facet – spring 2011

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Spring 2011

facet

Donor Spotlight:Carl Mullis

Exhibitions:All Creatures Great and Small

Elegant Salute Recap:Metamorphosis

My last letter to you was a cascade of names, a listing of every one of

our donors to Phase II, and in some ways this one will be no different,

but I promise fewer names and a bit more prose. Our reopening

ceremonies, which lasted a week and a half, all things considered, could

not have been more of a success. The marathon round of ribbon-

cuttings on Friday, Jan. 28, kicked off the celebrations and lasted all day,

followed by Elegant Salute XII: Metamorphosis the next evening, when

we were joined by 371 of our supporters and President Michael Adams

to reopen the new building officially. That Sunday featured a preview for

our loyal Friends members, with angelic song by the Georgia Children’s

Chorus. Receptions and days devoted to UGA faculty and staff, UGA

Physical Plant workers and UGA students followed. The latter provided

some of the most thrilling moments of the week when 2,053 students

showed up for our “Reopening Remixed” evening, from 7 p.m. to

midnight. They were everywhere in the galleries, enthusing over the art

and the space, discussing it with their classmates and putting on quite

a fashion show. It was an amazing infusion of youth and a reminder that

academic purpose does not have to mean stuffiness. We had wonderful

lectures by artists Beverly Pepper and Anthony Goicolea (a graduate

of UGA and a former student at the museum) as well, and the week

finished up with a classy performance by Modern Skirts organized by

the Young at Art committee of the Friends and a massive Family Day

that drew 662 visitors.

I thank everyone who attended all the events and, even more so,

all those who made them happen: my dedicated staff, our devoted

volunteers, those who assembled the tents and mopped the floors, our

team of architects (Gluckman Mayner of New York, Stanley Beaman &

Sears of Atlanta and the Office of University Architects), Holder

Construction, Grant Collaborative (in Canton, Ga., who designed our new

banners and coined the phrase “Art

Expands”), the university administration,

especially the Office of the Senior Vice

President for External Affairs, every

single donor to Phase II and many more.

No doubt, you have already noticed

the new look of our newsletter, now dubbed Facet, both to evoke the different faces of a gemstone or work of art and to

call to mind the word’s roots in the process of making objects. Our website (now www.georgiamuseum.org) has been

updated as well, both by The Adsmith, and we admire their care and aesthetics in crafting print and web materials

that match our new space in sleekness, beauty and functionality. As I said at Elegant Salute, this building symbolizes

our dedication to the proposition that the essential mission of an art museum, the core of its raison d’être, is that

indefinable connection, that experience of one man, one woman, one child and one work of art. Sadly, one of those

individuals is no longer with us. Boone Knox, a great patron of this museum passed away Jan. 13. His philanthropy

was well known throughout the state, and we are truly sad he was not able to see the culmination of a project to which

he gave so much. Our condolences to George-Ann and her family.

One last bit of news: if you have not already received notice of them, please jot down our new hours, which, due

to an ever-shrinking allotment of state funding, include fewer in which our galleries are open to the public. Fortunately,

we have our sculpture garden and more with which to keep our visitors busy from 10 a.m. until the galleries open at

noon, and we are still open to classes and school groups Monday and Tuesday by appointment.

It truly is a new era for the Georgia Museum of Art, one in which we will refashion the museum, as we have the

building, into a 21st-century agora of ideas, objects and people.

William U. Eiland, Director

From the Director

Georgia Museum of Art

University of Georgia

90 Carlton Street

Athens, GA 30602-6719

www.georgiamuseum.org

Admission: Free ($3 suggested donation)

HOURS

Galleries: Open to classes and school

groups by appointment only, Monday and

Tuesday. Open to the public Wednesday,

Friday and Saturday, 12–5 p.m.;

Thursday, 12–9 p.m.; Sunday, 1–5 p.m.

First floor lobby, Jane and

Harry Willson Sculpture Garden:

Tuesday, Wednesday, Friday and Saturday,

10 a.m.–5 p.m.; Thursday, 10 a.m.–9 p.m.;

Sunday, 1 p.m.–5 p.m. Closed on Mondays.

Museum Shop: Tuesday, Wednesday,

Friday and Saturday, 10 a.m.–4:45 p.m.;

Thursday, 10 a.m.–8:45 p.m.; Sunday,

1 p.m.–4:45 p.m. Closed on Mondays.

Ike & Jane at the Georgia Museum of Art:

Tuesday–Saturday, 10 a.m.–4 p.m.

706.542.GMOA (4662)

Fax: 706.542.1051

Exhibition Line: 706.542.3254

Department of PublicationsHillary Brown and Mary Koon

Publications InternsMichael Tod Edgerton

Kaitlin Springmier

DesignThe Adsmith

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Mission StatementThe 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 W. Newton Morris

Charitable Foundation, the Friends of the

Georgia Museum of Art and the Georgia

Council for the Arts through the appropria-

tions of the Georgia General Assembly.

The Council is a partner agency of the

National Endowment for the Arts. Individuals,

foundations and corporations provide

additional support through their gifts to

the Arch Foundation and 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 AdvisorsMr. B. Heyward Allen Jr.Dr. Amalia K. AmakiMrs. Frances Aronson-HealeyTurner I. Ball, M.D.Mr. Fred D. Bentley Sr.Mr. Richard E. BerkowitzMrs. Devereux C. BurchMr. Robert E. BurtonMrs. Debbie C. CallawayMr. Randolph W. CampMrs. Shannon I. Candler, past chairMrs. Faye S. ChambersMr. Harvey J. ColemanMrs. Martha T. DinosMrs. Annie Laurie DoddMs. Sally DorseyProfessor Marvin Eisenberg

Ms. Carlyn F. FisherMr. James B. FleeceMr. Edgar J. Forio Jr.Mr. Harry L. Gilham Jr.Mr. John M. GreeneMrs. Helen C. GriffithMrs. M. Smith Griffith Mrs. Marion E. JarrellProfessor John D. KehoeMrs. George-Ann KnoxMrs. Shell H. KnoxMr. David W. MathenyMs. Catherine A. MayMrs. Helen P. McConnellMr. Mark G. McConnellMrs. Marilyn McMullanMrs. Marilyn D. McNeely Mrs. Berkeley S. MinorMr. C.L. Morehead Jr.

