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Summer 2015
facet
Membership Challenge ExhibitionsAthens Quilt
Georgia Museum of Art
University of Georgia
90 Carlton Street
Athens, GA 30602-1502
www.georgiamuseum.org
Admission: Free
HOURS
Tuesday, Wednesday, Friday and Saturday,
10 a.m.–5 p.m.; Thursday, 10 a.m.–9 p.m.;
Sunday, 1–5 p.m. Museum Shop closes 15
minutes prior.
Ike & Jane at the Georgia Museum of Art
Tuesday–Friday, 10 a.m.–2 p.m.
706.542.4662
Fax: 706.542.1051
Exhibition Line: 706.542.3254
Department of Publications
Hillary Brown and Stella Tran
Design
The Adsmith
Mission Statement
The Georgia Museum of Art shares the
mission of the University of Georgia to
support and to promote teaching,
research and service. Specifically, as a
repository and educational instrument of
the visual arts, the museum exists to
collect, preserve, exhibit and interpret
significant works of art.
Partial support for the exhibitions and programs
at the Georgia Museum of Art is provided by the
Georgia Council for the Arts through the
appropriations of the Georgia General Assembly.
The Georgia Council for the Arts also receives
support from its partner agency, the National
Endowment for the Arts. Individuals, foundations
and corporations provide additional museum
support through their gifts to the University of
Georgia Foundation. The Georgia Museum of Art
is ADA compliant; the M. Smith Griffith
Auditorium is equipped for the hearing impaired.
Board of Advisors Mr. B. Heyward Allen Jr., immediate
past chair
Dr. Amalia K. Amaki
Mrs. Frances Aronson-Healey
Mrs. June M. Ball
Dr. Linda N. Beard
Ms. Karen L. Benson
Mr. Fred D. Bentley Sr.*
Mr. Richard E. Berkowitz
Mrs. Jeanne L. Berry
Mrs. Devereux C. Burch
Mr. Robert E. Burton**
Mrs. Debbie C. Callaway**
Mr. Randolph W. Camp
Mrs. Shannon I. Candler,* executive
committee
Mrs. Faye S. Chambers
Mr. Harvey J. Coleman
Ms. Martha R. Daura***
Mrs. Martha T. Dinos**
Mrs. Annie Laurie Dodd***
Ms. Sally Dorsey
Professor Marvin Eisenberg*
Mr. Howard F. Elkins
Mrs. Judith A. Ellis
Mr. Todd Emily
Ms. Carlyn F. Fisher*
Mr. James B. Fleece
Mrs. Phoebe G. Forio***
Mr. John M. Greene**
Mrs. Helen C. Griffith
Mrs. M. Smith Griffith*
Mrs. Judith F. Hernstadt
Mrs. Marion E. Jarrell
Mrs. Jane Compton Johnson*
Mrs. George-Ann Knox*
Mrs. Shell H. Knox
Mr. David W. Matheny
Ms. Catherine A. May
Mr. Mark G. McConnell
Mrs. Marilyn M. McMullan
Mrs. Marilyn D. McNeely
Mrs. Berkeley S. Minor
Mr. C.L. Morehead Jr.*
Mr. Carl W. Mullis III,* executive
committee, past chair
Mrs. Betty R. Myrtle
Mrs. Deborah L. O’Kain
Dr. Randall S. Ott
Dr. Gordhan L. Patel
Mrs. Janet W. Patterson
Mr. Christopher R. Peterson
Ms. Kathy B. Prescott
Mr. Bill Prokasy*
Mr. Rowland A. Radford Jr.*
Ms. Margaret A. Rolando
Mr. Alan F. Rothschild Jr., chair
Mrs. Dorothy A. Roush*
Ms. Jan E. Roush
Mrs. Sarah P. Sams**
Mr. D. Jack Sawyer Jr.
Mrs. Helen H. Scheidt**
Mr. Henry C. Schwob**
Ms. Cathy Selig-Kuranoff**
Mr. S. Stephen Selig III**
Mr. Ronald K. Shelp
Mrs. Margaret R. Spalding
Mrs. Dudley R. Stevens
Mrs. Carolyn W. Tanner
Dr. Brenda A. Thompson, chair-elect
Mrs. Barbara Auxier Turner
Mr. C. Noel Wadsworth*
Mrs. W. Harry Willson
Dr. Carol V. Winthrop
Ex-OfficioMrs. Linda C. Chesnut
Dr. William Underwood Eiland
Professor Chris Garvin
Ms. Cynthia Harbold
Mr. Kelly Kerner
Dr. Russell Mumper
Dr. Pamela Whitten
*Lifetime member
**Emeritus member
***Honorary member
Back in May, I reported to the Friends at their annual meeting that I and some 12 of our staff members had just returned from attending and volunteering at the meeting of the American Alliance of Museums in Atlanta. As I told the Friends board, “many of you have read about how Atlanta and Georgia are celebrating Museum Week, with reduced admissions and discounts to the cultural agencies and institutions within the perimeter. As you well know, the Georgia Museum of Art is free all the time, every day, every week, every month, every year. We are able to stay that way because of the generosity of our patrons—our collectors and donors like you.”
