THE MAGAZINE OF THE BIRMINGHAM MUSEUM OF ART FALL / WINTER // 2017

Medium

The NewDirector

DR. GRAHAM C. BOETTCHER

CONTENTS

4 SPECIAL FEATURE

The New Director

6 EXHIBITIONS

AfterLife

11 ACQUISITIONS

Between Worlds

Vive Le France

12 PROGRAMS + EVENTS

Ongoing Programs

Chapter 03

Chenoweth Lecture

Weldon Lecture

14 NEWS + GIVING

Gift for Gail

Art on the Rocks

Shop World Over the Holidays

Volunteer Spotlight

Summer Wedgwood Intern

Meet the Manager of Youth and Family Programs

In Memoriam

Education Gallery Dedication

Year End Giving

Support Groups

Corporate Partner Spotlight

Contributions

HOURS

Tuesday–Saturday, 10am–5pm

First Friday of each month, 10am–9pm

Sunday, Noon–5pm

Closed Mondays and all major holidays

TELEPHONES

Main Office, 205.254.2565

Public Programs, 205.254.2571

Museum Tours, 205.254.2964

Membership, 205.254.2389

Development, 205.297.8214

Oscar’s at the Museum

Tuesday–Friday, 11am–2pm;

205.328.7850; oscars@artsbma.org;

Members receive a 10% discount

Facilities Rental

Jestina Howard, Special Events:

205.254.2681; jhoward@artsbma.org

Clarence B. Hanson, Jr. Library

By appointment: library@artsbma.org

The Museum Store

Open Museum hours;

Members receive a 10% discount;

205.254.2777; kallen@artsbma.org;

www.birminghammuseumstore.org

James Outland – Chairman of the Board

Graham C. Boettcher – The R. Hugh Daniel Director

Laura Monroe – Editor

James Williams – Designer

Sean Pathasema – Photographer

Membership inquiries to: ncooper@artsbma.org

Editorial inquiries to: lmonroe@artsbma.org

BOARD OF TRUSTEES

Mr. James K. Outland, Museum Board Chairman; Ms. Myla E. Calhoun, Secretary;

Mr. Braxton Goodrich, Endowment Chair; Mr. Joel B. Piassick, Treasurer & Finance Chair;

Mrs. Maye Head Frei, Governance Chair; The Honorable. Houston Brown;

Mr. Mark L. Drew; Dr. George T. French; Mr. John O. Hudson III;

Mrs. Joyce Crawford Mitchell; Mr. G. Ruffner Page, Jr.; Mr. Sanjay Singh;

Mrs. Nan Skier; Mrs. Kelly Styslinger; Mr. Larry D. Thornton; Mrs. Patricia Wallwork

Chairmen Emeriti: Mr. Thomas N. Carruthers, Jr.; Mrs. Margaret Livingston

MEDIUM // FALL · WINTER // 2017

Dear Member, By now you have likely heard the news of the

appointment of Dr. Graham C. Boettcher as the

R. Hugh Daniel Director of the Birmingham Museum of Art. As a member of the Director’s

Search Committee and as Chairman of the Board of Trustees, I have the utmost confidence

that our thorough search yielded the best possible leader for the BMA.

Following Gail Andrews’ retirement announcement in March of this year, the Board of Trustees

assembled a group of key stakeholders to form a Director’s Search Committee. After a com-

prehensive interview process involving a large number of qualified candidates, the Director’s

Search Committee unanimously agreed upon Graham as the most outstanding candidate for

the position. The Board of Trustees then voted on, approved the recommendation, and appoint-

ed Dr. Graham Boettcher as the Birmingham Museum of Art’s seventh director.

Over the last decade of his service to the Birmingham Museum of Art, Graham has proven him-

self as a distinguished scholar of art history, a dedicated steward of our collection, and a high-

ly-regarded community leader who is committed to realizing the mission and vision of our prized

institution. In his curatorial work, he has strived to make art more accessible, and has demon-

strated his ability to build relationships and develop patronage for the Museum. During the

interview process, he especially impressed the committee with his ideas regarding improved

infrastructure and cultural relevance for the Museum. We look forward to the possibilities his

leadership will provide in elevating the Birmingham Museum of Art to even greater heights. You

will learn more about his plans for the BMA in the article that follows.

Thank you for your membership and continued dedication to the Birmingham Museum of Art.

JAMES K. OUTLAND

Chairman of the Board of Trustees

Birmingham Museum of Art

The Birmingham Museum of

Art publishes the membership

magazine, Medium, quarterly.

Accredited by the American

Alliance of Museums. A portion

of the general operating

budget is supported by the

City of Birmingham and a

grant from the Alabama State

Council on the Arts and the

National Endowment for the

Arts.

The mission of the Birmingham

Museum of Art is to spark the

creativity, imagination, and

liveliness of Birmingham by

connecting all its citizens to

the experience, meaning, and

joy of art.

Chairman of the Board of Trustees James Outland and R. Hugh Daniel Director Graham C. Boettcher, Ph.D.

2 3

SPECIAL FEATURE

AN INTERVIEW WITH R. HUGH DANIEL DIRECTOR GRAHAM C. BOETTCHER, PH.D.

Dr. Graham C. Boettcher became the seventh R. Hugh Daniel Director

of the Birmingham Museum of Art on September 20, 2017. Graham’s

tenure at the Museum began in 2006 as the Henry Luce Foundation

Curatorial Fellow in American Art. Upon completion of his fellowship

in 2008, he was hired in the newly created position of Curator of

American Art, which was endowed that same year. After six years as

the William Cary Hulsey Curator of American Art, Graham rose to Chief

Curator and, in February 2016, he was promoted to The James Milton

and Sallie R. Johnson Deputy Director.

Graham was born and raised in Bellingham, Washington. He re-

ceived a B.A. and Ph.D. from Yale University, and an M.A. from the

University of Washington. He was previously a curatorial fellow at the

Yale University Art Gallery, and held research fellowships at the Amon

Carter Museum of American Art, and the Terra Foundation Summer

Residency in Giverny, France.

Graham has curated many popular exhibitions for the BMA including

Look of Love (2012) and Norman Rockwell’s America (2012). He

was a 2014 Fellow at the Center for Curatorial Leadership, and was

a trustee of the Association of Art Museum Curators from 2010 to

2017. He has been published in numerous articles and publications,

and has lectured extensively on American art throughout the country

and internationally.

Over the past 11 years, Graham has cultivated a legion of friends and

supporters through his entertaining and accessible approach to art his-

tory, and the reach of his personal Facebook page rivals that of major

media outlets.

Having worked at the Birmingham Museum of Art for 11 years

now, you already have a comprehensive understanding of the

collection and operations. What’s your first order of business as

Director?

My first order of business may not be glamorous but it’s very necessary,

and that is to address some immediate issues within our aging facility

to make sure that our visitors are walking into a welcoming, inspiring

environment. This is a building that has served us incredibly well, but

it’s been 25 years since its last expansion and renovation. There are

simple improvements we will make to ensure that the Museum really

sparkles for our visitors, from the galleries to the bathrooms. In terms

of art storage, we’re bursting at the seams. I can’t really complain that

our donors are too generous—this is a great problem to have—but now

is the time to address storage considerations so we can continue to

accommodate our growing collection. I’d like to increase our paintings

storage by 20% and look at new high-density storage solutions to

maximize our capacity.

As you assume leadership of the BMA, what do you see as its

greatest strengths and challenges?

Our greatest strength is our collection, which at nearly 29,000 ob-

jects from across time and around the world, can be celebrated as the

best in the Southeast and among the most significant in the country.

Among the many challenges we face is demonstrating the relevance

of this outstanding collection to an ever-changing and increasingly di-

verse community who can choose from a host of leisure-time activ-

ities. In order to retain our current audience and attract new visitors,

we have to show how the BMA is relevant in people’s lives today. We

have to show that an art museum can be a place where ideas can be

explored, ideas that matter in the 21st century. Sometimes, something

that was created in the distant past can be a catalyst for a conversa-

tion or an exploration of a subject that affects our lives today. We want

the works in our galleries to resonate with our visitors in the present

day, and that means giving people multiple ways with which to access

and engage with art.

What role should technology play in today’s art museum?

Art museum visitors are more accustomed than ever to accessing in-

formation via digital platforms. We must dedicate ourselves to a mind-

set that permits us to experiment and try new and different approaches

to interpretation that embrace technology. To that end, we have in-

vested heavily in our smartguide, accessible from any smartphone or

computer, to give our visitors a multi-layered experience with art that

includes interviews with artists, commentary by the curators, and rich

information among many other things. It is a highly versatile and end-

lessly adaptable way of presenting information. I am committed to the

continued development of such initiatives and our visitors will be see-

ing more of that kind of engagement in our galleries.

Though you are from Washington state, you’ve embraced

Birmingham as your home. What makes this place special?

Easy answer: the people. The people of Birmingham are among

the kindest, most welcoming folks I’ve ever encountered anywhere.

Working to serve a community that has embraced me makes my job a

pleasure, and makes me proud to call Birmingham my home.

The New Director

Right: R. Hugh Daniel Director Graham C. Boettcher, Ph.D. presenting his vision for the Birmingham Museum of Art to the staff on October 2, 2017

4 5

Afterlife Asian Art from the Weldon Collection

NOVEMBER 04 · 2017 THROUGH JANUARY 28 · 2018 PIZITZ GALLERY

Afterlife: Asian Art from the Weldon Collection journeys across Asia

to explore the fascinating role of art in this life and the next. Inspired

by the bequest of Henry and June (“Jimmy”) Weldon, this exhibi-

tion includes a wide variety of sculpture and ceramics that reflect

ancient fashion trends, entertainments, status symbols and religions

throughout the ages. Over 80 works span thousands of years of his-

tory from China, Japan, India, and Southeast Asia.

Many of the tomb artifacts represented in this exhibition were made

of clay. The oldest ceramic traditions in the world originate in China,

and recent excavated shards from southern China date back some

20,000 years. Over the following centuries, a variety of technologies

and styles evolved. Green-glazed earthenware from the Han dynasty

(206 B.C.E.–220 C.E), three-colored glazed stoneware of the Tang

dynasty (618–906), and porcelain from the 6th century are but a

few of the many wares developed.