Ms. Jane C. MullinsMr. Carl W. Mullis III, chairMr. Donald G. MyersMrs. Betty R. MyrtleDr. John NickersonMrs. Deborah L. O’KainMrs. Janet W. PattersonMs. Kathy B. PrescottDr. William F. Prokasy IVMr. Rowland A. Radford Jr. Ms. Margaret A. RolandoMr. Alan F. Rothschild Jr.Mrs. Dorothy A. Roush Mrs. Sarah P. SamsMr. D. Jack Sawyer Jr.Mrs. Helen H. Scheidt Mr. Henry C. SchwobMrs. Ann C. ScogginsMs. Cathy Selig-Kuranoff

Mr. S. Stephen Selig IIIMrs. Dudley R. StevensMrs. Carolyn W. TannerMrs. Judith M. Taylor Mrs. Barbara Auxier TurnerMr. C. Noel WadsworthMs. Kathleen E. WalkerMr. G. Vincent West

Ex-officioMs. Karen L. BensonMrs. Linda C. ChesnutDr. William U. EilandMr. Tom LandrumProfessor Jere W. MoreheadDr. Libby V. MorrisMs. Georgia Strange

Our reopening ceremonies, which lasted a week and a half, all things considered, could not have been more of a success.

The staff join me in thanking the board of the Friends of the Georgia Museum of Art for all their help not only during the planning of Metamorphosis and its lovely conclusion but for so many other instances of its members’

support. The Friends Board truly forms the core of the community that surrounds the Georgia Museum of Art.

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Contents

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14

14–15

Elegant Salute Recap

Exhibitions

Donor Spotlight: Carl Mullis

Publication Spotlight: “Tracing Vision: Modern

Drawings from the Georgia Museum of Art”

Collections

Calendar of Events

Museum Notes/Gifts

Event Photos

Elegant Salute Recap

04Exhibitions

06Donor Spotlight

08

F E A T U R E S

Publication Spotlight

10

On the cover: Pots on extended loan from the Carl and

Marian Mullis Collection. See page 8 for more information.

Clockwise from top left: M. Smith Griffith Grand Hall,

UGA President Michael Adams, event co-chairs Rinne Allen

and Betsy Dorminey (photo: GMOA), GMOA banner and

decorations, Cameron and Patrick Garrard and Gary Thompson.

All photography by Zoomworks unless otherwise noted.

This year’s Elegant Salute grossed more

than $178,000 through ticket sales

and sponsorships, much of which will go

toward educational programming. The

fundraising committee was led by Athens

architect David Matheny and supported

by a host of volunteers including Atlanta

fundraising co-chairs Carolyn Tanner and

Sally Dorsey. Metamorphosis set records

in both fundraising and attendance, with

more than 370 guests, including Georgia

native and UGA alumnus Anthony Goicolea.

Goicolea is an internationally renowned artist

Elegant Salute: Metamorphosis Recap

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Photos on page 5 top to bottom:

1. Left to right: Becky Matheny, David Matheny, Martha Daura

2. Left to right: Gary Bertsch, Joni Bertsch, Bill Willson,

Jane Willson, Susan Willson

3. Left to right: Jim Cooper, Will Power, Amburn Power

4. Left to right: Sally Westmoreland, Betty Stephens

5. Paula Lavin

based in Brooklyn, N.Y., and his work is currently

on display in one of the museum’s five new

special exhibitions.

The theme, Metamorphosis, was fully embodied

through meticulous details and decorations.

Guests entered the event through a white tent

lit by chandeliers where they were greeted

with hand-cut butterflies labled with their table

assignment. A motif of origami butterflies was

strung throughout the museum, and table linens

were stamped with the images, which also

adorned the invitations, the evening’s program

and the note cards guests took home as a favor.

The night began with cocktails and hors

d’oeuvres as guests trickled in to the gala. Dinner,

provided by Epting Events, was served in the new

magnificent M. Smith Griffith Grand Hall. The

tables were decorated with whimsical centerpieces

made of wooden tree stumps, brightly colored

flowers and a handmade butterfly sculpture, fitting

the evening’s theme.

Dinner was followed by dancing in the Jane

and Harry Willson Sculpture Garden to music

by local band Grogus. Guests enjoyed tours of

the galleries and were encouraged to explore the

new Georgia Museum of Art throughout the night.

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Alfred Heber Holbrook Society

Mrs. M. Smith Griffith

Boone and George-Ann Knox

Mr. C.L. Morehead Jr. and

Flowers, Inc. Wholesale

Ms. Kathy B. Prescott and

Mr. Grady Thrasher

Benefactor

Mr. and Mrs. Peter M. Candler

Mrs. Helen C. Griffith

Mr. and Mrs. Dennis O’Kain

Mr. and Mrs. Alex Patterson

Mrs. Dorothy A. Roush

Mrs. Dudley Stevens

Mr. and Mrs. Ian Walker

Patron

Mr. and Mrs. B. Heyward Allen Jr.

Ms. Karen Benson and

Mr. Howard Scott

Chris and Hillary Bilheimer

Mr. and Mrs. E. Davison Burch

Burman Printing/Walton Media

Mr. and Mrs. W. Edward Chambers

Dr. and Mrs. Mark Ellis

John and Martha Ezzard,

Tiger Mountain Vineyards

Heyward Allen Motor Compay

Holder Construction Company

Mrs. Lidwina Kelly

Mr. Matt Kendall,

The Kendall Collection

Dr. and Mrs. D. Hamilton Magill

Mr. and Mrs. David Matheny

John and Marilyn M. McMullan

Mr. and Mrs. Carl W. Mullis III

Mrs. Doris Ramsey

Jack Sawyer and Bill Torres

Stanley Beaman & Sears

Mr. and Mrs. Robert Winthrop II

Drs. Norman J. and Mary M. Wood

Director’s Circle

Mr. and Mrs. Richard E. Berkowitz

Bernstein Funeral Home

Mr. and Mrs. Robert E. Burton

Dr. and Mrs. Harvey Cabaniss

Dr. and Mrs. Samuel B. Carleton

Chastain and Associates

Dr. and Mrs. James W. Cooper Jr.

Dr. and Mrs. John R. Curtis

Mr. and Mrs. A. Blair Dorminey

Mr. and Mrs. Bertis E. Downs IV

Dr. and Mrs. Thomas G. Dyer

Dr. and Mrs. Mark F. Ellison

Mr. Todd Emily

Dr. Mary Erlanger

Mr. and Mrs. Edgar J. Forio Jr.

Col. and Mrs. Thomas N. Gibson III

Mr. and Mrs. Harry L. Gilham Jr.

