Born and resident in Tuscumbia, Ala., for nearly all her life, Mary Wallace Kirk (1889–1978) is virtually unknown today as an artist, despite her training at the Art Students League in New York, where she studied etching with Harry Sternberg.
Bernd Oppl makes architectural models inspired by the films of Alfred Hitchcock and other horror-genre legends, then introduces an unpredictable substance (for instance, ice or gelatinous goo) and films the effects taking place within those spaces.
Organized by the Newcomb Art Gallery and the Smithsonian Institution Traveling Exhibition Service, "Women, Art and Social Change: The Newcomb Pottery Enterprise" is the largest presentation of Newcomb arts and crafts in more than 25 years.
Fifty-seven works from the Westmoreland's permanent collection make up this exhibition that spans 200 years of American art, from colonial times to the mid-20th century, as the United States came into its own as the cultural capital of the world.
This focused exhibition of decorative arts coincides with the seventh biennial Henry D. Green Symposium of the Decorative Arts and will highlight new acquisitions and other objects of importance in furniture, silver and other mediums.
In 1946, amid a “Cold War” conflict that emerged between the United States and the Soviet Union after World War II, the Department of State embarked on an innovative program of cultural diplomacy. At the heart of this initiative was a project known as Advancing American Art.
Fernando La Rosa brings a deep array of perspectives to his portraits of the awesome stones and vistas of the Silent Cities of his native Peru. He has visited these sites over many years, during which time his photography has been grounded in a rigorous questioning of the image.
The nature of film and video as a medium often compels artists to focus on the idea of seeing and being seen. In this exhibition, Charles Atlas, VALIE EXPORT and Shelly Silver all address the "rules of looking" and how they are affected by gender roles.
This exhibition presents an historical overview of Ulrich A. Middeldorf's career as an art historian, teacher and curator.
This exhibition is the first major one devoted to the art and activities of Cercle et Carré (Circle and Square), the artistic group cofounded in 1929 by Pierre Daura (1896–1976), Joaquín Torres-García (1874–1949) and Michel Seuphor (1901–1999).
Organized by the Memphis Brooks Museum of Art and the Arkansas Arts Center, this exhibition features works by Carroll Cloar from major public collections as well as rarely seen pictures still in private hands.
"Exuberance of Meaning" features many works of art and books, most of which Catherine the Great commissioned for her own use or for the courtiers who received them as gifts.
Presented in conjunction with "Cercle et Carré and the International Spirit of Abstract Art," this exhibition comprises a selection of abstract films from the 1920s discussed by essayists in the third issue of Cercle et Carré's journal.
This exhibition highlights some works that have recently entered the collection, including gifts from Amalia Amaki, Gordon W. Bailey, Phillip and Juanita Greenspan, George-Ann Knox and Larry and Brenda Thompson.
Ann Bonfoey Taylor (1910–2007) created a life that personifies what an American woman can be—Olympic skier, championship tennis player, licensed pilot, successful skiwear designer, skilled sportswoman—but above all, she was a style icon.
This exhibition features ceramic works that reveal the progression of Athens artist Michael Simon's work over the course of his career. The objects are Simon's "pick of the kiln": the pieces he chose to keep after every kiln firing.
Decorative arts historians coined the term "face jug" to refer to a pottery type created by the African American enslaved community in the Edgefield district of South Carolina. The small vessel is turned stoneware with facial features—wide eyes and bared teeth—made of kaolin, a locally sourced clay.
This exhibition will feature five paintings by the French artist Bernard Smol (1897–1969) that are currently in the museum’s collection. Due to limited storage space and evolving collecting philosophy, the museum staff has decided to “deaccession,” or remove from its collection, all but one of the works. Visitors will be able to vote on which one they would like the museum to keep, and the curatorial staff will take those votes into consideration
This project involves the public exhibition and interdisciplinary study of an important but little-known ancient marble relief sculpture with vestiges of ancient painting, which is in the David M. Robinson Memorial Collection of Greek and Roman Art at the University of Mississippi Museum. Mark Abbe, assistant professor of ancient art at UGA’s Lamar Dodd School of Art serves as designer of the project, which will involve working with UGA’s Center for Applied Isotope Studies, department of chemistry and department of classics.