At that conference in Atlanta, we attended sessions, served on panels, joined our peer professional affiliates and, perhaps most important, networked with colleagues from around the world. Some 4,500 museum folk attended this convention. Much of our discussion and many of our workshops and classes were technical or philosophical: we talked about the museum as a social entity, its obligations to its communities and how the museum has to balance its programs (its very purpose) between its responsibilities to its collections and its mission to serve and to teach. We listened to our colleagues who are educators, registrars, conservators, publicists, fundraisers, administrators and curators. In a day devoted to academic museums, we found out how similar our practices and standards are to university and college galleries in China and Mexico, in Canada and Finland. Our proceedings were simultaneously translated into Spanish and Chinese, with interpreters in Arabic available as necessary. We may be a comparatively small museum in a rather fabulous college town in the Deep South, but the Georgia Museum of Art and its staff (as clearly evidenced by what was said and done at this conference) are entirely engaged in the issues of the day—the regional, national and international discussion of the fine arts as cultural legacy.
Three of those issues suffice to betray the range of our discussions: First, prices for works of art continue to rise, affecting our abilities to collect and to build collections. Second, deaccessioning continues to plague our field, especially academic museums, with the current discussion roiling over the definition of “direct care” and what that means for the use of proceeds from deaccessioning. Third, and most serious, we must counter the continuing degradation of our shared human heritage in Syria, Iraq and Yemen. Doesn’t it make sense to declare unequivocally that such wanton and malicious destruction is a war crime? Shouldn’t all museums throughout the world declare a mora-torium on the acquisition of any art or artifacts, manuscripts or treasure from that part of the world as long as the hostilities and looting continue? Perhaps these issues seem far removed from Athens, Georgia, here in our ivory tower, but we are precisely situated to engage them as part of an academic village that is dealing with events arising in and from the worlds of business and high finance, the world of law (public trust, fair use and copyright) and the entire globe, where international law and heretofore legal conven-tions seem to have lost any power to save humankind’s cultural legacy.
Before the conference was over, we were being called on to assist our colleagues in Nepal to help save, restore and repair the Buddhist temples and monuments of a dev-astated land. We are not isolated here in our museum. Through the visual arts and our mission of sustaining lifelong learning, we are central in this place and at this time to sustaining and expanding knowledge.
We don’t—we can’t—do it alone. We are dependent on our docents, our patrons, our do-nors and our audiences, on all of you. We can be engaged in protecting, stewarding and interpreting humankind’s creations, in the final analysis, because of the support of this great university and because of our Friends. In short, because of all of you.
William Underwood Eiland, Director
Director William U. Eiland at the
Louis Vuitton Museum in Paris.
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F E A T U R E S
Exhibitions
04New Acquisitions
09Guerrilla Girls
10Event Photos
15
Contents
04
09
10
11
11
12
14
15
Exhibitions
New Acquisitions
Guerrilla Girls
Membership Challenge
Interpreting the Kress Collection
Calendar of Events
Museum Notes
Event Photos
On the back cover:
Ralph Chessé (American, 1900–1991)
Flight into Egypt, 1947
Oil on canvas
22 1/2 x 25 inches (framed)
Extended loan from Bruce Chessé and the
Chessé Arts Collection
On the front cover:
Various
Calaveras resurrectas (Resurrected Skulls) (detail
and enlargement), 1954
Small codex-form booklet with 40 pages, including
three gatefolds: reproductions and type/lettering
8 13/16 x 6 13/16 inches (closed)
Collection of Michael T. Ricker
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From
the
inte
rnat
iona
l fig
ht a
gain
st fa
scis
m to
prot
ectin
g th
e pr
olet
aria
t, El
Tal
ler
de G
ráfic
a
Pop
ular
(th
e W
orks
hop
for
Pop
ular
Gra
phic
s,
or th
e TG
P fo
r sh
ort)
wor
ked
dilig
ently
to k
eep
pert
inen
t iss
ues
befo
re th
e po
pula
ce o
f Mex
ico
and
the
wor
ld. C
over
ing
the
perio
d fr
om th
e
TGP
’s p
rede
cess
or, t
he L
EAR
(Le
ague
of
Rev
olut
iona
ry W
riter
s an
d A
rtis
ts),
thro
ugh
the
mos
t act
ive
year
s of
the
wor
ksho
p, th
is
exhi
bitio
n of
app
roxi
mat
ely
250
wor
ks is
the
larg
est a
nd m
ost c
ompr
ehen
sive
any
whe
re
sinc
e th
e 19
50s.
It in
clud
es la
rge-
scal
e po
ster
s
(“ca
rtel
s”),
sm
all f
lyer
s (“
vola
ntes
”), b
ooks
and
pam
phle
ts, p
ower
ful f
ine-
art p
ortfo
lios
and
cala
vera
new
spap
ers
that
exe
mpl
ify th
e
TGP
’s la
stin
g co
ntrib
utio
ns to
the
Mex
ican
prin
tmak
ing
trad
ition
. The
TG
P u
sed
art t
o
insp
ire a
nd in
form
in a
cou
ntry
whe
re li
tera
cy
and
com
mun
icat
ion
tech
nolo
gy w
ere
not
wid
espr
ead.