China, Ming dynasty (1368-1644), Guanyin, wood, straw, stucco, gilding and pigment; The Weldon Collection T.2014.211

Exhibitions

6 7

EXHIBITIONS

The Weldons were primarily interested in ceramics from the Han through the Song

dynasties (206 B.C.E.–1279). They collected dozens of low-fired tomb figures

and a number of 11th to 12th-century porcelains, mostly from the Qingbai kilns in

Jiangxi province.

On the left, Guanyin of the Southern Seas, the Buddhist Deity of Mercy, sits on a

lotus throne in a grotto surrounded by clouds and mist. With palm trees, worshippers,

and waves below, the full moon shines above. The faces of the figures have been

left unglazed in contrast to the soft, sea-foam green colored glaze that covers the

rest of the elaborate setting.

Many of the objects represented in the Weldon Collection were originally created

to accompany the spirit. According to Chinese cultural belief, the dead should have

all the luxuries and comforts they enjoyed in life. In earliest times, these offerings

consisted of food and drink, and perhaps a piece of jewelry or a vessel. The burials

of kings, however, could include hundreds of sacrificed people, horses and other an-

imals, as well as chariots, elaborate sets of ritual bronzes, and musical instruments.

Over time, humans and animals were replaced with clay or wooden replicas. These

tomb figures were intended to serve, amuse, and help the spirit of the deceased in

the afterlife.

In addition to tomb artifacts, the Weldons collected Buddhist sculptures from

Tibet, Nepal, China and Japan. Representations of the Buddha and his follow-

ers first began to appear in India in the 1st century. These sculptures helped

guide people through their meditations, thoughts and prayers. As this imagery

spread, artworks came to reflect local styles and politics.

The Japanese Amida Buddha pictured here is remarkably tall and thin, giv-

ing it an ethereal, other-worldly appearance. It was originally lacquered.

Amida Buddha presides over the Western Paradise in the Pure Land sect of

Buddhism. He was very popular in the Fujiwara period, when many people be-

lieved the end of time was approaching and wished to be reborn in his paradise.

By contrast, the Buddha created in Gandara in modern Pakistan/Afghanistan

is more rounded in form. His toga-like robe with its heavy drapery also illus-

trates the influence of Greek trends. Gandhara was a great crossroads at the

far western end of the Silk Road, an ancient series of trade routes. Alexander

the Great conquered this area in 330 B.C.E. and introduced classical western

traditions that remained influential for centuries to come.

Excerpted from the exhibition gallery guide

Henry and June “Jimmy” Weldon

Henry and June “Jimmy” Weldon were passionate

collectors. From 17th and 18th-century Dutch and

Flemish art to English ceramics and Asian art, they

loved learning and finding fascinating pieces to add

to their collections. The Weldons collected together

for almost 50 years and were committed to sharing

their works of art with others.

In 2012, Jimmy Weldon gifted their entire collec-

tion of Asian ceramics, paintings, and sculpture to

the Birmingham Museum of Art. This gift of over

450 objects enriches and transforms the Museum’s

collection of Asian art. Major works spanning thou-

sands of years of history from China, Japan, India,

and Southeast Asia help tell the story of Asian civili-

zations for generations to come.

Afterlife has been made possible by grants from the

Alabama State Council on the Arts and the National

Endowment for the Arts, the City of Birmingham,

and the J. & H. Weldon Foundation, Inc.China, Zhejiang province, Ming dynasty (1368–1644), Yongle period (1403–1424), Guanyin of the Southern Seas, glazed stoneware, Longquan ware; The Weldon Collection T.2014.206

China, Tang dynasty (618–906), Dancers, painted earthenware; The Weldon Collection T.2014.29 and T.2014.60

China, Eastern Han dynasty (25–220), Military Watchtower, glazed earthen-ware; The Weldon Collection T.2014.1

Japan, Fujiwara period (898–1185), Amida Buddha, wood; The Weldon Collection T.2014.347

Gandhara, Pakistan/Afghanistan, 3rd century, Buddha, schist; The Weldon Collection T.2014.340

Tomb artifacts are often our best sources of knowledge

about what people might have worn or the types of

homes in which they lived. On the left, this watchtower

details the architecture of the Han dynasty (206 B.C.E–

C.E. 220), including a tile roof, balconies with windows

and railings, and a moat filled with turtles, frogs, geese,

and fish. Crossbowmen watch at the top of this piece,

which may have been created for the tomb of a warrior.

8 9

Vive la France!By Chief Curator and The Marguerite Jones Harbert and John M. Harbert III Curator of Decorative Arts Anne Forschler-Tarrasch, Ph.D.

The BMA has recently added this stunning pair of

candlesticks to its permanent collection. Made in

1872, the candlesticks reflect the 19th-century in-

terest in past cultures and styles and the unique way

in which stylistic elements came together during

this period to create an eclectic array of objects that

were a testament to new consumer tastes and pat-

terns of consumption.

These candlesticks were made in the Neo-Byzantine

style, one of many revival styles of the period, which

itself was comprised of elements drawn from an-

cient Greek and Roman art combined with Egyptian

and Islamic motifs. Made of gilt bronze, the color-

ful mosaic enamel decoration on the candlesticks

was created using the cloisonné technique, which

originated in the ancient Near East and was used

in ancient Egypt and the Byzantine Empire before

spreading to China in the 13th and 14th centuries.

The candlesticks prominently display the names of

the manufacturer, designer, and chaser, an unusual

feature that no doubt indicates the importance of

the collaboration required to create such high qual-

ity and innovative examples of 19th-century indus-

trial art. Examples of this pair of candlesticks were

featured at both the London International Exhibition

of 1871 and the Philadelphia Centennial Exhibition

of 1876.

AcquisitionsBetween WorldsBy Senior Curator and Curator of the Arts of Africa and the Americas Emily G. Hanna, Ph.D.

This work, Between Worlds, is made by Teri Greeves, a contemporary artist and beader.

She is Kiowa, a Native American tribe (now based in Oklahoma) which once lived on the

Great Plains and migrated with the bison. The object is inspired by a traditional Kiowa

parfleche, a type of container made from rawhide—deerskin that has not been tanned

and is stiff. Some parfleches are flat, rectangular containers, like folded envelopes; the

Kiowa traditional form is cylindrical. Hers is made of two hides—the interior is rawhide,

giving the container its shape, and the exterior is soft, tanned deer-hide, onto which she

has sewn the beads.

Greeves learned beadwork from her mother, and made this work in her memory after she

passed away. She adorned her parfleche with beaded images from Kiowa mythology and

symbols relating to the history of Kiowa artists, and to her own ancestors. The beaded

imagery is divided into three registers—the top represents the heavens and the realm of

the sun. The middle is the earthly realm, and the bottom register represents the world of

the ancestors.

A woman dangles by a rope, neither in heaven nor fully on earth. Greeves is referring to

the Kiowa myth of a woman who married the sun. She missed her people and lowered

herself and their son from the heavens by a rope. She did not survive the journey, but she

left her son, who was half human and half divine, to lead the Kiowa people. The beaded

trees and constellations refer to traditional calendar-keeping methods among the Kiowa.

The lower register depicts images of Greeves’ own ancestors. Her mother’s hands are

represented in sterling silver, as well as beaded ants, which are symbols of the ancestors.

Building a Museum Collection

From the earliest years of its existence, the Museum has had an important collection of

traditional Native American art. Objects such as Pueblo pottery, Navajo blankets, beaded

regalia, and sculpted masks reflect not only the vision, creativity, and artistic skill of the

artists, but are cultural objects, embodying Native American life-ways, knowledge, and

history.

The Museum is now focusing on building an outstanding collection of contemporary

Native American art. In addition to the new piece by Teri Greeves, the collection includes

work by Jaune Quick-To-See Smith, Fritz Scholder, Annie Pootoogook, Merritt Johnson,

Rick Bartow, Marianne Nicolson, Zoe Urness, and others. Media include painting, drawing,

prints, photography, ceramics, textiles, and glass. These works reflect a range of contem-

porary Native experiences and identities, but are often connected in interesting ways to

older objects, traditions, and histories.

Local patrons have generously lent from their collections of contemporary Pueblo ce-

ramics, Navajo pictorial weavings, Inuit sculpture, glass sculpture, paintings, and prints.

Patron support of artist visits, programs, acquisitions, and curatorial research and travel

have been crucial to the growth of the collection, and a recent bequest from the estate of

Dr. Clyde Oyster provides funds to support new acquisitions. Watch for a new exhibition in

the summer of 2018, when the Museum will install the kinetic glass sculpture, Waterline,

by Kwakwaka’ wakw artist Marianne Nicolson of Vancouver Island.

Pair of Candlesticks, France, 1872, gilt bronze and cloisonné enam-el, Bronze caster: Ferdinand Barbedienne, France, 1810–1892; Decorator: Louis-Constant Sévin, France, 1821–1888; Chaser: Désiré Attarge, France, about 1820–1878; Museum purchase with funds provided by Mr. and Mrs. Chester Huck, Ernest Lanzillotta in memory of Mariannina Lanzillotta, and Mrs. Robert I. Ingalls Sr., by ex-change 2017.37.1-.2

Teri Greeves, American, born 1970, "Between Worlds" Beaded Parfleche Vessel, 2016, brain-tanned deer hide, deer rawhide, pig-ment paint, cactus juice, Czech cut beads, antique glass beads, seed beads, glass drop beads, Swarovski montees, moss agate, faceted spinel, and hand-cut stamped oxidized sterling silver; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Martha Pezrow AFI.105.2016

10 11

ONGOING PROGRAMS

ART AFTER 5

First Fridays · 5–9pm · Free

Join us on every first Friday as we unwind

from the week with art, music, making, and

mixing. Each month, we’ll feature a new blend

of art and entertainment, including mini studio

art classes, guest musicians, tapas tastings,

local mixologists, and art history hacks with

the experts.

ART AND CONVERSATION

First Thursdays · 10:30am

$10 for Museum Members

$15 for Non-Members

This program is for people who want to learn

more about art in an informative and interac-

tive setting. These programs in 2018, with the

exception of May and July, are held on the

first Thursday of each month, January through

October. Coffee and light refreshments are

available. Lectures are led by curators or guest

speakers, and attendees are encouraged to

ask questions, share thoughts and ideas, and

actively participate in the learning process.

