrook SocietyMr. and Mrs. Edward Chambers
Mr. Robert and Dr. Carol Winthrop
BenefactorDr. Patricia Deitz
PatronMr. and Mrs. Ted R. Ridlehuber
Director’s CircleMr. and Mrs. Brian S. Brown
Dr. and Mrs. Samuel B. Carleton
Drs. Bob and Claire Clements
Dr. and Mrs. Scott A. Kleiner
The Kole Family Foundation, Inc.
Mrs. Erika C. Lewis
Dr. Lars G. Ljungdahl
Mr. and Mrs. Edgar B. Myrtle
Dr. and Mrs. Randall S. Ott
Dr. Karen L. Prasse
Mr. and Mrs. Bill Prokasy
Dr. and Mrs. Ira Roth
Ms. Peggy Jean Hoard Suddreth
Mr. and Mrs. Chris G. Willett
Drs. Norman and Peggy Wood
SustainingDr. and Mrs. Bruce King
Mr. and Mrs. Edward W. Phares
DesignatedSue O. Mann
The W. Newton Morris Charitable Foundation
In memory of Harry L. Gilham Jr. by Bettie S.
Banks, Flossie and David Dodge and Ellen
and Buck Wiley
In memory of Frances Yates Green by Emma
Adler, Linda and Phil Allen, John G. Alston
Sr., Margaret and Stanley Altman,
Anonymous, Mr. and Mrs. Bonneau Ansley
Jr., Mr. and Mrs. James F. Barger, Mr. and
Mrs. Harold Barrett, Lola and Charlie Battle,
James and Mary Bishop, Mr. and Mrs.
William E. Blair, Barbara and Sonny Bonner,
Byron B. Bower IV, Mr. and Mrs. Daniel H.
Bradley, Sue L. Brase, Mrs. Carter B. Brown,
Joy W. Butterfield, Margaret and Jerry
Caldwell, Alla and Charles Campbell,
Alice and Jim Carr, Evelyn Chamberlain,
Linda and David Chesnut, Joan Cravey,
Archie Davis, Lonita and Corbin Davis, Mr.
and Mrs. Philip H. Davis, David and Mynel
Yates DuBose, Mary and Zach Everitt, Kitty
and Clayton Farnham, Judge and Mrs.
Kenneth B. Followill, Virginia and Clarence
Foreman, James R. and Mary Graham
Foster, Robert and Laura Fowler, Hunter
and Sue Foy, Caroline M. Gilham, Carol
Lanier Goodman, Henry and Kathryn Green,
Lynda Harris Griffin, Amanda and Swinton
Griffith, Mitzi and Paul Hagan, June D.
Harrell, Josh and Adam Harris, Clayton W.
Hilsman, Mr. and Mrs. David Hilsman,
Meika and Hamilton Hilsman, Sally and
Arnold Hoge, Louise and Harry Howard,
Mrs. A. Felton Jenkins Jr., Betty M. Jones,
Nardis Kellar, Shell and Wyck Knox, Mr.
and Mrs. Reese Lanier, Penta B. Love,
John and Nancy Ludwig, Robert and Ginger
Mallis, Claudia M. Malone, Judy and Bill
Maner, Carole B. Mason, Martha T. Moses,
Homer S. Mullins, Catherine H. Newton,
Irene Paul, Dudley G. Pearson, Jacquelyn
Pennington, Carolyn and Louie Pittman,
Adelaide Ponder and Douglas Ponder Suto,
Paul and Jane Pressly, Eugene and Cynthia
Rackley, Howard and Patricia Rugaber,
Willou and Bill Smith, Mary R. Somerville,
Jane Walker Stoner, Cynthia and Bill
Tanner, Melinda Thomas, Martha
Thurmond, Janet K. Tokos, Newell Tozzer,
Wayne and Lee Harper Vason, Ida and Bill
Walker, Ann and Baxter Webb, Lamar T.
Webb, Elizabeth Webster, Rodney White,
Jim and Patti Wilkerson, Dorothy M. Yates,
Elizabeth S. Young, the Employees of
Charles Willis, Atlanta, and The Poker Club
In memory of Jim Gurley Sr. by Jana and Bill
McGee
In memory of Thomas W. Mapp by Lynn
Boland, Carol and Richard Dolson and Patty
and John Whitehead
In memory of Anne Frances McMullan by Betty
Alice Fowler
In memory of Ann Scoggins by Virginia
Bondurant, Timothy Brown, Suzanne and
Allen King and Sidney Rodebell
In honor of Timothy Brown by Lanora Pierce
Yates
In honor of Dale L. Couch by Linda and Larry
Beard and Cyndy Harbold
In honor of William Underwood Eiland by the
Alabama Club
In honor of Lanora Pierce Yates by Timothy
Brown
Museum Notes
GiftsThe Georgia Museum of Art received the following gifts between April 12 and July 31, 2014:
Left to right: Sharon McDearis, Cece Warner, Beth Greenwell, Teresa Eckerman-Pfeil, Debra Thornton and Gail Baldwin
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UNIVERSITY OF GEORGIA
90 Carlton Street
Athens, Georgia 30602-6719
www.georgiamuseum.org
address service requested
non-profit org.
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athens, ga
permit no. 49
Exhibitions
Volunteer Spotlight
Curator of
Am
erican Art
fall 2014