Mr. and Mrs. Richard Hathaway

Ms. Clementi L-B Holder

Mr. and Mrs. Frank Jarrell

Ms. Marylin Johnson

Mr. Thomas Edward Kurtz

Mr. and Mrs. Mark McConnell

Marilyn DeLong McNeely

Mr. and Mrs. H. Daniels Minor

Don and Susan Myers

Mr. and Mrs. Edgar B. Myrtle

Dr. and Mrs. Randall Ott

Dr. and Mrs. William L. Power

Dr. and Mrs. William F. Prokasy IV

Mr. and Mrs. Rowland A. Radford Jr.

R.E.M./Athens LLC

Mr. and Mrs. Walter A. Sams

Mr. and Mrs. John D. Scoggins

Mr. Lee Smith and Ms. Rinne Allen

Mr. and Mrs. Billy S. Smith

Honorable and Mrs. Homer M. Stark

Mr. and Mrs. Kurt Strater

Mr. and Mrs. W. Rhett Tanner

Judy and Tom Taylor

UGA Alumni Association

David and Cecelia Warner

Mr. and Mrs. Gerry Whitworth

Wimberly, Lawson, Steckel,

Schneider & Stine PC

Zoomworks

Additional Gifts

Mr. Walter Allen

Mr. and Mrs. Denny Galis

Mr. and Mrs. David Hally

Ms. Gail Hutchins

Mr. and Mrs. Joseph R. Knappenberger

Mrs. Barbara Laughlin

Dr. and Mrs. H.C. McLeod III

Mr. Michael McQueen

Ms. Vonceil Payne

Ms. Anne Wall Thomas

Mrs. Amanda Thompson

Mrs. Patricia Wright

and to our committee members:

Rinne Allen, event co-chair

Betsy Dorminey, event co-chair

Fundraising Committee

David Matheny (chair)

Buddy Allen

Karen Benson

Devereux Burch

Sally Dorsey

Doris Ramsey

Chris Peterson

Ann Scoggins

Carolyn Tanner

Carol Winthrop

Decorations Committee

Lucy Gillis (co-chair)

Wendy Hanson (co-chair)

Hillary Bilheimer

Amy Flurry

Cameron Garrard

Gena Knox

Hollis McFadden

Michael Montesani

Lori Paluck

Tami Ramsay

Allyn Rippin

Tabatha Tucker

Seating

Ann Scoggins

THE DONORS WHO NAMED the galleries

and other spaces received a medal commem-

orating the museum’s reopening, custom-made

in Crawford, Ga., by sculptor Beverly Babb.

Welded in steel, the medallion features rebar

(one of Babb’s signature materials) trim,

which reflects the museum’s industrial design

elements, and a leaf representing the American

hornbeam, the native trees planted as mem-

orials in the Jane and Harry Willson Sculpture

Garden. Babb also made individual hornbeam

leaves for GMOA staff members, given in

appreciation for their hard work and dedication.

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Special thanks to our sponsors:

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Exhibitions

This exhibition features American watercolors from the mid-19th century to the

1970s from the permanent collection of the Georgia Museum of Art. Paintings

by Jasper Francis Cropsey, William Stanley Haseltine and Frederic Remington

demonstrate the importance of the medium in American 19th-century art while

American moderns Charles Burchfield, John Marin and Andrew Wyeth represent

true masters of watercolor. Some American painters used the medium to create

drawings or compositional studies, including Elaine de Kooning in her sketch of a

sculpture in Paris. Others used it to make a final, finished product, emphasizing

technique and enjoying its immediacy and spontaneity. Robert Bechtle’s “Palm

Spring Chairs” (1975) is a highly detailed and meticulously painted watercolor that

has the feel of a vacation snapshot of a motel pool.

Gallery: Lamar Dodd Gallery

Sponsors: Kathy Prescott and Grady Thrasher, YellowBook USA,

the W. Newton Morris Charitable Foundation and the Friends of

the Georgia Museum of Art

Dalí Illustrates Dante’s “Divine Comedy” April 10–June 19, 2011

Organized by the Las Cruces Museum of Art in New Mexico, this exhibition includes

all 100 prints from Salvador Dalí’s “Divine Comedy” Suite and is part of a 10-city national

tour developed and managed by Smith Kramer Fine Art Services. In 1957, the Italian

government commissioned Salvador Dalí to illustrate Dante Alighieri’s “Divine Comedy.”

Dalí’s 100 watercolors were to be reproduced as wood engravings and released as a

limited-edition print suite in honor of the 700th anniversary of Dante’s birth. When the

project was announced to the public, Italians were outraged that a Spaniard had been

chosen for it and the commission was rescinded. Dalí, confident that a publisher could be

found, continued to work. In order to translate Dalí’s watercolors into printed plates, two

artists hand-carved 3,500 blocks, a process that lasted five years. French publishers

Éditions les Heures Claires and Éditions Joseph Horet jointly produced the “Divine Comedy”

Print Suite in 1964. Dalí considered this project one of the most important of his career.

The catalogue of the exhibition is available for purchase in the Museum Shop.

Galleries: Virginia and Alfred Kennedy and Philip Henry Alston Jr. Galleries

Sponsors: Shannon and Peter Candler in honor of Dr. Peter M. Candler Jr. and Matthew

Warren Candler, the W. Newton Morris Charitable Foundation and the Friends of the

Georgia Museum of Art

American Watercolors from the Permanent CollectionMay 14–August 7, 2011

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The American Scene on Paper: Prints and Drawings from the Schoen CollectionBoone and George-Ann Knox I, Rachel Cosby

Conway, Alfred Heber Holbrook, Charles B.

Presley Family and Lamar Dodd Galleries

On view through May 1

The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of ArtMay 14–August 7, 2011

This selection of 53 works on paper produced in the 16th,

17th and 18th centuries by such renowned artists as

Giovanni Battista Piranesi and Parmigianino draws largely

on the collection of Giuliano Ceseri, on long-term loan to

the Georgia Museum of Art. Guest curators Robert Randolf

Coleman and Babette Bohn chose prints and drawings that

demonstrate the importance of disegno, or drawing, as an

essential skill for artists of the period. As paper became more

widely available, drawing was used as a preparatory stage

for more finished works of art and prints enabled artists to

disseminate their work more widely. A full-color companion

catalogue is available for purchase in the Museum Shop.