ARTBREAKS

Third Tuesdays · Noon · Free

On the third Tuesday of each month, Museum

curators lead visitors on a thirty minute explo-

ration of art in the galleries. Through a series of

close-looking techniques and questioning, this

free experience helps build the visitor’s inter-

pretive skills across the comprehensive-range

of art periods and canons represented by the

BMA’s collections. Stay for lunch at Oscar’s

and they will throw in a free dessert!

SLOW ART SUNDAYS

Sundays · 2pm · Free

Slow food, slow living, slow… art? Unlock the

secrets of works in the Museum’s collection

by cultivating the art of looking slowly. Our do-

cents ask and answer questions to help guide

your slow art experience and foster conversa-

tion. Leave the Museum feeling inspired—not

tired!

VISUALLY IMPAIRED PROGRAM

Second Saturdays · 10am · Free

In this program for adults with visual impair-

ments and their companions, specially trained

docents present the Museum’s collection by

means of verbal descriptions, three-dimension-

al tactile models based on original works of

art, and sculpture. The experience may be en-

hanced by related music and/or art-making to

provide multi-sensory access to the visual arts.

Advance reservations are required; space

is limited. VIP tours are also available for

school-age or adult groups. To reserve your

spot or learn more about group tours, call

205.254.2964.

The Visually Impaired Program is supported in

part by a grant from The EyeSight Foundation

of Alabama.

ART-MAKING PROGRAMS

BART’S ARTVENTURE ART BAR

Open During Regular Museum Hours

Bart’s ArtVenture · Free

Please join us in Bart’s ArtVenture for a fami-

ly-friendly, free drop-in artmaking activity This

drop-in Art Cart program for kids and families

features a different theme from our galleries

and art activity each month. Each art making

activity that is facilitated by Teen BMA and

ArtVenture staff!

BIG LITTLE ARTISTS

Third Fridays · 10:30–11:30am

Free, no registration necessary.

Have a budding little artist on your hands? Get

creative with your child in this adult / child im-

mersive exploration and art-making class. Look

closely and learn about a piece of art and the

story behind it in our galleries. Then be inspired

for your own interactive art-making activity.

This class is for ages 2–5 with an adult care-

giver. Locations vary, see signs at entrances.

DROP-IN DRAWING

Third Sundays · 2–4pm

Free, no registration necessary

Looking for a last-minute art fix? Here’s an

open invitation to explore your creative sen-

sibilities in a relaxed setting with inspiration a

pro. Make your own drawing in the galleries

under the guidance of teaching artist Jamison

Harper. You provide the creativity. We’ll provide

the art supplies. Locations vary, see signs at

entrances

STUDIO SCHOOL

Studio School offers a wide range of art class-

es for adults and children, including sculpture,

pottery, drawing, printmaking, crafts, and more.

Using the Museum’s collection as inspiration,

take time to explore your own creativity, learn

new techniques, and develop your artistic skills.

All classes are taught by talented professional

artists. Whether you are interested in crafting

with friends during a two-hour class or tak-

ing an in-depth, semester-long course, Studio

School has something to offer you. To see

more information and to register, go to artsbma.

org/studio-school.

Studio School is presented by The Comer

Foundation

TO LEARN MORE ABOUT OUR ONGOING PROGRAMS AND WHAT WE HAVE PLANNED FOR EACH EVENT,

PLEASE VISIT OUR ONLINE CALENDAR AT ARTSBMA .ORG/EVENTS .

Programs + Events

Chapter 03: Wilmer Wilson IVNovember 16 · 6PM · Free

Join us on November 16 for an artist talk by Wilmer Wilson IV whose work Black Mask is currently on view in Third

Space/ Shifting Conversations About Contemporary Art.

Wilmer Wilson IV is critically recognized for material and performative investigations into

the social marginalization of the black body as an ephemeral object of labor, desire, and

revulsion. Wilson gathers materials from the margins of urban society, such as discard-

ed lottery tickets and event flyers stapled to poles, to create alternative forms of repre-

sentation that challenge societal values of ephemeral things and people identified with

them. Wilson is the recipient of The Pew Center for Arts & Heritage Fellowship and The

American Academy in Rome Fellowship. His work has been presented at the National

Portrait Gallery, Washington, DC; Museum of Fine Arts Boston, Boston, MA; Barnes

Foundation, Philadelphia, PA; Crystal Bridges Museum of American Art, Bentonville,

AR; the American University Museum, Washington, DC; Birmingham Museum of Art,

Birmingham, AL; and In Flanders Fields Museum, Ieper, Belgium.

Chapters is a six-part series of artists talks, conversations, and performances that will take place over the course of

the Third Space exhibition.

Chenoweth LectureNovember 2 · 6PM · Free

Join us for a special lec-

ture, Taking It Personally:

An Art Critic’s Life, fea-

turing Holland Cotter,

the renowned co-chief

art critic of The New

York Times and 2009

Pulitzer Prize winner.

The Chenoweth lectures are endowed by Dr. Arthur I.

Chenoweth as a memorial to his brother and parents.

The purpose of the lectures is to encourage interna-

tional understanding through the presentation of a vari-

ety of subjects by specialists in their fields.

Weldon LectureDecember 6 · 6PM · Free

In conjunction with our

new exhibition, Afterlife:

Asian Art from the

Weldon Collection, the

BMA is proud to have

guest speaker Elizabeth

Hammer, Senior

Specialist Head of Sales

at Christie’s Auction House, visit us for a special lec-

ture where she will discuss the art market for Chinese

traditional paintings. Join us after the lecture for a re-

ception and a chance to see the exhibition in person.

Third Space is presented by PNC. Additional support

provided by the Alabama State Council on the Arts and

the National Endowment for the Arts, City of Birmingham,

Community Foundation of Greater Birmingham, Protective

Life Foundation, Vulcan Materials Company Foundation,

Robert R. Meyer Foundation, Luke 6:38 Foundation,

Susan Mott Webb Charitable Trust, The Gladys Krieble

Delmas Foundation, Robert Rauschenberg Foundation,

Alabama Tourism Department, Alabama Humanities Foundation, the state affiliate of the National

Endowment for the Humanities, The Lydia Eustis Rogers Fund,

and Friends of Third Space.

Wilmer Wilson IV, Born 1989 Richmond, VA, Lives and works in Philadelphia, PA, Black Mask, 2012, Digital video, 6 mins; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by Lydia Cheney and Jim Sokol; Judge and Mrs. Ralph Cook, C. Rene’ Myers, Brandon and Michelle Hewitt, and Rebecca and Jack Drake AFI.13.2013

Wilmer Wilson IV, courtesy CONNERSMITH

12 13

News + Giving

Gift for Gail

After more than 40 years of service to the

Birmingham Museum of Art, Gail C. Andrews

has retired as the R. Hugh Daniel Director. It is

hard to quantify her myriad contributions to the

BMA and our community. When asked what

she is most proud of, Gail invariably reflects

on the creation of inclusive programming that

fosters audience diversity and represents the

broader community, and adding $20 million to

the Museum’s endowment, ensuring the stabili-

ty of the Museum for future generations.

The BMA’s Board of Directors has launched

a campaign to establish The Gail C. Andrews

Fund for Public Programs. This designated

fund, to be invested in the BMA’s endowment,

combines two of Gail’s most significant priorities: growing the endowment while providing funding

each year to produce engaging, diverse public programs. These programs serve the entire communi-

ty and offer something for everyone. From family festivals to lectures by world-renowned artists and

scholars, to music and dance performances and speakers panels, the BMA strives to offer opportu-

nities for the whole community to discover the joy and meaning of art.

The establishment of this fund will ensure these vital programs continue during periods of economic

uncertainty. Each year, The Gail C. Andrews Fund for Public Programs will be named as a presenter

of a high-impact, mission-centered program in the spirit of Gail’s legacy, as well as be recognized on

other programs that are funded throughout the year as appropriate.

Please consider making a Gift for Gail to honor her career of service to the Birmingham Museum

of Art and our community.

To make your gift or pledge, please contact: Kate Cleveland, Director of Development at 205.297.8214 or kcleveland@artsbma.org.

You may also visit www.artsbma.org/giftforgail.

Pledges may be paid over a period of up to 5 years. In addition to cash and stock contributions, gifts

may include securities, estate or other planned gifts including IRA distributions and life insurance

beneficiary designations.

Art On The Rocks RecapBy Art On The Rocks Intern Jordan Lessley

In August, we wrapped up another success-

ful season of Art On The Rocks presented

by Dale’s Seasoning. This summer, guests

experienced exciting performances, explored

the galleries, and snapped photos in the

photo booths. They solved a murder mystery

hosted by Theatre Downtown, enjoyed art-

fully-crafted cocktails by New Amsterdam

Vodka, and celebrated the beauty of life with

intricate henna tattoos from The Gypsy Leaf

and Whimmmsy in the Bromberg’s and TAG

Heuer Lounge.

Guests enjoyed pop-up performances by

Aastha’s Bollywood Dance, local breakdanc-

er Jordan Brown, and AROVA Contemporary

Ballet, as well as music by Opera Birmingham,

Red Mountain Theatre’s Dreamgirls, and

William MacGavin, a local didgeridoo artist

and musician. Beats

were provided all

night in the cafe by

Birmingham DJs Gina

T, Love Deluxe, and

Sexpanther. Following

each Art On The

Rocks event, the

Redmont Hotel kept

the party going with

After Rocks, the offi-

cial after party, featur-

ing drink specials and

music at their down-

town rooftop bar.

In June, The Green

Seed hyped up the crowd on the Schaeffer

Eye Center Stage with their positive, viscer-

al vibes, and The Burning Peppermints got

guests headbanging to their West Coast

surf-inspired, garage rock jams. Southern

rockers The Underhill Family Orchestra and

Los Colognes took the stage in June and

July, making feet stomp, hands clap, and

hips shake. Face painting, blind contour

drawings, five-minute portraits by LG Waldo,

and a cake contest hosted by The Cakerie

quickly became new Art On The Rocks fa-

vorites. David Nuttall of Arti Maps, sensory

illusionist Jeanette Andrews, and Sidewalk

Film Festival brought art to life through visual

performances each summer.

Thank you to all the guests, performers,

sponsors, and volunteers for playing a part in

the success of the 2017 Art On The Rocks

season.

Shop the World Over the Holidays!

Avoid the crowds and find art-inspired gifts

for everyone on your list. The Museum store

carries hundreds of items by local and inter-

national artists including jewelry, accessories,

and decor.