Rem
arka
bly
prol
ific,
the
TGP
pro
duce
d
wor
ks in
a w
ide
varie
ty o
f med
ia, s
peci
aliz
ing
in li
nole
um p
rints
and
woo
dcut
s. F
rom
Raú
l Ang
uian
o to
Alfr
edo
Zalc
e, w
orks
hop
mem
bers
hip
incl
uded
man
y no
tabl
e 20
th-
cent
ury
Mex
ican
prin
tmak
ers.
The
wor
ksho
p
also
inst
ruct
ed s
tude
nts
from
oth
er c
ount
ries
in th
e te
chni
ques
of p
rintin
g an
d pr
intm
akin
g.
As
tele
visi
on a
nd r
adio
pro
lifer
ated
in M
exic
an
hom
es a
nd th
e po
litic
al e
nviro
nmen
t bec
ame
mor
e st
able
, the
wor
ksho
p’s
prod
uctiv
ity
slow
ed. T
he T
GP
will
alw
ays
be r
emem
bere
d,
how
ever
, as
a di
stin
ct p
art o
f Mex
ican
his
tory
,
whe
n ar
t put
soc
ial a
nd p
oliti
cal i
ssue
s be
fore
the
peop
le a
nd b
roug
ht th
em to
life
. The
acco
mpa
nyin
g ca
talo
gue
publ
ishe
d by
the
mus
eum
, whi
ch c
onta
ins
exte
nsiv
e sc
hola
rshi
p
and
imag
es, i
s th
e m
ost c
ompr
ehen
sive
publ
icat
ion
to d
ate
on th
e w
orks
hop
and
can
be p
urch
ased
in th
e M
useu
m S
hop.
Cura
tor:
Sara
h K
ate
Gill
espi
e, c
urat
or o
f
Am
eric
an a
rt
Galle
ries:
Virg
inia
and
Alfr
ed K
enne
dy, P
hilip
Hen
ry A
lsto
n Jr
., B
oone
and
Geo
rge-
Ann
Kno
x I,
Rac
hel C
osby
Con
way
, Alfr
ed H
eber
Hol
broo
k, C
harle
s B
. Pre
sley
Fam
ily a
nd L
amar
Dod
d 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
Fran
cisc
o D
osam
ante
s
Talle
r de
Grá
fica
Pop
ular
: Exp
osic
ión
20 L
itogr
afía
s,
1939
Pos
ter
with
lith
ogra
ph in
two
colo
rs a
nd ty
pe/le
tterin
g
14 3
/16
x 21
3/1
6 in
ches
(im
age)
Col
lect
ion
of M
icha
el T
. Ric
ker
© A
rtis
ts R
ight
s So
ciet
y (A
RS)
, New
Yor
k / S
OM
AA
P,
Mex
ico
City
Alfr
edo
Zalc
e
La U
RSS
def
iend
e la
s lib
erta
des
del m
undo
.
¡Ayu
dem
osla
! (Th
e U
SSR
Def
ends
the
Free
dom
of t
he
Wor
ld. L
et’s
Hel
p!),
194
1
Pos
ter
with
lino
leum
cut
and
type
/lette
ring
in tw
o co
lors
17 3
/16
x 22
1/2
inch
es (
imag
e)
© A
rtis
ts R
ight
s So
ciet
y (A
RS)
, New
Yor
k / S
OM
AA
P,
Mex
ico
City
El T
alle
r de
Gráf
ica
Popu
lar:
Vida
y A
rte
Jun
e 13
–Sep
tem
ber 1
3, 2
015
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Two San Francisco Bay Area artists, Art Hazelwood and
Ronnie Goodman, confront and tackle such present-
day realities as homelessness, poverty, war, corruption
and violence in their art. Consonant with the exhibition
of works from Mexico’s Taller de Gráfica Popular and
squarely in its tradition of sociopolitical commentary, the
linocuts, woodcuts, etchings and books in this exhibition
show two skilled artists fearless in goading viewers from
complacency or from indifference to injustice.
Goodman, born and raised in San Francisco, had a
troubled youth and lived on the streets before being
convicted of burglary. During his sentence, he attended
the San Quentin Arts in Corrections Program taught by
Hazelwood. Since serving his time, he has remained
homeless but continues to make art, obtaining his
materials through Hospitality House, a San Francisco
homeless resource center, and working in a friend’s studio
space. Goodman is also a distance runner and credits that
practice with helping him stay sober.
Hazelwood studied at the University of California at Santa
Cruz and traveled to Asia after graduation. He lived in
Vienna to focus on his art and eventually settled in San
Francisco. Although his art was already overtly political,
it became even more so as he made screen prints for
Street Sheet, a San Francisco newspaper focused on
homelessness. Hazelwood has also created work for the
Western Regional Advocacy Program, which distributes it
under a Creative Commons license.
Both artists draw on the tradition of the Works Progress
Administration Federal Art Project in their creation of
striking black-and-white prints, conveying strong political
messages through their art.