Galleries: Boone and George-Ann Knox I, Rachel Cosby

Conway, Alfred Heber Holbrook and Charles B. Presley

Family Galleries

Sponsors: Mrs. M. Smith Griffith, Boone and

George-Ann Knox, C.L. Morehead Jr., YellowBook USA,

the W. Newton Morris Charitable Foundation and the

Friends of the Georgia Museum of Art

All Creatures Great and SmallApril 2011–April 2012Hartsfield-Jackson Airport, Atlanta

Part of the Airport Art Program, Department of Aviation, Hartsfield-Jackson

International Airport, this special exhibition from the Georgia Museum of

Art’s permanent collection and the collection of Atlanta collector Carl Mullis

features works of art depicting animals created by American self-taught

artists. Paintings, sculptures and mixed-media creations by such folk

masters as Howard Finster and Mose Tolliver and by such outstanding but

relatively unheralded contemporary artists as Jim Lewis and Ted Gordon

will be on display in the Atlanta airport’s T gates for a year. The majority of

artists featured have spent their lives in the South, including the following

artists from Georgia: Michael Crocker, Finster, Willie Jinks, R.A. Miller and

O.L. Samuels.

Steinunn Thórarinsdóttir’s “Horizons”Jane and Harry Willson Sculpture Garden

On view through June 30

Stone and Steel: Small Works by Beverly PepperDorothy Alexander Roush and Martha

Thompson Dinos Galleries

On view through July 29

Works of Art view left to right, top to bottom

Salvador Dalí (Spanish, 1904–1989)

The Waterfall of the Phlegethon

Inferno, Canto 34

Color woodblock print

13 x 10 inches

© 2008 Salvador Dalí, Gala-Salvador

Dalí Foundation/Artists Rights

Society (ARS), New York

Jasper Francis Cropsey

(American, 1823–1900)

The Palisades, Hudson River, 1891

Watercolor on paper

12 7/8 x 20 7/8 inches

Georgia Museum of Art, University

of Georgia; Museum purchase with

funds provided by the W. Newton

Morris Charitable Foundation

GMOA 2003.15

Giambattista Tiepolo(Venetian, 1696–1770)

Death Giving Audience,

from the Capricci, 1743–49

Etching on off-white laid paper

5 3/4 x 7 1/8 inches (sheet)

Georgia Museum of Art, University

of Georgia; Museum purchase with

funds provided by the bequest of

Leighton Ballew

GMOA 1998.38

O.L. Samuels

(American, b. 1931)

Stormy Weather, n.d.

Painted wood and wig

Approx. 60 1/2 x 52 x 16 1/2 inches

Collection of Mr. and Mrs.

Carl W. Mullis III

“snowscape”A photo mural and video installation by

Anthony Goicolea. Patsy Dudley Pate

Balcony and Alonzo and Vallye Dudley Gallery

On view through July 31

Don’t miss:

(A detail of this image appears on

the back cover of this newsletter.)

(A detail of this image appears

on page 3 of this newsletter.)

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1. Left: Dave Drake or “Dave the Potter”

(ca. 1780–ca. 1883, active Edgefield County,

South Carolina)

Storage jar, ca. 1830–60

Stoneware with alkaline glaze

Georgia Museum of Art, University of Georgia;

Extended loan from Carl and Marian Mullis

GMOA 2010.10E

1. Right: Dave Drake or “Dave the Potter”

(ca. 1780–ca. 1883, active Edgefield County,

South Carolina)

Jug, ca. 1830–60




GMOA 2010.11E

2. Left: Collin Rhodes (1811–1881,

active Edgefield County, South Carolina)

Jug, ca. 1850

Stoneware with alkaline glaze and

kaolin slip decoration



GMOA 2010.50E

2. Center: Thomas Chandler (1810–1854,


Storage jar, ca. 1850


kaolin slip decoration



GMOA 2010.12E

2. Right: Collin Rhodes (1811–1881,


Jug, ca. 1847


bichrome slip decoration



GMOA 2011.1E

2a. Page 9, top: Detail showing incised signature,

“C. Rhodes Maker 1847.” (Detail also appears on

page 3 of this newsletter.)

3. Left: Lucius Jordan (1816–ca. 1880,

active Washington County, Georgia)





GMOA 2010.13E

3. Center: Foreman Pottery Company

(active Lanier County, Georgia, 1885–1910)

Pot with lid, or “bean pot,” ca. 1890




GMOA 2010.15E

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Donor Spotlight

AS LUCK WOULD HAVE IT:Carl Mullis and the Gift of Art

4. Right: Nelson Bass (1846–1918,

Lincoln County, North Carolina)

Storage jug, or “syrup jug,” ca. 1880




GMOA 2010.6E

I’m standing in the newly opened galleries of the Georgia Museum of Art, having just perused the various works of

folk art given by Carl and Marian Mullis,

including R.A. Miller’s “All the Devils,” and

such objects of decorative art on extended

loan from the Mullises as a 19th-century

haint-blue yellow-pine quilt frame and

cupboard, both crafted by unidentified

makers in Georgia (and more precious still

for having original, unrestored surfaces),

when none other than Carl Mullis, whose

reign as chair of the museum’s board of

advisors has been dubbed “the era of

‘Carl the Magnanimous’” by museum

director Bill Eiland, walks into the new

wing. I approached him for a brief

interview and he congenially agreed.

It turns out that Mullis, an avid

collector and art lover, had never even set

foot in a museum before he entered

college. As he told me that afternoon,

and as he writes in his essay in the

exhibition catalogue “Amazing Grace:

Self-Taught Artists from the Mullis

Collection,” “I was lucky—lucky to

go college at Yale University, where there

is great art; lucky to have a scholarship

job at the Yale Art and Architecture Library

where I was exposed to art books, art

students and artists; lucky to have several

friends and classmates who were art

majors. Through simple osmosis I began

to acquire a love for art.”1

After agreeing to chat with me, Mullis

led me directly into the Martha and

Eugene Odum Gallery of Decorative Arts

and over to the cases of stoneware.

Originally from a small town in South

Carolina, Mullis started collecting pottery

from the Edgefield County, South Carolina,

area, and other works of decorative art

from around the country in 2009. He

appreciates that these objects had a

utilitarian value, yet remain beautiful works

of art. He explained that pottery glazes

once contained lead and told me how

South Carolina potters learned to make

alkaline glaze out of wood ash, a process

they read about in a book by a 16th-cen-

tury missionary, who detailed the process

as practiced in China, where it had been

used for centuries.

Among these objects are two exquisite

pots by David Drake, an enslaved potter

and poet who was literate during a time

when it was illegal for slaves to learn to

write. Adjunct curator of decorative arts

Dale Couch had put a work by Drake “at

the top of the wish list,” never expecting to

showcase it in the Odum Gallery for the

museum’s reopening. As luck would have

it, Couch reports, it was only a few months

later when “Carl called me and asked me

to examine two Drake pieces he obtained

at auction in South Carolina—I was

delighted.” As Couch explains, “When I

began planning the Odum Gallery, I

wished to emphasize the decorative arts of

ordinary people of our state and region to

present the aesthetic dimension of

19th-century Georgians. Perhaps the

pinnacle of vernacular craft in the lower

Southern Piedmont is represented by the

important alkaline stoneware produced

there.”