Join us at the Museum Store each Tuesday

during the month of December to enjoy our

special guest artisans. While shopping, vis-

itors can experience different creative pro-

cesses first-hand and have the opportunity to

purchase these one-of-a-kind items.

ADDITIONAL SPONSORSPRESENTING SPONSOR LOUNGE SPONSORS STAGE SPONSOR

14 15

NEWS + GIVING

Meet the Manager of Youth and Family ProgramsWILLOW SCOTT

By PR Intern Elizabeth Sturgeon

We are excited to welcome Willow Scott as the

new Manager of Youth and Family Programs. Born

and raised in the Magic City, She has worked with

numerous art initiatives, organizations, and events

around Birmingham. Her expertise in family pro-

gramming is a wonderful addition to the Museum’s

growing Education Department.

Where have you worked before coming to the

BMA?

I have had extensive art teaching and managerial

experience at various organizations in Birmingham.

I was a teaching artist and festival coordinator for

Magic City Art Connection for over 10 years. To

supplement the downtime between festivals, I was

the master artist for Paint Nite Birmingham, offering weekly painting

events in local restaurants and bars. I served as the Artist-in-Residence

for Urban Ministry, a United Methodist-based organization specializing

in community outreach.

When did you first become interested in art?

I have been interested in creating since childhood. I really started to

hone my art skills in high school with my teacher, Mrs. Bratton. She ex-

posed us to various forms of artmaking that really piqued my interests.

What are you most excited about in your new position?

I am most excited about establishing partnerships and having the sup-

port of the Museum to explore my artmaking ideas. I want to touch the

lives of as many families and children as possible, exposing them to

processes and methods of making art. I love watching children’s cre-

ativity being sparked and watching them go!

Can you tell us more about

your experience with cre-

ating programs for children

and families?

During my years at Magic City

Art Connection, I developed

and implemented several work-

shops for children. During the

last year of my tenure there,

I was able to coordinate the

Imagination Festival with over

1,000 kids, 41 Birmingham

public schools, and 21 teaching

artists.

Do you have any big plans for new programs?

I’d like to revamp our Art Mobile and outreach initiatives. Using the Art

Mobile, I want to bring fine art to local festivals and schools.

What is a favorite program you have created or worked with

before?

In the past, working with recycled materials has worked well for me. A

favorite for kids is making collaged, wearable art. I use recycled mate-

rials to show them that you can make use of materials from your home

or neighborhood.

Join us in welcoming Willow to the BMA and stay tuned for announce-

ments about upcoming youth and family programs, including monthly

interactive art activities at the Museum.

Summer Wedgwood InternBy PR Intern Elizabeth Sturgeon

Traveling from Essex, located an hour north-

east of London, 18-year-old William Leisk

arrived in Birmingham this summer to study

the Museum’s Wedgwood collection during

an eight week-long internship.

Leisk had previously met Anne Forschler-

Tarrasch, Chief Curator and Curator of

Decorative Arts, in London at the 2016

Wedgwood International Seminar, a gather-

ing of Wedgwood collectors, scholars and

ceramic enthusiasts. As one of the youngest

conference attendees, Leisk’s fascination

with Wedgwood left an impression.

“Anne took an interest in how much I knew

about Wedgwood and my passion for it,”

Leisk said. “One day, in a taxi, she offered me

the opportunity to do an internship here.”

Leisk spent months raising money for his trip

across the pond. Forschler-Tarrasch reached

out to AL.com, and the media outlet pub-

lished an article in November about Leisk, his

fascination with Wedgwood, and his growing

personal collection. The article promoted

a GoFundMe page that he created to raise

money for the trip, and he received donations

from many who were interested in his story

and excited about his opportunity at the BMA,

including Museum employees.

“I met William last summer and was so im-

pressed by his passion for Wedgwood, at

such a young age,” Forschler-Tarrasch said.

Volunteer SpotlightMARY HELEN CROWE

By Manager of Volunteer and Visitor Services Lindsey Hammel

When Mary Helen Crowe was a graduate

student at North Carolina State studying

Toxicology, she would ride her bicycle to the

North Carolina Museum of Art for a break

from the lab. Her love of art began there and

continued to provide a welcome respite from

her job as a pharmacist. Years later after she

moved to Birmingham, she began volunteer-

ing at the BMA in 1996 for The First Emperor,

an exhibition of Xi’an of Qin terra-cotta war-

riors from ancient China, which was orga-

nized by the Museum and traveled nationally.

The exhibition drew 125,000 visitors, so vol-

unteers were very busy collecting tickets and

handing out audio guides.

In 2008, Mary Helen became a BMA docent

after she was encouraged to by a friend and

fellow docent who knew she would love

it. Nine years later, she still enjoys learning

about art and art history at docent lectures

by Museum curators, staff, and art historians.

She has also made many friends through the

program and loves that the BMA brings to-

gether a unique group of people who are fun

and interesting.

Mary Helen has found ways to marry her

love of art and medical science through the

docent program. One of her favorite tours

to give is the Visually

Impaired Program tour.

Docents are specially

trained to lead this tour for

visually impaired visitors by

using verbal descriptions

and allowing them to touch

tactile representations

of artworks. She also en-

joys giving tours to medical students in the

Art in Medicine class from the University of

Alabama at Birmingham. This class visits the

Museum every year to practice looking close-

ly at artwork, as research has shown it can

improve clinical observation skills.

In November 2016, Mary Helen continued

to challenge herself as a docent by attend-

ing Museum Hack Boot Camp along with

Angela May and Lindsey Hammel from the

BMA Education Department. Museum Hack

has gained national attention for leading un-

conventional tours in major museums around

the country and holds trainings for museum

professionals on their techniques. During

the rigorous three-day boot camp held at the

American Museum of Natural History and

the Metropolitan Museum of Art, Mary Helen

learned to lead tours with engaging story-

telling, fun gallery games and activities, and

other hacks to help visitors connect with art

objects. She especially enjoyed that Museum

Hack helped her learn to push the viewer to

perceive art in the moment, think about their

own reaction to it, and make a connection,

instead of just considering its historical con-

text. One of her favorite aspects of Museum

Hack Boot Camp was meeting the other par-

ticipants who were various museum staff and

consultants from Washington D.C., Canada,

Colombia, and Holland, among other places.

The BMA has invited Museum Hack to lead

a docent training in September and Mary

Helen is excited to work with them to create

hacks specifically for the BMA.

The Museum is lucky to have docents like

Mary Helen who not only volunteer their time,

but also enjoy challenging themselves and

working to create meaningful experiences

for our visitors. Thank you, Mary Helen!

“I think that a lot of people, including BMA

staff members, were intrigued by William and

were caught up in his enthusiasm. Many peo-

ple wanted to help him achieve his goal.”

In addition to selling items from his person-

al collection, Leisk received a grant from his

school to come to the Museum and further

explore his interest.

Leisk’s fascination with Wedgwood began

as a child when his mother took him to mu-

seums, auctions, and antique fairs. Unsure of

what exactly sparked his fascination with the

pottery created by Josiah Wedgwood, Leisk

believes the colors, history, and production

process caught his attention.

When he began obtaining pieces of

Wedgwood for a personal collection, he fo-

cused on buying cheaper pieces of more

modern work that he could find for one or

two pounds each. However, as he became

more knowledgeable, Leisk began selling the

modern pieces and buying older, more ex-

pensive pieces of Wedgwood. His collection

once included between 300 and 400 piec-

es, but Leisk now holds about 100 pieces,

a smaller quantity of 18th and 19th century

pottery.

During his internship, Leisk spent most of

his time in the BMA conservation lab study-

ing the objects, researching their history, and

comparing them to the pieces found in oth-

er museums. He became interested in the

connections between Wedgwood, the United

States, and the American interest in English

pottery, and gained a better understanding of

careers in the museum field.

16 17

NEWS + GIVING

Year End Giving

Help us prepare for

an exciting new year

of exhibitions and

programs by making

your 2017 year-end

gift to the BMA!

Your 100% tax-de-

ductible gift helps keep the Museum FREE and helps

fund hundreds of FREE programs and exhibitions for our

entire community throughout the year.

Consider giving in honor or memory of a friend or family

member. For each tribute gift, we will send a card to the

honoree or their family to notify them of your generosity!

To Donate:

Please send us your year-end gift using the envelope pro-

vided or visit artsbma.org to give online.

In MemoriamSPENCER SHOULTS

By Head Preparator Priscilla Tapio

We sadly mark the passing of our dear friend and col-

league Spencer Shoults, who died from cancer on July

8 at the age of 39. His confident, positive, “can do” spirit

was part of the lifeblood of the BMA prep team for nearly

five years and he is deeply missed. We are fortunate to

have worked beside him and enjoyed the blessing of his

kind and playful nature. Spencer had an endless curiosity

about the world and shared his many interests and explo-

rations with us. He observed life with an artist’s sensitivity

and thoughtfulness, delighting in its beauty and mystery.

Spencer was a graduate of the University of Montevallo,

earning a BFA degree in photography and printmak-

ing. He continued to create and exhibit his art after col-

lege. Spencer loved music and was an accomplished,

practicing musician. He was a longtime member of two

Montevallo bands that formed during his years there—

Teen Getaway and Nowhere Squares. Prior to joining the

BMA staff as a preparator, Spencer was the technical di-

rector at Birmingham Children’s Theater.

Spencer felt it was his good fortune to be working at the

BMA in a job he found fun, challenging, and personally

rewarding. We’ll continue to remember the vital role he

played in the many exhibitions and projects he was a part

of. We will never forget the spirit of goodwill he extended

to each of us. We miss our dear friend.

Education Gallery Dedication By Development Events Manager Rebecca Schaller

The Birmingham Museum of Art was pleased to dedicate the Education

gallery space in honor of Sharon and Grady Burrow on Wednesday, July

19, 2017. The act of naming this gallery reaches far beyond the walls of

the Museum, as year after year the BMA’s Education programming and

exhibitions impact young, budding artists from throughout the community,

who are eager to learn and grow in their craft.

One of the Burrow family values is educating future generations, recog-

nizing that “it takes a village.” This purpose, coupled with Sharon’s passion

for art, makes the dedication of the Sharon and Grady Burrow Education

Gallery an important legacy for the family. The Burrows take immense

joy in being involved with and contributing to their community. They look

forward to sharing this gift and their love of art with their children, grand-

children, great-grandchildren, and the greater Birmingham community for

many years to come.