Curator: William U. Eiland, director
Galleries: Martha Thompson Dinos and Dorothy Alexander
Roush Galleries
Sponsors: The W. Newton Morris Charitable Foundation
and the Friends of the Georgia Museum of Art
Art Hazelwood and Ronnie Goodman: Speaking to the IssuesJune 13–September 13, 2015
Ronnie Goodman
No More Homeless Deaths, 2012
Linocut on paper
30 x 22 inches (sheet)
Georgia Museum of Art, University of Georgia; Museum
purchase with funds provided by the Byrnece Purcell Knox
Swanson Acquisitions Fund
GMOA 2013.59
Ronnie Goodman
San Quentin Jazz, 2012
Linocut on paper
22 x 15 inches (sheet)
Georgia Museum of Art, University of Georgia; Museum purchase
with funds provided by the Byrnece Purcell Knox Swanson
Acquisitions Fund
GMOA 2013.68
Ronnie Goodman
The Letter of Rejection, 2012
Linocut on paper
22 x 15 inches (sheet)
Georgia Museum of Art, University of Georgia; Museum
purchase with funds provided by the Byrnece Purcell Knox
Swanson Acquisitions Fund
GMOA 2013.66
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Lines of Inquiry: Renaissance and Baroque Drawings from the Ceseri CollectionMay 9–August 2, 2015
“Lines of Inquiry” features 11 drawings from the collection of Giuliano Ceseri, on extended
loan to the Georgia Museum of Art. Beth Fadeley worked with students in Professor Shelley
Zuraw’s spring 2015 class “The Art of Drawing” to organize this exhibition and invite
the audience to explore the techniques, themes and stylistic developments in European
drawing from the Renaissance to the Baroque. This special exhibition is possible because
of the guidance of Dr. Lynn Boland, Pierre Daura Curator of European Art at the Georgia
Museum of Art, and Dr. Shelley Zuraw, associate professor of art at the Lamar Dodd School
of Art.
Guest curator: Beth Fadeley, doctoral candidate, art history, Lamar Dodd School of Art
Gallery: Alonzo and Vallye Dudley Gallery
Sponsors: The W. Newton Morris Charitable Foundation and the Friends of the Georgia
Museum of Art
Ralph Chessé was born in New Orleans in 1900 and attended the
Art Institute of Chicago from 1918 to 1919, his only formal training.
Inspired by his surroundings in New Orleans and the heritage of his
family (his great-grandmother was African American, and the rest
of his family of French descent), he created paintings in the 1940s
that show African American subjects enacting biblical scenes and
scenes from everyday life. After relocating to San Francisco in 1928,
Chessé worked as an artist and puppeteer. The success of his
television program, “The Wonderful World of Brother Buzz,” allowed
him to travel extensively in Europe. The second group of paintings
in this exhibition, most executed ca. 1970, indicates the impact of
these travels both in subject matter and style—Chessé’s admiration
of French Fauvism is especially clear. The exhibition includes
four of Chessé’s puppets and several linocuts showing varying
interpretations of Punch and Judy.
Curator: Laura Valeri, associate curator of European art
Gallery: George-Ann and Boone Knox Gallery II
Sponsors: The W. Newton Morris Charitable Foundation and the
Friends of the Georgia Museum of Art
Philipp Peter Roos, called Rosa da Tivoli (German, 1657–1706)
Goat, n.d.
Georgia Museum of Art, University of Georgia; Extended loan
from the collection of Giuliano Ceseri
GMOA 1995.199E
Ralph Chessé (American, 1900–1991)
The Adam Family, 1943
Oil on canvas
25 x 30 1/2 inches (framed)
Extended loan from Bruce Chessé and the
Chessé Arts Collection
GMOA 2013.103E
Ralph Chessé July 11–October 4, 2015
It found its way to the museum through Jim Thompson, news editor at the Athens Banner-Herald. Cecelia Ross received the quilt as a bequest from its maker when Ross worked in a hospice in Venice, Florida, but did not remember her name. She contacted Thompson to see if he could find out more about it, recalling that the quilt’s maker had spoken of Athens with great fondness. Thompson believes it is possible the maker was Mabel Shumate (1908–1998), a nurse whose mother, Carrie Long, was a native of Carlton, Georgia, and is buried there, but further research remains to be done.
Ross said, “The maker was a lifelong resident of Athens and loved your town. . . . I am pleased to return this to the ‘proper home.’” Dale Couch, curator of decorative arts at the museum, pointed out the recurring use of red, white and blue as a patriotic motif, one that would have been appropriate in the 1940s around World War II. Made of cotton, possibly derived from feed sacks, and showing a combination of hand and machine stitching, the quilt features a pattern of large hexagons that reveal hidden six-pointed stars of lighter-colored material in the spaces in between. It is an excellent fit with the museum’s effort to study the decorative arts of the state and the Athens area, and it is presently on display in the Martha and Eugene Odum Gallery, in the permanent collection wing.