Mullis’s favorite jug, he told me, and

one of the most special objects in his

collection, is the one Collin Rhodes

made in 1847. What makes it unique,

he explained, is the presence both of

Rhodes’s signature and the decorative

element. On the front is a flower, whose

large leaves spread out like wings and

remind Mullis of an eagle or angel taking

flight. Serendipity played a large part in

his acquisition of this cherished piece. As

Mullis tells it, he just happened to be in

the right place at the right time to buy it

from a collector who had owned it for

30-odd years. Within an hour of speaking

with him, Mullis had acquired it.

It is both luck and skill, a keen eye and

a passion for art that has led Mullis to

build his amazing collection. According to

Couch, “Without the Mullis Collection on

extended loan, the common people of our

state’s history—the folk—would go

underrepresented in our collection. He

has tirelessly supported our programs in

many different ways; his enthusiasm is

both contagious and admirable. Working

with Carl has been a high point of my

tenure at GMOA.”

Michael Tod EdgertonPublications intern

1Carl Mullis, “Notes from a Collector,” in

Amazing Grace: Self-Taught Artists from

the Mullis Collection, exh. cat. (Athens:

Georgia Museum of Art, 2007), 11.

3. Right: Billy Bryant (late 19th century,

active Crawford County, Georgia)





GMOA 2010.14E

4. Left: Unidentified maker (probably a

mid-19th-century member of the Fox or Webster

families of the eastern Piedmont of North Carolina)

Storage jug, or “syrup jug,” ca. 1850

Stoneware with salt glaze



GMOA 2010.7E

2a

Originally from a small town in South Carolina, Mullis started collecting pottery from the Edgefield County, South Carolina, area, and other works of decorative art from around the country in 2009.

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BEVERLY BUCHANAN’S WORKS ON THE THEME OF SOUTHERN SHACK ARCHITECTURE draw upon her memories and on buildings she has discovered in Georgia and the Carolinas. Her pieces include mixed-media sculpture, large-scale oil pastels and photographs (which also serve as source material for her other work). Their subjects speak to marginal existence and the will to survive. As an African American growing to maturity in the South, Buchanan had opportunity to develop a special sympathy for blacks experiencing those conditions, although the artist emphasizes that her concerns operate more universally, transcending issues of race.1 Her work also celebrates the shack dwellers’ colorful personalities and their ingenuity and creativity in building, as well as documents a type of structure that often falls victim to decay and area development. Although Buchanan’s own childhood in the South was not deprived, she had frequent contact with hardscrab-ble life, especially in accompanying her father, dean of the agricultural school at South Carolina State College, on trips to advise those struggling to cultivate land.

Publication Spotlight

Beverly Buchanan (American, b. 1940)Jamestown, 1992Oil pastel on paper38 1/4 x 50 inchesGeorgia Museum of Art, University of Georgia; Gift of Mr. and Mrs. James NortonGMOA 1996.14

In 1977, Buchanan, who had been working in New Jersey in public health education, abandoned her plans to become a doctor and moved to Georgia to pursue a career in art. She had been creating Abstract Expressionist paintings and experimenting with more

1. See Buchanan’s statement in 1991 to Trinkett Clark: “One

important thing to clarify is that these shacks are not just about

black people. They are based on people that I knew growing up

who were black. Once I became an adult I saw other people

living in similar conditions. . . . These are not necessarily black

or white structures” (Clark, Parameters, exh. broch. [Norfolk, VA:

Chrysler Museum, 1992], n.p.).

2. Although Buchanan never enrolled in a studio degree

program, she did study in 1971 at the Art Students League

with Norman Lewis, whose work she admired; he and Romare

Bearden became important mentors to her.

3. My thanks to Beverly Buchanan and to Jane Bridges, who

provided information from the artist in an e-mail to me on

An excerpt from “Tracing Vision: Modern Drawings fromthe Georgia Museum of Art,” edited by Carol A. Nathanson

B E V E R LY B U C H A N A N

three-dimensional formats and was beginning to exhibit in New York and elsewhere.2 After settling in Macon, Buchanan received increasing attention for her sculptures, arrangements of textural, blocky forms in cast cement suggestive of ruins, and in 1980 she was awarded Guggenheim and National Endowment for the Arts fellowships. In the mid- to late 1980s, she devel-oped her now familiar series of shack sculptures and drawings, the drawings beginning near the end of the decade. In 1985, Buchanan moved to Atlanta and then settled in Athens, Ga., in 1987. Although she still maintains a home in Athens, her primary residence is in Ann Arbor, Mich.3

In her three-dimensional pieces, Buchanan adopts a more specific, individualized approach to subjects than in her drawings. Although the Georgia Museum’s composition was inspired by Jamestown, a small South Carolina community, the artist notes that her depiction largely represents “a composite of coastal South Carolina towns.”4 Buchanan’s drawings of those places are imaginative and highly poetic. Typically, her shacks have an anthropomorphic vitality reminiscent of Charles Burchfield’s small-town structures. In “Jamestown”, the houses, stilted to protect them from floodwaters, appear to shamble together to communicate.

Buchanan extends the energy of the buildings’ warped contours and skewed boarding into actively sketched surroundings in which red predominates. In the lower area, deep-toned red joins a riot of other colors to describe tall sea grasses in frenzied strokes. Nature and human presence seem conjoined in this vibrant composition.5 The work’s odd shapes and colors give the familiar a sense of fantasy and mystery, an effect reinforced by the houses’ closed-in appearance.6

The artist’s naïve-looking images and the immediacy of her execution continue approaches adopted by early-20th–century Expressionists, who took inspira-tion from children’s and folk art. For late-20th–century Neo-Expressionists like Buchanan, an important source is street art, appealing in its multicultural authorship and narratives. Buchanan’s work also displays a contemporary insistence (encouraged by Abstract Expressionist practice) on transgressing media “purity.” Her drawings, executed on a scale associated with painting, devote equal attention to graphic notation and color, their oil pastel medium contributing to their hybrid existence. Work in traditional pastel chalks is often described in terms of its relationship to both drawing and painting and has even been regarded as a form of painting.

“Tracing Vision: Modern Drawings from the Georgia Museum of Art” is for sale in the Museum Shop, located in the museum

lobby and online. Carol A. Nathanson will give a gallery talk and

sign copies of her book on Thursday, April 7, at 5:30 p.m. See

the calendar on page 12 for more information.