The Museum provides numerous opportunities both during and beyond

the school day for children to interact with its collection, learn more about

the world, and discover self-expression through the arts. Additionally, by

collaborating regularly with various social service organizations, the BMA

and our community partners illustrate the power of art in creating mean-

ingful change in the community. The walls of this gallery have shown, and

will continue to showcase, the culmination of these many impactful expe-

riences for youth and adults.

18 19

Support Groups

PHOTO FINISH:AN ACQUISITION EVENT HONORING THE LEGACY OF THE PHOTOGRAPHY GUILD

By Curatorial Support Group Manager Bethany McClellan

The Collectors Circle for Contemporary Art and Friends of American Art

enjoyed a fun evening of great art, good wine, and delightful bites for the

2nd Annual Photo Finish Event. The combined groups voted to acquire an

important work by Peter Sekaer (American, born Denmark, 1901–1950),

taken in Birmingham in 1938.

After the voting, a significant number of patrons came forward and

pledged funds to keep the second work, Study for a self-portrait (1504),

2015, by Paul Mpagi Sepuya (born 1982), a Los Angeles photographer.

Sepuya’s innovative collage-like portraits are created by using mirrors to

collapse the studio space in a single plane.

As a challenge, current Collectors Circle member and former Photography

Guild President John Hagefstration offered to donate an outstanding

Peter Sekaer photograph titled Phrenologist’s Window (1936) if enough

funds were raised to acquire the Sepuya. As a result, we are thrilled to

announce the acquisition of three photographs to the BMA’s permanent

collection. Hats off to our loyal donors and thank you for your continued

support!

NEWS + GIVING

EUROPEAN ART SOCIETY AND COLLECTORS CIRCLE FOR CONTEMPORARY ART TRIP TO GERMANY

This summer, members of the Collectors Circle and European Art

Society experienced the best of Old Masters and Contemporary art at

major museums and special exhibitions throughout Germany, including

Berlin, Kassel, and Münster. Here is a combined recap from the unique

perspectives of one member from each group:

By EAS Member and Docent Lisa Devivo

During our trip to Berlin, we had the opportunity to view, and to be

awed by, a good selection of traditional masterworks out of the vast

and truly dazzling array to be found in the city’s museums.

Museum Island was fascinating: a cluster of art treasuries, which to-

gether seemed to hold masterpieces from every century and every na-

tion in history. With delight we saw antiquities unearthed by German

archaeologists: the Egyptian bust of Queen Nefertiti, the magnificent,

46-foot-tall Babylonian Ishtar Gate, covered with strutting lions and

bulls in bas-relief.

We saw Byzantine works and Baroque, massive sculptures; Tilman

Riemenschneider’s exquisite carved wooden figures; canvases

by Romantic Caspar David Friedrich; and even some by French

Impressionists.

At Berlin’s Gemäldegalerie (Painting Gallery), a comprehensive assem-

blage of European paintings from the 13th-18th centuries, our docent

was the museum’s curator of early Dutch, Flemish, and German art.

(Such access to experts who are outstanding authorities in their fields

helps make travel with the BMA’s support groups so worthwhile.) The

curator led us in artistic exploration of paintings, and more, as with the

social-historical perspective we gained in an examination of a Hans

Holbein portrait of a young merchant.

As well as basking in the work of such masters as Jan van Eyck, Hugo

van der Goes, Albrecht Dürer, Rembrandt, Rubens, and Vermeer, we

saw glorious works by Raphael, Botticelli, Caravaggio, and many others.

We enjoyed much pleasing architecture: Museum Island’s Baroque and

Neoclassical beauty, the high Rococo style of nearby palace Sanssouci,

and the grandeur of Schloss Wilhelmshöhe in Kassel.

Kassel, some 200 miles from Berlin, had its own splendid Old Masters’

Painting Gallery, with a strength in 17th-century Flemish and Dutch

paintings. Rembrandt, Frans Hals, Rubens, Anthony van Dyck—an em-

barrassment of riches.

It was altogether a delightful and unforgettable trip!

By CC Member and Docent Connie Urist

Berlin, Germany—the perfect place to visit with the combined members

of the European Art Society and the Collector’s Circle of Contemporary

Art. For the last 70+ years, Germany has faced the challenge of re-

building—a challenge that has been met with a thoughtful (sometimes

controversial) combination of rebuilding “the old” with contemporary

thought and structure. Such circumstances made architecture an im-

portant topic for all.

The tour began in East Berlin at the Memorial to the Murdered Jews

of Europe (Peter Eisenman), followed by a tour and dinner at the

Reichstag with its striking dome and structure by Sir

Norman Foster. Visits to sites featuring contemporary art

included: The Boros Collection (contemporary art housed

in a bunker built by the Nazis as a civilian air-raid shel-

ter), Hamburger Bahnhof (Berlin’s main contemporary

museum featuring works by the likes of Joseph Beuys,

Cy Twombly, and Adrian Piper), KOW (a space featuring

socially oriented videos and installations), Kunst Werke

Institute for Contemporary Art, Sprüth Magers Gallery

showing Thomas Ruff and Analea Saban, and a visit to

the apartment of Payam Sharifi of Slavs and Tatars to

hear about his move to Berlin, upcoming work, and his

visit to the BMA for Art Papers Live in September 2014.

The group then moved to Kassel to see Documenta 14,

a colossal exhibition held every five years. Based on

the theme “Learning from Athens,” the largest work was

Parthenon of Books in the central Friedrichsplatz. With

only one day to explore, we saw many impressive sites,

but only covered a small portion of the show. It was a

wonderful surprise to see the BMA’s own painting Saint

Anthony Abbot Tempted by Gold as part of a contempo-

rary installation at the Neue Gallerie. The final stop was to

see the Münster Sculpture Projects—a show held every

10 years in a charming rural college town. The day fea-

tured a walking tour through the busy marketplace and

quiet greenways followed by a bus ride to see works by

Jeremy Deller (Speak To The Earth, It Will Tell you), Nicole

Eisenman (Sketch For a Fountain), Pierre Huyghe (After A

Life Ahead), and much more.

20 21

NEWS + GIVING

COLLECTORS CIRCLE RURAL STUDIO DAY TRIPBy Collectors Circle Member Tina Ruggieri

Located roughly 47 miles south of Tuscaloosa is the small town

of Newbern, Alabama, population 180, and the home of Auburn

University’s Rural Studio. The visionary, Samuel Mockbee, founded

the undergraduate program in the School of Architecture in 1993.

Mockbee’s vision was two-fold: create a program where architecture

students could participate in a more hands-on, comprehensive, edu-

cational environment, while addressing the social responsibility of cre-

ating good design in one of Alabama’s poorest counties. Dedicated

students work tirelessly with the local community to determine specific

opportunities, fundraise for their projects, and design and build creative

and functional, commercial and residential spaces. Over the last 24

years, approximately 800 Rural Studio students have designed and

built around 170 projects throughout Hale County.

On the morning of May 13, 2017, the BMA’s Collectors Circle for

Contemporary Art loaded up the bus for what was to be a short, yet

inspiring visit. Upon our arrival we were greeted by Xavier Vendrell, act-

ing director of the Rural Studio. Our first stop was the Rural Studio

farm, home base for faculty and students. We toured the Morrisette

House, Dogtrots, Supershed and Pods, the living quarters for the stu-

dents—their kitchen and food storehouse—a perfect example of form

meeting function. We then visited Rural Studio’s 20K model homes.

We toured three floor plans and discussed their materials and goals for

developing affordable housing in this rural community.

Next stop was the Newbern Library, located in a historic bank build-

ing, and redesigned in 2013. The students wanted to create a space

that would work as both a resource and social center for the commu-

nity, providing computer and internet access. The simple, white brick

exterior, with its metal awning and minimally designed courtyard made

the perfect gathering spot in downtown Newbern. A few group mem-

bers spotted an important artistic landmark just behind the library:

William Christenberry’s iconic green barn, a must stop while visiting

Newbern.

We then crossed the street to tour the Newbern Fire Station, a

two-story structure made from massive wooden beams, translucent

polycarbonate panels, and galvanized aluminum. Next door was the

town hall, a location to hold elections and town meetings. Before these

two facilities, Newbern had not seen a public space built in over 110

years. An incredible lunch of fried catfish came at just the right time,

giving our group energy for the second half of our visit. Then, we were

off to tour Lions Park and Playscape. This park was designed for the

community and its children, housing the Lions Park Scout Hut, a base-

ball field, and skateboard and play areas made from recycled metal

barrels and rubber.

In the short period of our visit to Rural Studio projects, it was impossi-

ble to see all that has been accomplished over the last quarter century.

However, we wanted to squeeze in a few more stops. We hopped back

on the bus and headed to the Greensboro Boys and Girls Club. Built in

2012, the blue metal clad building provided the community a perfect

indoor and outdoor space for afterschool programs and events. While

in Greensboro, we were tempted to swing by the Pie Lab at 1317

Main Street. After grabbing a few slices of pie and some ice cream

cones, we were ready to make the hour and forty-five minute trip back

to Birmingham.

FRIENDS OF AMERICAN ART TRIP TO RICHMOND AND CHARLOTTESVILLE, VABy Curatorial Support Group Manager Bethany McClellan

The Friends welcomed summer in the Old Dominion, where they en-

joyed a full week of museum and historic site tours, a private collec-

tion visit, and plenty of local cuisine. The group stayed at Richmond’s

opulent Jefferson Hotel, its rich past reflected in its Tiffany stained-

glass dome and dazzling blend of architectural styles. The Jefferson is

also home to Lemaire, one of Richmond’s finest restaurants, where the

Friends enjoyed a welcome dinner in an elegant private dining room ap-

pointed with a major painting by Elizabeth Jane Gardner, the American

wife and student of French artist William-Adolphe Bouguereau.

They learned first-hand the history of one of Richmond’s finest private

collections of American art from Mrs. Jane Joel Knox (and husband

Joe), who was named Collector of the Year in 2005 by the Virginia

Museum of Fine Arts. The VMFA ranks as one of the largest and top

comprehensive art museums in the United States, and a highlight of

the trip was touring the new James W. and Frances G. McGlothlin

Wing, devoted to the couple’s outstanding gift of 73 American master-

works spanning the Hudson River School to Modernism.