The museum also recently purchased this genre scene by George Washington Nicholson, using funds donated in memory of Board of Advisors member Harry Gilham. Born in New Jersey, Nicholson trained in Philadelphia, where he learned academic realism at the Pennsylvania Academy of the Fine Arts. In 1866, he traveled to England and France for further training. Nicholson settled in Philadelphia upon his return to the United States, and his reputation was at its height from the mid-1880s through the 1890s. He painted a mural titled “The Old Homestead” that was on display at Wanamaker’s department store in Philadelphia and another, “Washington Crossing the Delaware,” for the Pennsylvania State House in Harrisburg (most likely lost when the building burned in 1897).
Nicholson produced works commissioned by patrons who preferred seascapes, exoticized landscapes of Europe and Northern Africa and scenes of daily life in the American countryside. This snowy country scene is an example of the latter. He painted several variations on the scene, usually featuring a house and human figures in bright clothing to draw the eye, but most of them are smaller than this one. Along with the recent purchase of Thomas Waterman Wood’s “The Kitten,” this painting helps us better tell the story of 19th-century American art by enriching our small collection of genre painting from the era.
George Washington Nicholson (American,
1832–1912)
Winter Morning, ca. 1880
Oil on canvas
22 1/4 x 30 1/4 inches
Georgia Museum of Art, University of Georgia;
Museum purchase in memory of Harry
Leonidas Gilham Jr.
GMOA 2015.14
Unidentified maker from Athens, Ga.
Quilt (detail), ca. 1940–50
Cotton
Georgia Museum of Art, University of Georgia;
Gift of Jim Thompson on behalf of Cecelia Ross
GMOA 2014.242
Dating from the 1940s, this quilt was made in Athens by an as yet unidentified woman from the scraps of fabric she used to make clothes for her daughter.
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Throughout my studies at UGA’s Lamar Dodd School of Art, from which I recently graduated with a master’s degree in art education, I became increasingly interested in museum education and in engaging museum visitors with art in meaningful and memorable ways. For my final graduate project, I developed an educational program focusing on the exhibition “Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond” (on view at the museum Dec. 6, 2014–March 1, 2015). I invited UGA student organizations and Women’s Studies classes to the museum, where they viewed the exhibition and made their own art in response to the displays. The Guerrilla Girls are a group of anonymous women who refer to themselves as the “conscience of the art world” while working to draw attention to the under-representation of women in museums and galleries. Their focus has also expanded to address gender-based issues in Hollywood film, politics and pop culture.
I was initially drawn to the Guerrilla Girls’ work because they use facts and humor to expose inequality. Their work makes feminism accessible by making viewers laugh or pause and reflect. The exhibition contained multiple interactive components, including a chalkboard wall with the prompt “I’m not a feminist but if I was, this is what I would complain about....” Visitors were encouraged to write their own responses. Another element was a wall of “Love Letters and Hate Mail” written to the Guerrilla Girls. Again, visitors were invited to contribute their own responses. My goal was to create a program that built upon the learning and engagement already encouraged by the design of the exhibition.
During the programs I facilitated, students were encouraged to make connections between the Guerrilla Girls’ work and their own experiences. Through engaging in dialogue and using guiding worksheets, students considered how gender inequality exists in their communities, on campus and in their own lives. In large groups, students discussed specific works of art that stood out, connections they made with the exhibition and the techniques that make those works successful.
Students then went into one of the museum’s classrooms to respond visually to the exhibition through collage. I encouraged students to create a poster that made a statement about gender or feminism. The open-endedness of this project led to rich and varied responses. Students investigated the representation of women in the arts, violence and sexual harassment, the pay gap between men and women, racism, gender roles, body image, aging, current events and the media’s construction of beauty. Making use of magazine images allowed them to alter and give new, resistant meaning to images and text appropriated from popular culture. They critically considered media culture and the messages advertisements often send.
I began this project with an interest in how gender can be explored through museum education, and I feel fortunate to have had the opportunity to engage with this artfully designed exhibition. Within a month and a half, seven groups totaling more than 200 UGA students participated in my educational program. My hope is that exposure to and engagement with this exhibition provoked reflection about gender assumptions and stereotypes.
The most significant and memorable component of conducting these programs was interacting with visitors and hearing their responses to the exhibition. The thoughtfulness, inquiry and debate I observed reinforced the importance of dialogue in education and museum experiences. I hope to continue to create lessons and experiences that encourage students to be critical of their own worldviews by observing and discussing art. I believe this kind of exploration allows students, museums visitors and art viewers of all kinds to discover new ways of relating to others and the world around them. I am excited to pursue a career in museum education and continue to help museum visitors make meaningful connections with art of all kinds.
Meghan McFerrinIntern, Education Department
I have been fortunate to serve as a Georgia Museum of Art student docent and intern in the education department as a graduate student at the University of Georgia.
in Action
My hope is that exposure to and engagement with this exhibition provoked reflection about gender assumptions and stereotypes.
W e are fortunate that the Samuel H. Kress Foundation has awarded the Georgia Museum of Art with a Kress Interpretive Fellowship for 2014-15. Brittany Ranew began
in this position last September. Since that time, she has worked on public and family programming and school tours at the Georgia Museum of Art, including a public tour focused on mysteries in the museum’s collection in April. She also completed a teaching packet based on the Georgia Museum of Art’s Samuel H. Kress Study Collection.