Beverly Buchanan’s works

on the theme of southern

shack architecture

draw upon her memories

and on buildings she has

discovered in Georgia

and the Carolinas.

October 26, 2010.

4. Ibid.

5. Buchanan points up that interconnectedness in describing the

shacks of this “middle southern coastal world” as “set in . . . their

own soup” (comments to Eleanor Flomenhaft, “Shack Portraiture:

An Interview with Beverly Buchanan,” in Flomenhaft and others,

Beverly Buchanan: ShackWorks/A 16-Year Survey [Montclair, NJ:

Montclair Art Museum, 1994], 14).

6. Not surprisingly, one of the artists with whose work Buchanan

feels a connection is Betye Saar (Flomenhaft interview, 14–15).

Saar’s mixed-media assemblages, which often contain architec-

tural elements, reflect that artist’s strong interest in occult

knowledge and practices, including voodoo.

(A detail of this image appears on page 3 of this newsletter.)

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Collections: NEW ACQUISITIONS

Joaquín Torres-García (Uruguayan, 1874–1949)San Rafael, 1928Oil on panelGeorgia Museum of Art, University of Georgia; Promised gift of Martha Randolph Daura GMOA 2010.47E

Torres-García was a prominent proponent of abstraction in Europe and Latin America, a friend and colleague of

Pierre Daura and a fellow cofounder of the artists’ group Cercle et Carré. “San Rafael,” painted shortly before the

founding of Cercle et Carré, marks an important moment in Torres-García’s development of his abstract style. This

painting’s gridlike composition is indebted to Piet Mondrian’s theory of reconciling polar opposites, embodied in

the meeting of vertical and horizontal lines. The artist also made frequent use of the golden section in his quest

for pictorial perfection, what Torres called “Constructive Universalism.” The pictographic abstractions of people

and buildings in “San Rafael” are one of the hallmarks of his mature style and show his interest in pre-Columbian

objects and designs.

Camille Magnus (French, 1850–?) Boisière à l'orée du bois, n.d. Oil on canvasGeorgia Museum of Art, University of Georgia; Gift of Frances Aronson-Healey in progressAccession number pending

Magnus was a member of the Barbizon school

of painting, centered around the French town

of Barbizon, near Fontainebleau Forest, south of

Paris. The group is often considered a precursor

to Impressionism because of the artists’ rejection

of academic theory and tradition. As is typical

of the school, this painting depicts, in loose,

painterly brushstrokes, a moment of everyday

rural life: here, a woman working at the edge

of the woods.

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11 Schedule a Visit to the Georgia Museum of Art

To schedule a class visit or student assignment at the Georgia Museum of Art, please call us at 706.542.GMOA (4662) at least two weeks prior to the visit. Scheduling in advance enables us to prepare for your visit whether it is a docent-led tour, a self-guided visit led by an instructor or students who will be coming on their own to complete an assignment.

Calendar : Spring 2011 Special Events

Keepin’ It Surreal: Student Night at GMOAThursday, April 21, 7 p.m.–MidnightAll students are invited to this GMOA Student

Association–sponsored event. The evening will

include live music, DIY crafting, photo booth,

tours and the game Exquisite Corpse.

An Evening of Writing and ArtThursday, April 28, 7 p.m.M. Smith Griffith AuditoriumUGA Professor Judith Ortiz Cofer’s advanced creative

writing class presents an evening of creative writing

inspired by works of art in the museum’s permanent

collection. A reception will follow.

The Collectors Fundraiser Celebrating Our Collectors: A 10th Anniversary BashFriday, April 29, 6 p.m.Lyndon House Arts Center/GMOAThe Collectors will gather at 6 p.m. at the Lyndon House

Arts Center for an exhibition of the talented Peg Wood’s

art and a champagne toast. Cocktails, dinner and a silent

auction, which will include items from the fashionable

Ms. Faye Chambers’ closet, will follow at 7 p.m. at the

Georgia Museum of Art. Collectors, $65 per person or

$125 per couple; non-members, $80 per person or $150

per couple. Please respond to 706.542.GMOA (4662) by

April 22.

Friends of the Georgia Museum of Art Annual MeetingTuesday, May 17, 5:30–8 p.m.M. Smith Griffith AuditoriumThe Friends of the Museum will celebrate the past year’s

achievements and announce the 2011 recipient of the

“Smitty,” the M. Smith Griffith Volunteer of the Year

Award. A reception will follow. This event is free and the

public is invited.

Tour at Two: Highlights from the Permanent CollectionWednesday, April 6, April 13, May 4, May 11, May 18, June 1 and June 29, 2 p.m.Join docents for a tour of highlights from

the permanent collection.

Spotlight Tour: Highlights from the Permanent CollectionSunday, April 10 and May 22, 3 p.m.Join docents for a tour of highlights from

the permanent collection.

Tour at Two: “The American Scene on Paper: Prints and Drawings from the Schoen Collection”Wednesday, April 20, 2 p.m. Join docents for a tour of this exhibition of prints and

drawings on view for the first time at GMOA.

Tour at Two: “Dalí Illustrates Dante’s ‘Divine Comedy’”Wednesday, April 27, 2 p.m.Join Lynn Boland, Pierre Daura Curator of European Art,

for a tour of 100 illustrations of Dante’s “Divine Comedy”

by Salvador Dalí.

Tour at Two: “American Watercolors from the Permanent Collection”Wednesday, May 25, 2 p.m.Join Paul Manoguerra, chief curator and curator

of American art, for a tour of significant watercolors

from the museum’s holdings.

Tours

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June

This lecture, held in conjunction with the exhibition

“Dalí Illustrates Dante’s ‘Divine Comedy,’” features two

experts from the field: Saiber, scholar of Italian literature

and the recipient of numerous fellowships and awards,

including a Villa I Tatti Fellowship from the Harvard

University Center for Renaissance Studies; and King, a

leader in the critical study of the artist’s work after 1940

and guest curator of “Dalí: The Late Work,” a major

exhibition recently on view at the High Museum of Art.

Family Day: Make it Shine!Saturday, April 2, 10 a.m–noonVisit the Phoebe and Ed Forio Gallery and the Martha and

Eugene Odum Gallery to see GMOA’s collection of silver.

After working with docents on a fun gallery activity, come

to the first-floor classroom to make beautiful shiny objects

of your own. Young musicians from UGA’s Community

Music School will perform at 10:45. Refreshments will

be served.