The travelers also experienced historical American art and material cul-

ture in its original context—with curator-led tours of house museums

including the Maymont Mansion, a sprawling Victorian country estate

of the Gilded Age, and the 1812 John Wickham House, a spectacular

example of 19th century Federal architecture and interior decorative

painting. A full day was devoted to the work of Thomas Jefferson, be-

ginning with a visit to the University of Virginia to learn more about

Jefferson’s unique vision of higher education, which brought together

students, faculty, and academic resources into a cohesive Academic

Village. The group was treated to an in-depth curator-led tour of

Monticello with special access to upper floors and stunning views of

the property from the Dome Room.

The trip culminated with a tour of the beautiful and historic Hollywood

Cemetery. Situated along the scenic James River, this 135-acre garden

cemetery is the final resting place of U.S. Presidents James Monroe

and John Tyler, writer Ellen Glasgow, Confederate President Jefferson

Davis, and Generals George Pickett and J.E.B. Stuart. The Friends en-

joyed a farewell dinner at Julep’s New Southern Cuisine, celebrating

not only their time spent in Virginia but also the tenure of Dr. Graham

Boettcher, the inaugural William Cary Hulsey Curator of American Art.

The BMA’s new Curator of American Art, Dr. Katelyn Crawford, will co-

lead a weekend trip to Dallas with Curator of European Art Dr. Robert

Schindler this fall.

22 23

Corporate SpotlightANGIE GODWIN MCEWEN, BUTLER SNOW LAW FIRMBy Director of Development Kate Cleveland

Butler Snow has a longtime commitment to

Birmingham, the community, and the arts in

our city and went through a significant expan-

sion here in 2014. The firm is a valued corporate

partner that has broadened our outreach pro-

grams, and helps art come alive for our visitors.

Why is it important to support the arts and the

community?

Yes, we have grown steadily in Birmingham over the

years, and in 2014 added 19 attorneys to our office

here, bringing a depth of experience that strength-

ened the firm and brought economic vitality to the

city. Our team here greatly strengthened many of

the firm’s existing practices—adding additional depth

and breadth for clients throughout the region.

One of the hallmarks of Butler Snow is our commitment to the community and dedication to the arts. We

are very proud of our partnership with the Birmingham Museum of Art, which continues to make a great

impact on the city and region. Having a healthy arts culture helps build robust communities, and we sup-

port the Museum’s mission of providing unparalleled cultural and educational experiences.

Butler Snow has thrived in Birmingham, across the country and now internationally, too. Tell us

more about your growth in the city and globally.

Birmingham is one of our key strategic growth markets, and we continue to build on the major expansion

we launched in 2014. It is a successful metropolitan city, rich in tradition with a flourishing business envi-

ronment and excellent quality of life. We have also grown in other key markets, and now have more than

330 attorneys representing national and international clients from 22 U.S. offices, London, and Singapore.

We take pride in providing excellent client service in Birmingham and all the communities we serve. The

firm has stayed true to its principles throughout its history and during this period of growth, and we are

very proud to have been recognized as one of the nation’s top law firms for client service.

What’s next for Butler Snow?

We will continue to strengthen our presence in Birmingham and our other key markets to meet the needs

of our clients. Those include Nashville, Memphis, Atlanta, Denver, New Orleans, and Ridgeland, Mississippi.

Internationally, we will continue to bolster our offices in London and Singapore, and will continue to ex-

plore further opportunities in Asia.

In each of these thriving cities, we are committed to the community and supporting the arts. As we grow

in these markets, we will continue to cultivate our relationships as good corporate neighbors dedicated to

improving the cities we serve.

If you could meet any artist, living or dead, who would it be? What would you ask them?

If I could meet any artist, I would want to meet Benjamin Walls. The crispness and viewpoint of his photog-

raphy is absolutely amazing—his images simply jump off the page and come to life. When I was in college,

one of my courses required me to complete a semester-long project in an area outside my major, so I took

that as an opportunity to compose and present a show of some of my original photographs. Based on that

experience, I have at least some appreciation for how difficult it is to capture in a single image everything

that’s in your mind’s eye when you’re looking through the camera lens.

So my question for Benjamin would be, “How do you know when you’ve captured the image that is ’the

one’ that will translate well and speak to your audience?”

OUR CURRENT CORPORATE

PARTNERS

FOUNDER’S CIRCLE $50,000

Alabama Power Company

SUSTAINER’S CIRCLE $25,000 - $49,999

Barber Companies

Blue Cross and Blue Shield of Alabama

Maynard, Cooper & Gale PC

Medical Properties Trust, Inc.

Protective Life Corporation

Red Diamond, Inc.

Vulcan Materials Company

CHAIRMAN’S CIRCLE $10,000 - $24,999

Bradley Arant Boult Cummings LLP

Butler Snow LLP

HealthSouth Corporation

Jemison Investment Co., Inc.

New Capital Partners, Inc.

Regions Bank

Stewart Perry Construction

Vulcan Value Partners

DIRECTOR’S CIRCLE $5,000 - $9,999

Altec Industries, Inc.

Johnson Development, LLC

Ram Tool and Supply Company

Thompson Tractor Inc.

CURATORS’ CIRCLE $2,500 - $4,999

Arlington Properties, Inc.

Cobbs Allen

Dunn Investment Company

First Commercial Bank

Marx Brothers, Inc.

White Arnold & Dowd PC

BENEFACTOR’S CIRCLE $1,000 - $2,499

Brookmont Realty Group LLC

Christie’s

Coca-Cola Bottling Company United, Inc.

Four Corners Custom Framing Gallery

Hughes and Scalise, P.C.

Kassouf & Co., P.C.

Levy’s Fine Jewelry

Motion Industries, Inc.

National Cement Company of Alabama, Inc.

O’Neal Industries

Pizitz Management Group

Precision Grinding, Inc.

RealtySouth

Standard Furniture

Williams Blackstock Architects

ContributionsGIFT DATE RANGE FOR THIS EDITION OF THE MAGAZINE IS 04.01.17 THROUGH 06.30.17

We truly appreciate every donation the Museum receives each year. Given the generous volume of gifts, we will begin annually recognizing all gifts for the

previous fiscal year in the spring magazine, along with our annual report. The next magazine will contain all gifts given from 07.01.16–06.30.17. We appreciate

your understanding and support of the BMA. All tributes and memorials will continue to be notified at the time of the gift.

IN HONOR OF

Wassan Al-Khudhairi: The Women’s Network

Ms. Gail Andrews: AMW Incorporated; Mrs. James A. Livingston; Mr. and Mrs. James K. Outland

Dr. Graham C. Boettcher: Mr. Patrick Cather; Mr. Jan Jander; Red Mountain Garden Club; Mr. and Mrs. Mark J. Tarr

Mr. and Mrs. William A. Bowron, Jr.: Dr. and Mrs. John R. Smith

Mr. and Mrs. Mark L. Drew: Dr. and Mrs. John R. Smith

John Fields: BMA Docent Council

Arlene and Milton Goldstein: David Abram Skier & Nan Goodman Skier Family Foundation

Millie and Billy Hulsey: Garland and Lathrop Smith

Grayson Hydinger: Dr. and Mrs. James Kamplain

Salter Hydinger: Dr. and Mrs. James Kamplain

Mrs. James A. Livingston: Mr. James Taylor McElroy

Mr. Henry S. Lynn, Jr.: Mr. James Taylor McElroy; Mr. Patrick Cather

John Mitchell and Joyce Mitchell: BMA Docent Council

Florence Richey: Mr. Patrick Cather

Dr. and Mrs. David A. Skier: Dr. Graham C. Boettcher

Jim Sokol and Lydia Cheney: BMA Docent Council

Mrs. Carolyn S. Wade: BMA Docent Council

Mr. James Williams: Mr. Patrick Cather

IN MEMORY OF

Bo Brown: Mr. Patrick Cather

Jim Burnham: Dr. and Mrs. James Kamplain; Mr. Jeffrey S. Milkins; Dr. and Mrs. Ellis Rubin; Bob Scharfenstein and Dr. Bill Mason

Rebecca Bowers Cooper: Mrs. Catherine Cabaniss; Stuart Cohen and Cason Benton; Mr. and Mrs. Murray Dixon; Mr. and Mrs. Evans Dunn, Jr.; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Ms. Anne S. Heroy; Mr. and Mrs. A. Henry Gaede, Jr.; William L. and Carey T. Hinds; The Lanier Family; Mrs. James A. Livingston; The McIntosh Family; Ms. Kathy B. Polk; Mrs. Margaret G. Ragland; Redmont Garden Club; Mrs. Peter G. Smith; Sumner and Jeff Starling; Mrs. Mary S. Steiner; Mrs. Mary S. Winfree;

Mr. Creighton E. Johnson: Ms. Nancy Houston; Dr. and Mrs. James Kamplain

Ann Bairnsfather Lambert: Dr. Graham C. Boettcher; Mrs. Doris White

David W. Mitchell: Mr. Patrick Cather

Dr. Jeannine O’Grody: Mr. Roy Curtis Green, Jr.; Patty McDonald; Mrs. Virginia H. Scruggs

Helen Parrish: Mr. and Mrs. Darryl Bell

Mrs. Dorothy M. Stewart: Mr. Patrick Cather

Georgia Whitten Strevy: Dr. Ann Phillips

Betty Jean Ward: Mrs. Sue Ann Watkins

Mr. Peter T. Worthen: Mrs. William W. Featheringill

Rev. David Cady Wright: Mr. Patrick Cather

ACQUISITIONS

Dr. and Mrs. C. Bruce Alexander; Dwight & Lucille Beeson Fund; Mr. Roy Curtis Green, Jr.; Dr. Emily F. Omura; Mr. and Mrs. G. Ruffner Page, Jr.; Dr. and Mrs. David A. Skier; The Wedgwood Society of Washington, D.C.; Mr. Alan K. Zeigler

AFRICA AND THE AMERICAS

Clyde W. Oyster Estate Fund; Ms. Martha Pezrow

ANNUAL FUND

Mr. and Mrs. Rodney F. Burrow; Mr. and Mrs. Michael Clements; Ms. Elizabeth King; Mr. and Mrs. Eugene Lewis; Mrs. Virginia H. Scruggs; Mr. and Mrs. H. Stuart Starrett; Mrs. Sue Ann Watkins

ART FUND INC.