Ranew completed her undergraduate degree in studio art, with a concentration in sculpture, and master’s degree in art education from the University of Georgia. She was an intern in the education department in 2008 and a student docent in 2012. She also has experience teaching internationally. In 2009, she taught English in South Korea, and in 2014, she was a student art teacher in South Africa. When asked about what she enjoys most in her current position, she said, “I get to work with so many different people! Tours can include visitors who are in pre-school, college, or entering retirement, all of whom come from an array of backgrounds. It is a privilege to contribute to the Kress legacy by sharing Georgia Museum of Art’s collection with new and returning visitors every week.”
Currently, Ranew is looking at better ways in which the museum can reach some of our audiences, including visitors with disabilities, by speaking with people from these populations and creating partnerships in the community. She is also developing programming related to Gullah Geechee baskets and face jugs in the museum’s collection and examining ways in which school classes can view works in our collections study room through live web-based lessons. This summer, she will focus on our summer community outreach program, Art Adventures, which will feature gallery activities and printmaking in conjunction with the exhibition “El Taller de Gráfica Popular: Vida y Arte.”
Interpreting the Kress Collection
Membership Challenge
Numbers are not the whole story and our membership is extraordinarily generous, but on July 15 we are kicking off a three-month campaign to increase that amount by 100 households.
The dollars that come from membership help fund almost everything we do here at the museum: programming for families, educational opportunities for undergraduate and graduate students, exhibitions that bring something new to our community, outreach across the state and more. They help us keep admission free to all, an exceptionally important goal for the official state museum of art.
We’re reaching out first to lapsed members with a digital campaign that reminds them just how much we need their contributions, but we have also set a goal of upgrading at least 60 current members to the Contributing ($100) level of membership or higher. That level may seem like a reach, but it entitles you to reciprocal membership benefits (including free or reduced entry rates, as well as museum shop discounts) at more than 1,000 museums across the United States and Canada. It also provides crucial additional funding for us at little to no extra cost on our end, allowing us to direct a greater percentage of your membership dollars to museum programming, making your museum a stronger and better institution.
Both new members and those of you who upgrade your membership level between July 15 and October 25 will receive a voucher redeemable in the Museum Shop for a limited-edition mug not available for purchase. We encourage you to use the hashtag #jointhemuseum on social media while promoting the campaign and, as always, I am ready and willing to answer your questions. To join, visit georgiamuseum.org/join or contact the membership office at [email protected] or 706.542.0830.
Michele TurnerDirector of Membership
Membership Challenge
As of the annual meeting of the Friends of the Georgia Museum of Art, held April 30, the Friends had a total of 583 members, counted by household.
We encourage you to use the hashtag #jointhemuseum on social media while promoting the campaign.
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Brittany Ranew has been taking photos of herself in front of various
Kress buildings. This one is in Daytona Beach, Florida.
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Schedule a Visit to the Georgia Museum of ArtTo schedule a class visit or student assignment at the Georgia Museum of Art, please call us at 706.542.4662 at least two weeks prior to the visit. Scheduling in advance enables us to prepare for your visit whether it is a self-guided visit led by an instructor, a docent-led tour or students who will be coming on their own to complete an assignment.
Educational programming in conjunction with “El Taller de Gráfica Popular: Vida y Arte” is supported in part by a Title VI Department of Education National Resource Center grant administered by the Latin American and Caribbean Studies Institute at the University of Georgia.
Special Events
Third ThursdayThursday, July 16, August 20 and September 17, 6–9 p.m.Seven of Athens’ established venues for visual art (the Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo-Athens, Ciné, the Classic Center and ATHICA) hold this event devoted to art in the evening hours, on the third Thursday of every month to showcase their visual-arts programming. A free shuttle service, courtesy of the Classic Center, runs every 30 minutes. Details are posted at 3thurs.org.
90 Carlton: SummerFriday, July 17, 5:30–8:30 p.m.The Friends of the Georgia Museum of Art present this reception featuring the summer exhibitions. Enjoy catering by Epting Events, gallery activities, door prizes and “Ask the Experts.” Free for members, $5 nonmem-bers. Join or renew at the event for complimentary admission. Call 706.542.4662 for more details. RSVP to [email protected] or 706.542.4199.
Museum MixThursday, August 6, 8 p.m.–midnightThe museum’s thrice-annual late night art party features a live DJ, free refreshments and galleries open until midnight. #museummix
Student NightThursday, September 10, 6:30–8:30 p.m.Join the Student Association of the Georgia Museum of Art for a night of music, food, fun and DIY projects in printmaking, celebrating “El Taller de Gráfica Popular: Vida y Arte.” Student night is generously sponsored by the Friends of the Georgia Museum of Art and the UGA Parents and Families Association.
Lectures & Gallery Talks
Panel Discussion: El Taller de Gráfica Popular: Vida y ArteThursday, August 20, 7 p.m.Join artists Arturo García Bustos and Rina Lazo (members of El Taller de Gráfica Popular) and scholars on the print workshop for a lively discussion of the workshop and prints in the exhibition. Partially in Spanish, with live translation.