Family Day: Go Figure!Saturday, June 4, 10 a.m.–noonVisit the Jane and Harry Willson Sculpture Garden to see

the installation “Horizons” by Icelandic sculptor Steinunn

Thórarinsdóttir. Next, come to the first-floor classroom to

create your own figurative sculpture. Refreshments will

be served.

Family Days

Tour at Two: “The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art”Wednesday, June 8 and June 22, 2 p.m. Docents will lead a tour of Italian prints and drawings,

many of which are on extended loan to the museum

from the collection of Giuliano Ceseri.

Spotlight Tour: “The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art”Sunday, June 12, 3 p.m.

Gallery Talk and Book Signing: Tracing Vision through Modern Drawings at the Georgia Museum of ArtThursday, April 7, 5:30 p.m.M. Smith Griffith Grand HallCarol A. Nathanson, professor emeritus of art history at

Wright State University, will discuss drawings from the

museum’s permanent collection on view in the Boone

and George-Ann Knox II Gallery and featured in her

new book “Tracing Vision: Modern Drawings from the

Georgia Museum of Art.” Nathanson will also sign copies

of the book, available for purchase in the Museum Shop,

located in the museum’s lobby and online.

Lecture: “Dalí and the Surrealists: An Introduction”Thursday, April 14, 4 p.m.Lynn Boland, Pierre Daura Curator of European ArtM. Smith Griffith AuditoriumIn conjunction with the exhibition “Dalí

Illustrates Dante’s ‘Divine Comedy,’” organized by

the Las Cruces Museum of Art, Las Cruces, N.M.,

Lynn Boland will provide a brief history of the

Surrealist movement and its underlying theories

along with an overview of Dalí’s art. Boland will also

explore the turbulent relationship Dalí had with

other Surrealists, which colored his later career.

Lecture: “Hyperdimensionality in Salvador Dalí’s Illustrations of Dante’s ‘Paradiso’”Thursday, April 21, 5:30 p.m. M. Smith Griffith Auditorium Arielle Saiber, associate professor of Italian and chair

of the department of Romance languages at Bowdoin

College, Brunswick, Maine, and Elliott King, lecturer

in European modern art at the University of Colorado

at Colorado Springs and the University of Denver.

Co-sponsored by the Willson Center for Humanities

and Art.

Lectures & Gallery Talks

Workshops & Classes

Workshop: Drawing from Nature at the State Botanical Garden of GeorgiaTuesday, April 26, 4–6 p.m.State Botanical Garden of Georgia Visitor Center, Classroom 1GMOA and the Just My Imagination statewide outreach

program (sponsored by the Turner Family Foundation in

memory of Nancy C. Turner) present a workshop on

drawing from nature at the State Botanical Garden of

Georgia. Join artist Toni Carlucci to learn some of the

secrets to drawing plants, flowers and other objects of

nature using techniques that are fun, effective and easy

to practice at home. Open to children ages 8 and older.

This workshop is free, but pre-registration is required.

Call the State Botanical Garden of Georgia at

706.542.6156 to reserve a spot.

Drawing in the GalleriesThursday, May 5, May 19, June 9 and June 23, 5–8 p.m.Visitors are invited to sketch in the galleries during these

hours. No instruction provided. Pencils only.

Day camps, day care centers and community centers are invited to the Georgia Museum of Art this summer for tours and related hands-on activities. Please call 706.542.GMOA (4662) to schedule your visit.

“Un Chien Andalou” and “L’Age D’Or” Thursday, May 12, 7 p.m.M. Smith Griffith AuditoriumIn conjunction with the exhibition “Dalí Illustrates Dante’s

‘Divine Comedy,’” the museum will screen two of the

best-known Surrealist films of the avant-garde, both

collaborations between Spanish filmmaker Luis Buñuel

and Salvador Dalí: “Un Chien Andalou” (1929), a silent

film (French with English intertitles, 16 minutes) and

“L’Age D’Or” (1930), Buñuel’s first feature film (French

with English subtitles, 63 minutes).

“Herb and Dorothy”Thursday, June 16, 7 p.m.M. Smith Griffith Auditorium“Herb and Dorothy” (2008) tells the extraordinary story

of Herbert Vogel, a postal clerk, and Dorothy Vogel, a

librarian, who managed to build one of the most impor-

tant contemporary art collections in history with very

modest means. Directed by first-time filmmaker Megumi

Sasaki, the film received the Golden Starfish Award for

the Best Documentary Film and Audience Award from

the 2008 Hamptons International Film Festival. (English,

89 minutes).

Films are generously sponsored by the UGA Parents & Families Association.

Films

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Check our website for the most recent information on events: www.georgiamuseum.orgAll events are free and open to the public unless otherwise noted.

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 and are free and open to the public.

The Georgia Museum of Art would like to thank those who generously sponsored GMOA on the Move events while the museum was closed for construction: Ashford Manor, Athens-Clarke Heritage Foundation,

The Athens Blur Magazine, Brick House Studio, Ciné, Flagpole, Lyndon House Arts Center, Mirko Pasta, C.L. Morehead Jr.,

The National, Dr. Richard Neupert, Robert C. Williams Paper Museum, Stan Mullins Studio, State Botanical Garden of Georgia,

Terrapin Brewery, Tiger Mountain Vineyards, Town and Gown Players, Tim Walsh and Lamar Wood.

The Georgia Museum of Art wishes to thank those who made Art Expands, the museum’s reopening celebration, possible:The Adsmith, Big City Bread, Jenny Broadnax, Ann Cabaniss, Dondero’s Kitchen, Earthfare, Five & Ten, Five Star Day,

Flowers, Inc., the Friends of the Georgia Museum of Art, Grant Design Collaborative, Hotel Indigo Athens,

Ike & Jane, Jimmy John’s, Jittery Joe’s Coffee, Marti’s at Midday, Moe’s Southwest Grill, The National,

Speakeasy, UGA Office of the Senior Vice President for External Affairs, White Tiger Gourmet and Zoomworks.

Salvador Dalí (Spanish, 1904–1989)

The Waterfall of the Phlegethon

Inferno, Canto 34

Color woodblock print

13 x 10 inches

© 2008 Salvador Dalí, Gala-Salvador

Dalí Foundation/Artists Rights

Society (ARS), New York

Arielle Saiber

Elliott King

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Museum Notes

WEDDINGS

Curator of Education Cecelia Hinton and David

Warner eloped in December and were married at St.

Alban’s Episcopal Church in Davisdon, N.C., by Cece’s

brother, the Reverend David Buck, Rector of St. Albans.