Mr. James Taylor McElroy; Dr. and Mrs. John W. Poynor; Dr. Sanjay and Mrs. Dora E. Singh; Red Mountain Garden Club

ART ON THE ROCKS

Birmingham Budweiser; Bromberg’s; Dale’s Sauces, Inc.; 20 Midtown; The Redmont Hotel; Schaeffer Eye Center

BART’S ARTVENTURE

Jimmie and Emil Hess Fund; Susan Mott Webb Charitable Trust

BEAUX ARTS KREWE

Mr. Patrick Cather

CONSERVATION

Dr. Graham C. Boettcher; Mr. Patrick Cather; Dr. and Mrs. James Kamplain; Bob Scharfenstein and Dr. Bill Mason; Mrs. Doris White; Ms. Caroline Wingate

DIRECTOR’S DISCRETIONARY FUND

AMW Incorporated; Mr. Patrick Cather

DOCENT SCHOOL BUS FUND

BMA Docent Council; Dr. and Mrs. James Kamplain; Ms. Adrienne Marshall; Ms. Faye D. Wright

EDUCATION AND PROGRAMS

Cathead Vodka (Art After Five); City of Hoover

EXHIBITIONS

Mrs. Peter G. Smith (Dutch reinstallation); Henry Luce Foundation, Inc. (The Original Makers); The J. and H. Weldon Foundation, Inc. (Afterlife)

GAIL C. ANDREWS FUND FOR PUBLIC PROGRAMS

Mrs. James A. Livingston; Mr. and Mrs. James K. Outland

GENERAL OPERATING

Ms. Sallie S. Aman; Mrs. James K. Baker; Mr. and Mrs. Darryl Bell; Mr. and Mrs. Charles A. Boswell, Jr.; Mrs. Catherine Cabaniss; Mr. Patrick Cather; Dr. Stuart Cohen and Dr. Cason Benton; Mr. and Mrs. Murray Dixon; Mr. and Mrs. Evans Dunn, Jr.; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Mrs. William W. Featheringill; Mr. and Mrs. A. Henry Gaede, Jr.; Mrs. Bruce M. Greene; Mrs. Sandra Z. Harris; Ms. Anne S. Heroy; William L. and Carey T. Hinds; Ms. Nancy Houston; Mr. Mat M. Johnson; Mr. and Mrs. J. G. Lanier, Jr.; Mrs. James A. Livingston; Mr. and Mrs. Richard Mayne; Mr. M. Perry McIntosh; Dr. and Mrs. Joe R. Norman; Odyssey Early Schools, Inc. of Inverness and Trace Crossings; Mr. and Mrs. G. Ruffner Page, Jr.; Mr. and Mrs. George G. Petty; Dr. Ann Phillips; PNC Foundation; Ms. Kathy B. Polk; Mrs. Margaret G. Ragland; Red Moutain Garden Club; Regions Financial Corporation Foundation; Dr. and Mrs. A. David Russakoff; Mrs. Peter G. Smith; Mr. and Mrs. L. Vastine Stabler, Jr.; Mr. and Mrs. M. J. Starling III; Mrs. Mary S. Steiner; Mr. and Mrs. Mark J. Tarr; The Daniel Foundation of Alabama; The Women’s Network; Mr. and Mrs. Joseph C. P. Turner; Mrs. Mary S. Winfree

MUSEUM BALL FUND

Mr. and Mrs. D. Scott Adams; Alabama Power Company; Alabama Power Foundation, Inc.; Richard and Tracey Bielen; Chris and Mary Boehm; Bradley Arant Boult Cummings LLP; Mr. and Mrs. Frank H. Bromberg, Jr.; Maggie and Will Brooke; Judge Houston L. Brown and Betty W. Brown; Molly and John Carter; Mr. and Mrs. John F. Chapman; Coca-Cola Bottling Company UNITED, Inc.; Frank Crockard - General Machinery Company; Mr. and Mrs. Charles W. Daniel; Deshazo; Mr. and Mrs.

NEWS + GIVING

24 25

Ms. George Thompson; Mr. and Mrs. J. Donald Thornburgh; Mr. and Mrs. Joseph C. P. Turner; Mr. Cleophos Vann and Mrs. Juanita J. Vann; Mr. and Mrs. Alexander de Haven Vare; Mr. and Mrs. Robin A. Wade, III; Mr. and Mrs. Robert S. Wadhams; Ms. Nancy C. Walburn; Dr. and Mrs. Raymond G. Watts; Mr. and Mrs. H. Thomas Wells; Mr. and Mrs. James H. White III; Dr. and Mrs. Richard Whitney; Drs. Deborah and Brian Wiatrak; Dr. and Mrs. Thomas A. S. Wilson; Mr. Keith A. Wolfe and Mr. Kevin Hughes; Dr. and Mrs. W. Murray Yarbrough

SUPPORT GROUPS

ASIAN ART SOCIETY

Dr. Richard B. Marchase and Ms. Gail C. Andrews; Dr. Donald A. Wood

COLLECTOR’S CIRCLE

Mrs. June E. Bulow; Mr. Patrick Cather; Mrs. Helene S. Elkus; Mr. Jan Jander; Ms. Maryella Leggat; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Mr. and Mrs. James K. Outland; Mr. and Mrs. Dennis Pantazis; Ms. Katherine Pearson; Mr. Jared Ragland; Mr. James D. Sokol and Ms. Lydia Cheney; Mr. and Mrs. L. Vastine Stabler, Jr.

EMERGING COLLECTORS

Mr. and Mrs. William D. Dobbins IV; Mr. and Mrs. Arthur K. Foster III; Mr. and Mrs. Turner Inscoe; Mr. and Mrs. D. Bradford Kidd; Mr. and Mrs. David E. Roth

EUROPEAN ART SOCIETY

Mrs. Bette Anne Bargeron; Mrs. Camille Butrus; Mr. Patrick Cather; Mrs. Forsyth S. Donald; Mrs. William W. Featheringill; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Patty McDonald; Mrs. Peter G. Smith; Mr. and Mrs. Donald Sweeney, Jr.; Mr. and Mrs. James R. Wooten

FRIENDS OF AMERICAN ART

Mrs. Pam Ausley; Mrs. Bette Anne Bargeron; Mrs. Mary Lynda Crockett; Mr. and Mrs. Charles W. Daniel; Mr. and Mrs. Paul Elkourie; Mrs. Ronald Goldberg; Mr. and Mrs. James F. Hughey, Jr.; Mr. and Mrs. J. B. Johnston, Jr.; Mr. and Mrs. John S. Lancaster; Dr. Julius E. Linn and Dr. F J. Tombrello; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Mr. and Mrs. Willard McCall, Jr.; Dr. Emily F. Omura; Mr. Cary Saurage; Mr. and Mrs. Eugene P. Stutts; Mr. and Mrs. James R. Wooten

INDIAN CULTURAL SOCIETY

Dr. Maziar and Mrs. Rachel Rasulnia; Dr. Ashish and Mrs. Purvi Shah; Dr. Parvez Sultan and Dr. Farah Sultan

Jim Dixon; Beverly and Stanley Erdreich; First Commercial Bank; Drs. Rita and Munish Goyal; Mr. and Mrs. Edward L. Hardin, Jr.; Mr. and Mrs. Roger A. Hartline; David B. Hezlep; Highland Associates; Mrs. Caroline Ireland; Mrs. Dorothy W. Jeffries; Mr. and Mrs. Thomas F. Jernigan, Jr.; Mr. And Mrs. Jonathan Kimerling; Maynard, Cooper & Gale PC; Patty McDonald and Jeffrey Klinner; Milo’s Tea Company, Inc.; Joyce Crawford Mitchell; Leslie and John Moore; National Bank of Commerce; O’Neal Industries; Dr. and Mrs. Walter Gay Pittman; PricewaterhouseCoopers LLP; Protective Life Corporation; Mr. and Mrs. J. Taylor Pursell, Jr.; RealtySouth; Regions Bank; Steven Reider and Terri Denard; Stephanie and Gordie Robinson; Bill and Marcie Rodrigues; Mr. and Mrs. Allen D. Rushton; Mr. and Mrs. William H. Satterfield; Dr. Bisahka Sen and Mr. Sanjeev Chaudhuri; ServisFirst Bank; Silvertron One Properties LLC; Dr. Sanjay and Mrs. Dora E. Singh; Dr. and Mrs. John R. Smith; Mr. and Mrs. Lathrup W. Smith, Jr.; Virginia and David Smith; The Featheringill Foundation; Alice and Carl Thigpen; Mr. and Mrs. C. Reynolds Thompson III; Larry D. Thornton; Mr. and Mrs. Ingram D. Tynes; UAB Educational Foundation; UAB Health System; Judge and Mrs. Scott Vowell; Dr. and Mrs. Ray Watts

RURAL STUDIOS COMMISSION

Giattina Aycock Architecture Studio Inc.

THIRD SPACE

Mr. Doug McCraw; Vulcan Materials Company

WHITCOMB WEDGWOOD CONSERVATION FUND

Mr. Jeffrey S. Milkins; Dr. and Mrs. Ellis Rubin

MEMBERS

SUSTAINER’S CIRCLE

Mr. and Mrs. James K. Outland

CHAIRMAN’S CIRCLE

Mr. John E. Hagefstration, Jr.; Mr. and Mrs. William C. Hulsey; Mr. and Mrs. Elton B. Stephens, Jr.; Mr. and Mrs. James T. Stephens

DIRECTOR’S CIRCLE

Dr. and Mrs. J. Claude Bennett; Mrs. Dorothy Ireland Fletcher; Dr. Julius E. Linn and Dr. F J. Tombrello; Mr. Merrill H. Stewart

CURATORS’ CIRCLE

Mr. and Mrs. James Milton Johnson; Mr. Bob Scharfenstein and Mr. Bryan Underwood

BENEFACTOR

Mr. and Mrs. William A. Bowron, Jr.; Dr. Nancy E. Dunlap and Mr. John D. Johns; Mr. and Mrs. Harold

Goings; Mr. Dick Jemison; Mr. and Mrs. Orson L. Johnson; Mrs. Terri D. Lyon; Mr. and Mrs. Edgar B. Marx, Jr.; Mr. and Mrs. Willard McCall, Jr.; Mrs. Mary S. Steiner; Mr. and Mrs. Eugene P. Stutts; Mr. and Mrs. James R. Wooten

PATRON

Mr. and Mrs. Charles S. Caldwell III; Mr. and Mrs. John L. Cobb; Mrs. Michael W. Davis, Sr.; Mrs. Helene S. Elkus; Ms. Rachel S. Ferguson; Mr. and Ms. Ronald C. Helveston; Mr. Solomon P. Kimerling; Mr. and Mrs. Travis McGowin III; Mrs. Patricia Millhouse; Dr. and Mrs. Robert E. Morris; Ms. Ann F. Omura; Ms. Angela F. Pruitt; Mr. and Mrs. Ed Rogers; Mr. and Mrs. Lathrop W. Smith, Jr.; Mr. and Mrs. Murray W. Smith; Mr. and Mrs. Lewis Stewart, Jr.; Dr. Kevin Sublett; Mr. and Mrs. Donald Sweeney, Jr.

