Facet – Autumn 2014

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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

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ss u

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for

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ays

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lect

ion,

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tory

of A

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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

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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




GMOA 2012.219

(top left) Tomata du Plenty (b. David Xavier

Harrigan) (American, 1948–2000)

Henry Armstrong, 1996

Mixed media on paper




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



(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


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


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



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



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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For more event photos see www.flickr.com/gmoa

Family Day

Family Day

MFA Opening

90 Carlton: Summer

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Event Photos

Family Day

90 Carlton: Summer

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UNIVERSITY OF GEORGIA

90 Carlton Street

Athens, Georgia 30602-6719

www.georgiamuseum.org

address service requested

non-profit org.

u.s. postage

paid

athens, ga

permit no. 49

Exhibitions

Volunteer Spotlight

Curator of

Am

erican Art

fall 2014

Documents

Facet – Autumn 2014