We are happy to present Mr. and Mrs. David Warner!

AWARDS

GMOA received six awards at the Georgia

Association of Museums and Galleries annual conference

held in Cartersville January 19–21. The museum’s out-

reach program Art Adventures won Education Program of

the Year; “Echoes from the Continent: Franco-Germanic

Chairs in Georgia,” won Museum Exhibition of the Year

(budget < $100,000); Cecelia Warner (neé Hinton) won

Museum Professional of the Year; the “Corpus of Early

Italian Paintings from North American Public Collections:

The South” won Special Project of the Year; and Betty

Myrtle took home the award for Volunteer of the Year.

Congratulations to Warner and Myrtle and also to Carissa

DiCindio, curator of education; Dale Couch, adjunct cura-

tor of decorative arts; and Cynthia Payne, special project

editor for the “Corpus.”

NEW PUBLICATIONS

Be sure to pick up copies of our new collections

catalogues, “One Hundred American Paintings,” by chief

curator and curator of American art Paul Manoguerra,

and “Tracing Vision: Modern Drawings from the Georgia

Museum of Art,” edited by Carol A. Nathanson, in the

Museum Shop, located in the museum lobby and online.

Both catalogues were published to coincide with the

museum’s grand reopening and feature essays accompa-

nied by full-color reproductions of works in the museum’s

permanent collection.

GiftsIn addition to the gifts received for Elegant Salute, listed on page 5, the Georgia Museum of Art received the following gifts between Oct. 22, 2010, and Feb. 4, 2011:

ALFRED HEBER HOLBROOK SOCIETY

Mr. and Mrs. William E. Chambers

Ms. Martha Thompson Dinos

Mr. and Mrs. Edgar J. Forio

Mr. and Mrs. Harry Gilham

Mrs. Frances Yates Green

Mrs. M. Smith Griffith

Don and Susan Myers

Ms. Kathy B. Prescott and Mr. H. Grady Thrasher III

Mr. and Mrs. Levon C. Register

Sanford H. and Barbara H. Orkin Foundation

BENEFACTORMs. Beverly Bremer

Mr. William Darrell Moseley

PATRONMr. and Mrs. Robert E. Burton

Ms. Margaret A. Rolando

Mr. and Mrs. Alan Rothschild

Drs. Norman J. and Mary M. Wood

DIRECTOR’S CIRCLEDrs. Wyatt and Margaret Anderson

Ms. Latrelle F. Brewster

Dr. and Mrs. W. Harvey Cabaniss Jr.

Mr. and Mrs. Harry T. Catchpole

Mr. and Mrs. Robert B. Currey

Mr. and Mrs. James Fleece

Mrs. Mary Ann Griffin

Mrs. Julie Green Jenkins

Mrs. Sue Weems Mann

Mr. and Mrs. Alex Roush

Mr. and Mrs. Walter A. Sams III

The Selig Foundation

Mrs. Patricia G. Staub

Ms. Peggy Hoard Suddreth

The Georgia Museum of Art received the following gifts between Dec. 14, 2010, and Feb. 16, 2011:

In memory of Mrs. James Omar Cole by Mr. and Mrs. Cole Kelly

In memory of Ann Mullin Fowler by Ann Whatley Mullin

In memory of Samuel Lawton Haygood by Mr. and Mrs. Cole Kelly

In memory of Boone Aiken Knox by Dr. and Mrs. William L. Clark

and Mr. and Mrs. Edgar J. Forio

In memory of Andrew Ladis by Patricia Wright and Shelley Zuraw

In memory of Eloise Ellis Simons by Mr. and Mrs. Edgar J. Forio

In honor of William U. Eiland by Peggy Suddreth and Patricia Wright

In honor of Hannah Harvey on her birthday by Lyssa and Jonathan Harvey

In honor of Annelies Mondi by Patricia Wright

In honor of Carl Mullis III by his buddies at B.N.O.

In honor of Carolyn and Rhett Tanner by Dr. and Mrs. Hugh McLeod III

Jim and Rene Nalley dedicate the Marilyn Overstreet Nalley Galleries.

Kids explore the Jane and Harry Willson Sculpture Garden.

REOPENING EVENTS

Event Photos

The popular Normaltown café and bakery is now serving

fresh-made coffee, sandwiches and baked goods in the

new museum lobby.

Tuesday–Saturday 10 a.m.–4 p.m.

Have breakfast, lunch or a snack, enjoy a spectacular view of the Jane and Harry Willson

Sculpture Garden and support the museum.

Ike & Jane at the Georgia Museum of Art!

NOW OPEN!

(Ike & Jane generously donates 10 percent of profits from its GMOA location to the Friends of the Georgia Museum of Art!)

Ribbon Cuttings

Family Day

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Membership

JOIN THE NEW GMOA!

Not a member? Join the museum during one of the

most exciting moments in its history! Join on our website,

www.georgiamuseum.org, or call 706.542.0437.

JOINBeverly Pepper

Friends Preview

Student Night

Top: Student docent Elizabeth Perry discusses Elizabeth Jane

Gardner’s “La Confidence” while other students (bottom photo)

visit the Byrnece Purcell Knox Swanson Gallery.

Martha Daura speaks to members of the Georgia Children’s

Chorus about “Martha at Thirteen,” the portrait her father,

Pierre Daura, painted of her in 1943–44.

Beverly Pepper stands in front of her sculpture “Ascension.”

The popular Normaltown café and bakery is now serving

fresh-made coffee, sandwiches and baked goods in the

new museum lobby.

Tuesday–Saturday 10 a.m.–4 p.m.

Have breakfast, lunch or a snack, enjoy a spectacular view of the Jane and Harry Willson

Sculpture Garden and support the museum.

Ike & Jane at the Georgia Museum of Art!

Parking for the Georgia Museum of Art is available in the Performing Arts

Center (PAC) parking deck, which is located at the rear of lot E11 off River Road

(see map). There is no free visitor parking on campus during regular business hours.

Parking in the PAC deck is free on Saturdays and Sundays and after 5:30 p.m. on

weeknights with a valid UGA ID or permit, unless there is a special event. Free parking

(that is, parking without a permit) is available in surface lot E11 on Saturdays and

Sundays and after 4 p.m. on weekdays. For more event photos see www.flickr.com/gmoa

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UNIVERSITY OF GEORGIA

90 Carlton Street Athens, Georgia 30602-6719www.georgiamuseum.org

address service requested

non-profit org.

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paid

athens, ga

permit no. 49

f a c e tspring 2011

Elegant Salute

Donor Spotlight

Tracing Vision

facet – spring 2011

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