FELLOW

Mr. and Mrs. James Allison; Mr. and Mrs. Danny Armstrong; Dr. R. Jayne Perkins Brown and Mr. David Brown; Mr. and Mrs. Bruce J. Burdette; Mr. and Mrs. Grady Burrow; Mr. and Mrs. William N. Clark, Sr.; Druscilla A. Defalque; Dr. and Mrs. Gerard J. Ferris; Mr. and Mrs. Conrad M. Fowler, Jr.; Mr. and Mrs. Henry I. Frohsin; Dr. and Mrs. Michael J. Geer; Mr. and Mrs. James Gewin; Mr. and Mrs. William Hansford; Mr. and Mrs. Richard T. Harley, Jr.; Dr. and Mrs. Lawrence S. Hawley; Mr. and Mrs. James F. Hughey, Jr.; Mr. and Mrs. Chervis Isom; Dr. and Mrs. Jerry W. Jackson; Ronald M. Jones; Mr. and Mrs. Bob Kruse; Mr. and Mrs. William A. Lalor; Mr. and Mrs. William Matthews V; Mr. and Mrs. Thomas S. McGahey; Dr. and Mrs. Cecil Morgan; Mr. Brad Morton; Mr. and Mrs. Robert R. Pless; Ms. Nancy C. Price; Mrs. Jayne Randolph; Dr. Carol Rosenstiel and Ms. Fran Hogg; Mr. and Mrs. David E. Roth; Mr. and Mrs. H. Brant Sanders; Mrs. Virginia H. Scruggs; Rev. and Mrs. Gates Shaw; Ms. Tisha Sklenar; Anna M. and Douglass J. Thompson; Mr. and Mrs. Russell H. Vandevelde; Dr. and Mrs. Bob Wendorf

CONTRIBUTOR

Mrs. Pam Ausley; Dr. Steven N. Austad and Dr. J. V. Kiklevich; Mrs. James K. Baker; Mr. and Mrs. William C. Barclift III; Mrs. Bette Anne Bargeron; Ms. Edith D. Barnes; Mr. and Mrs. Robert S. Barnes; Mr. and Mrs. Jim Basinger; Mrs. Alice Marie Bastar; Dr. and Mrs. Neal R. Berte; Mr. and Mrs. Victor Bey; Mr. and Mrs. Duncan Blair; Mrs. Patricia Blinn; Dr. and Mrs. Joseph R. Bloomer; Ms. Joanne Dunn Blyde; Ms. Elise Bodenheimer; Mrs. Adelaide Booth; Mr. and Mrs. Charles A. Boswell, Jr.; Mr. and Mrs. James A. Bradford; Mrs. Rebecca L. Bradley; Mr. Robert Brady; Dr. Loretta G. Brown; Dr. and Mrs. Charles E. Bugg; Mr. and Mrs. John Butcher; Mrs. Betty Burtram and Ms. Shanna Cencula; Mrs. Rebecca H. Campbell; Mr. and Mrs. David L. Carder; Mr. and Mrs. John D. Carney III; Mr. and Mrs. Paul Carter; Mr. and Mrs. Brian Cash; Mr. and Mrs. Marcus Cassimus; Dr. Stephen L. Chew and Ms. Daisy Wong; Mr. and Mrs. Rory J. Chrane; Dr. and Mrs. John G. Classé;

Ms. Janis P. Clements; Mr. and Mrs. Richard Cohn; Dr. and Mrs. Edward V. Colvin; Ms. Rochelle Crow; Dr. and Mrs. James G. Davis; Mr. and Mrs. Alan Deer; Dr. and Mrs. William Timothy Denton; Mr. W. B. Dumas; Mr. and Mrs. Hugh C. Dye; Mr. and Mrs. James W. Emison; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Mr. and Mrs. Mark Evans; Ms. Tarrika Everett; Mr. and Mrs. David L. Fair; Ms. Mary Farrar; Mr. and Mrs. Christopher Fennell; Mrs. James O. Finney, Jr.; Ms. Jean Finochio; Mr. and Mrs. C.T. Fitzpatrick; Mrs. Margaret L. Fleenor; Mr. and Mrs. John Floyd; Mr. and Mrs. Paul Friedman, Jr.; Mr. and Mrs. A. Henry Gaede, Jr.; Mrs. Barbara D. Garner; Mr. Edward J. Goldberg; Mrs. Betty A. Goldstein; Mr. Charles Goodrich; Mrs. Betty Jo Gorman; Mr. and Mrs. James C. Gray III; Mr. and Mrs. J. Trent Green; Ms. Cassandra Griffen and Ms. Oneika D. Brooks; Dr. and Mrs. James C. Grotting; Mr. and Mrs. Hubert H. Hagen; Mr. and Mrs. William P. Hannigan, Jr.; Dr. and Mrs. Griff R. Harsh III; Mr. Samuel D. Herring; Mr. and Mrs. Richard D. Holland; Dr. and Mrs. Leland Hull, Jr.; Ms. Karen Phillips Irons; Ms. Stacia A. Jacks; Mr. Ben Ivey Jackson; Mrs. Virginia E. Jackson; Mr. and Mrs. Bruce Johnson; Ms. Kyle L. Johnson; Mr. Mat M. Johnson; Mrs. Elizabeth W. Jones; Mr. and Mrs. William F. Jones III; Mr. Edward Journey; Mr. and Mrs. Brian D. Judd; Dr. and Mrs. Gerald D. Karcher, Jr.; Mr. and Mrs. David P. Kassouf; Mr. and Mrs. Lawrence Katz; Mr. and Mrs. Larry Knedlik; Ms. Marci Kreisberg; Mr. Victor L. Kutz II; Mr. James G. Lambert; Mr. Jerome H. Lapidus; Mr. and Mrs. Wayne Law; Mr. Leland Lindsey and Mrs. Elizabeth Meriwether-Lindsey; Mr. and Mrs. John Logue; Mr. Peter Loo; Mr. and Mrs. Linn Lower; Mr. and Mrs. Dan Lyles; Bruce and Jacqueline MacClary; Mr. and Mrs. Chris Mayer; Mr. and Mrs. Richard Mayne; Mr. and Mrs. J. B. Mazer; Mr. Robin McDonald and Ms. Deborah A. Bennett; Dr. and Mrs. David S. McKee, Jr.; Mr. and Mrs. Grady Moore; Ms. Jean B. Morris; Mr. Stanley Moss; Dr. and Mrs. Alexander M. Nading, Jr.; Mr. Don A. Newton; Dr. and Mrs. Joe R. Norman; Ms. Sandra J. O’Neal and Ms. Carolyn L. Sherer; Mr. Robert S. Parker; Ms. Mary T. Pate; Ms. Valerie D. Peake; Mr. and Mrs. Tony Petelos; Dr. and Mrs. William B. Pittman; Mr. T. S. Plutchak and Ms. Lynn Fortney; Mr. and Mrs. Philip Poole; William Brett Pouncey; Mr. and Mrs. Ralph W. Quinn III; Mr. and Mrs. Robert D. Reich, Jr.; Mr. Steven Reider and Ms. Terri Denard; Dr. and Mrs. Donald Reiff; Mr. and Mrs. Thomas Atkinson Roberts; Ms. Kitty J. Robinson; Cantor Jessica Roskin; Mr. and Mrs. E. Allan Rowe; Mr. and Mrs. Stephen Rowe; Dr. Loring W. Rue III; Mr. and Mrs. Sam Rumore, Jr.; Dr. and Mrs. A. David Russakoff; Mr. and Mrs. Goodloe Rutland; Ms. Gailya Graves Sargent; Dr. and Mrs. Howard Schiele; Mr. Walter J. Sears III; Mrs. Deborah Shevin; Mr. and Mrs. Albert H. Simmons; Mrs. Alease Sims; Ms. Leonette W. Slay and Mr. Michael O’Donnell; Dr. Donna J. Slovensky; Mr. and Mrs. Kevin H. Smith; Ms. Shandra J. Smith; Mr. and Mrs. H. Stuart Starrett; Ms. Rose H. Steiner; Mr. and Mrs. David Stewart; Mr. and Mrs. Stephen W. Still; Mr. Ralph Q. Summerford; Mr. and Mrs. William Sylvester; Mr. and

CONTRIBUTIONSCONTINUED

NEWS + GIVING

Still on View

UNDER THE BIG TOP: AMERICAN ART AT THE CIRCUSCloses November 5 · 2017 · Bohorfoush Gallery

Esther Bruton, American, 1896–1992), Top of the Tent, 1930, drypoint; Anonymous gift 00.77

HOMAGE TO THE SQUARE: TEN WORKS BY JOSEPH ALBERSCloses November 5 · 2017 · Bohorfoush Gallery

Josef Albers, American, born Germany, 1888–1976), Full, 1962, screenprint; Gift of Ms. Silvia Pizitz 1985.303.6 © 2017 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York

Third Space /shifting conversations about contemporary artPRESENTED BY

ON VIEW THROUGH JANUARY 2019 · JEMISON GALLERIES

Opulence in Disguise: The Netherlands’ Golden AgeFEATHERINGILL GALLERY

Last Chance

26 27

BIRMINGHAM MUSEUM OF ART2000 Rev. Abraham Woods, Jr. Blvd.Birmingham, Alabama 35203

PRESORT STD.U.S. POSTAGE

PAIDPERMIT NO. 02160

BIRMINGHAM, AL

/artsbma @bhammuseumartsbma .org/medium

SHOP THE WORLD

A Monet-inspired floral scarf

that will leave you inspired this

season.

Fabric : 90% Wool, 10% Silk

27.5" x 71"

$84

Is your name or address incorrect? Please let us know by calling 205.297.8088 or emailing keverett@artsbma.org. Thank you!