Contemporary Western Art: More than Cowboys and IndiansSeth Hopkins, director, Booth Western Art MuseumThursday, September 24, 5:30 p.m.The Booth Western Art Museum in Cartersville, Georgia, houses the country’s best collection of Contemporary Western American Art. Hopkins will define “contemporary” and “Western” in this lecture while tracing artistic developments in Western art over the past 50 years. He will also discuss the daunting legacy facing today’s Western artists, left by those working from 1830 to 1930.
Family Days
Family Day programs are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota, YellowBook USA and the Friends of the Georgia Museum of Art.
Puppetry Party Saturday, July 18, 10 a.m.–noonFamilies are invited to check out paintings, puppets and works on paper by artist Ralph Chessé, then create their own scarf marionette puppets in the Michael and Mary Erlanger Studio Classroom. Participants will also receive basic puppeteer instruction so they can put on a show back at home! This program will include a performance of
“The World of Anansi the Spider,” presented by the Columbia Marionette Theater in the auditorium at 11 a.m. The show will last approximately 30 minutes and features several folk tales narrated by the storyteller Anansi, a classic character in African, Jamaican and Gullah stories.
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All events are free and open to the public
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Back to School CelebrationSaturday, August 15, 10 a.m.–noonCelebrate the back-to-school season with fun interactive gallery stations in the museum’s permanent collection, then get ready for the new school year by decorating a
pencil case and notebook.
Line, Shape and Form Saturday, September 12, 10 a.m.–noonLine, shape and form are three important building blocks of works of art. Explore the ways artists use these elements to compose works of art in the permanent collection, then create your own masterpiece to take
home.
Films
¡Viva México! Film SeriesPresented in conjunction with the exhibition “El Taller de Gráfica Popular: Vida y Arte.”
This film series is generously sponsored by
“An Artful Revolution: The Life and Art of the Taller de Gráfica Popular” Thursday, July 9, 7 p.m.This documentary explores the life and art of the artists of the Mexican printmaking collective started in the 1930s. Coproduced by Octavio Blanco and Rivka Einy. 2008, 28 min. Following the film, join Carissa DiCindio, curator of education, and Melissa Harshman, printmaking chair at the Lamar Dodd School of Art, for a gallery discussion in the exhibition.
“The Storm That Swept Mexico”Thursday, July 16, 7 p.m.The Mexican Revolution (1910–20) was the first revolu-tion of the 20th century and the first one recorded on film. This documentary examines the immensely complex historical, social, political, economic and cultural forces that generated the conflict, determined its trajectory and influenced its legacy. The revolution changed the course of Mexican history and had a profound impact on relationships between Mexico and the rest of the world. Produced by Ray Telles. 2011, 116 min.
Please visit our website for updated information on the other films in this series, scheduled for Thursday, July 23 and Thursday, July 30.
Tours
Tour at Two: Highlights from the Permanent CollectionWednesday, July 1, 15 and 29; September 2, 16 and 30, 2 p.m.Led by docents.
Artful Conversation: “El Taller de Gráfica Popular: Vida y Arte”Wednesday, July 8, 2 p.m.Join Carissa DiCindio for an in-depth conversation about selected prints in the exhibition “El Taller de Gráfica Popular: Vida y Arte.”
Thursday Twilight Tour: Highlights from the Permanent CollectionThursday, July 16, August 20 and September 17, 6 p.m.Led by docents during Third Thursday.
Tour at Two: Kress ConnectionsWednesday, July 22, 2 p.m.Join Brittany Ranew, Kress Interpretive Fellow, for a special look at works in the Samuel H. Kress Collection and connections to other works in the permanent collection.
Spotlight Tour: Highlights from the Permanent CollectionSunday, July 26, August 9 and September 27, 3 p.m.Led by docents.
Artful Conversation: Ralph ChesséWednesday, August 5, 2 p.m.Join Carissa DiCindio, curator of education, for an in-depth conversation about selected works in the exhibition “Ralph Chessé.”
Tour at Two: Decorative ArtsWednesday, August 12, 2 p.m.Led by Dale Couch, curator of decorative arts.
Tour at Two: “Art Hazelwood and Ronnie Goodman: Speaking to the Issues”Wednesday, August 19, 2 p.m.Led by museum director William Underwood Eiland.
Tour at Two: “Ralph Chessé”Wednesday, August 26, 2 p.m.Join Brittany Ranew, Kress Interpretive Fellow, for a look at this exhibition of paintings, puppets and works on paper.
Tour at Two: “El Taller de Gráfica Popular”Wednesday, September 9, 2 p.m.Led by Sarah Kate Gillespie, curator of American art.
Artful Conversation: “McIntosh County Shouters”Wednesday, September 23, 2 p.m.Join Callan Steinman, associate curator of education, for a discussion of Art Rosenbaum’s “McIntosh County Shouters.”
Workshops & Classes
Teen StudioThursday, August 27, 5:30–8:30 p.m.Teens ages 13–18 are invited to participate in this workshop led by local artist and educator Kristen Bach. Teens will explore the politically engaged work of Mexican printmakers in the exhibition “El Taller de Gráfica Popular: Vida y Arte,” then experiment with various printmaking techniques in the studio classroom. Pizza dinner and drinks are included. This program is free, but space is limited. Call 706.542.8863 or email [email protected] to reserve a spot.
Watercolor and Gouache WorkshopThursday, September 3, 10, 17 and 24, 6:30–8:30 p.m.Join Athens-based artist and educator Brian Hitselberger for a four-part workshop introduction to watercolor and gouache materials and techniques. This workshop is open to artists of all levels of experience, from enthusias-tic beginners to more seasoned practitioners. All sessions will draw inspiration from the museum’s collections, including works from the archives and many not currently on display. The cost of the course is a $15 materials fee, which will cover all necessary supplies for the four sessions. Call 706.542.8863 or email [email protected] to register. Limited to 15 participants.
In celebration of "El Taller de Gráfica Popular: Vida y Arte," the Museum Shop has imported a fantastic selection of Mexican handicrafts, available only for the duration of the exhibition.
1. Painted clay Catrinas ($65 each)
2. Papier-mâché dove centerpiece ($19.99)
3. Decoupage wooden Catrina boxes ($30 large, $18 small)
4. Milagro votive ($20)
5. Montesinos painted angels ($35 each)
6. Catrina market bags ($12.95)
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Stella Tran joined the museum staff as
assistant editor in April. Tran has worked at the Institute
of Contemporary Art in Boston in digital marketing
strategy and design and most recently as a research
assistant at Harvard and in program evaluation for the
International Center at the Carl Vinson Institute of
Government at UGA.
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The museum acknowledged its Federal Work-Study students and volunteer interns
at the annual Student Appreciation Celebration on April 14. Staff members talked about students’ projects, and each
student received a commemorative paperweight featuring the image from his or her identity badge.
Curator of American art Sarah Kate Gillespie and her husband, Marc Belli, welcomed their
sweet baby, Roy Christopher Belli, to the museum family on April 2.
Alfred Heber Holbrook Society Mrs. George-Ann Knox
The Knox Foundation
Winthrop Foundation of Athens, Georgia
Patron Alex and Janet Patterson
Mr. Alan F. Rothschild, Jr. through the Fort
Trustee Fund, Community Foundation of
the Chattahoochee Valley
Director’s Circle Dave and Devereux Burch
Dr. and Mrs. James W. Cooper
Mrs. Ellen Gibson
Mr and Mrs. Mark G. McConnell
David R. Mulkey
Mr. and Mrs. Benjamin Tarbutton
David and Cece Warner
Mr. and Mrs. Richard Woodruff
Sustaining Mrs. Carolyn Bush
Designated Todd Emily
Mr. John Greene
Mr. and Mrs. John F. McMullan
Mr. and Mrs. Anthony Montag
John and Margaret Page
Drs. Gordhan and Virginia Patel
Alex and Janet Patterson
In memory of Lynn Bryant by William
Underwood Eiland
In memory of Daniel H. Magill by Cole and
Margie Kelly
In memory of Thomas W. Mapp by Gordhan
and Virginia Patel
In memory of Cammie Holmes McCook by
Cole and Margie Kelly
In memory of Roy and Charlene Miller by
Susan and Jim Cooper
In memory of Kathy Rowan by Carol Dolson
In memory of Edward Burke Sams by Cole
and Margie Kelly
In honor of Dale Couch by Peggy Galis
Many thanks to the members of the Public
Affairs and Statewide Outreach Committee of
the Board of Advisors who provided generous
support for Just My Imagination: June
Ball, David Matheny, Marilyn McMullan,
Gordhan and Virginia Patel and Janet
Patterson.
Contributions to the Board of Advisors
Memorial Acquisitions Fund: Faye Chambers,
Berkeley Minor and Gordhan and Virginia
Patel
Congratulations and many thanks to the
following members of UGA’s Class of 2015
who made generous Senior Signature Gifts to
the Georgia Museum of Art:
Taylor A. Bartik
Sherry S. Bennett
Shelley E. Bonin
Victoria T. Carroll-Jave
Margaret Davis
Terri Edgar
Katherine B. Foster
Caitlin M. Jones
Bit N. Kim
Ashlyn L. Love
Jonathan D. Lynn
Samuel A. Payne
Jennifer Pena
Vicki K. Pratt
Michelle A. Sawyer
The Georgia Museum of Art received the following gifts between February 11 and April 20, 2015:
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.orgBECOME A MEMBER OF THE FRIENDS OF THE GEORGIA MUSEUM OF ART.
Support our programming and exhibitions.Join on our website, georgiamuseum.org, or call 706.542.0830.
JOINJOIFolk and Folks: Variations on the VernacularThe Eighth Henry D. Green Symposium of the Decorative Arts
Family Day
Black History Month Dinner
Family Day
Teen Studio
For more photos, visit us on Flickr, Facebook or Instagram.
Save the date!
Feb. 4–6, 2016
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