William Henry Johnson (1901–1970) is a pivotal figure in modern American art. A virtuoso skilled in various media and techniques, he produced thousands of works over a career that spanned decades, continents and genres. Now, on view in its entirety for the first time, a seminal collection covering key stages in Johnson’s career will be presented in "William H. Johnson: An American Modern."
Referred to as a "radial radical," the African American contemporary artist Chakaia Booker used tires as her primary material in constructing these large-scale sculptures on loan from Marlborough Gallery, Chelsea, N.Y.
Spanish-born Manolo Valdés is known for his paintings, prints, drawings and sculptures, which draw heavily from Spanish art history through appropriating and simplifying familiar forms.
Corresponding with an upper-level art history course taught by chief curator Paul Manoguerra, “Americans in Italy” features art objects dealing with Italian landscapes, people, buildings and life yet fashioned by American artists.
At long last, the Lamar Dodd School of Art's Master of Fine Arts degree candidates' exit show returns to the Georgia Museum of Art. This exhibition is always diverse in media and aesthetics and provides valuable real-world experience for the students.
Drawn from an extensive private collection of African art in Savannah, Ga., this special exhibition includes sacred, meaningful objects created by numerous peoples in sub-Saharan Africa.
Drawing from private collections and from the permanent collection of the Georgia Museum of Art, “Water Music” will bring together diverse visual perspectives on the theme of water and the idea of water music.
Organized by Juniata College in Huntingdon, Pa., and Christiane H. Citron, this retrospective exhibition features work by award-winning painter and printmaker Minna Citron (1896–1991). Citron’s New York-based career was long and distinguished, with numerous exhibitions worldwide and her works represented in the permanent collections of major museums in the United States and abroad.
Organized by the Monterey Museum of Art, John Haley: Berkeley School Abstract Expressionist includes abstract paintings by the American artist John Haley (1905-1991) from the collections of several private lenders. Haley studied with Hans Hofmann in Germany in the 1920s and became an important and influential art instructor at the University of California, Berkeley, one of the most innovative art departments in the country at that time.
From the late 1960s through the late 1970s, the Colorado-born but California-based artist De Wain Valentine made large-scale sculptures in polyester resin. Their simple shapes (discs, slabs, diamonds) belie the complex processes by which they were created, as Valentine had significant technical input into the chemical composition of the new material.
This documentary tells the story, from conception to display at the Getty Center, of De Wain Valentine’s resin sculpture “Gray Column.”
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 are on display in the Atlanta airport’s T gates.
In 1956, George Beattie, an Atlanta-based artist, painted a series of eight murals that hung at the Georgia Department of Agriculture’s building in downtown Atlanta until 2011. The four that will be on display here address the state’s history of agriculture, beginning with a representation of the American Indians who originally lived in the region and including two that address slavery.
Organized by the Birmingham Museum of Art, “The Look of Love: Eye Miniatures from the Skier Collection,” is the first major exhibition of lover’s eye jewelry. Exquisite in craftsmanship, unique in detail, and few in number, lover’s eye miniatures are small-scale portraits of individual eyes set into various forms of jewelry from late-18th- and early-19th-century England.
Perhaps best known in Georgia for his depictions of Southeastern Conference mascots tussling, Jack Davis (b. 1924) has had a lengthy career in illustration and cartooning, with an immediately recognizable style and an influence that extends far beyond his home state.
Francisco de Goya (1746–1828) is recognized as the foremost Spanish artist of the late 18th and early 19th centuries. Perhaps his greatest achievement as a printmaker, this famous series of prints concentrates on the lengthy Peninsular War (1808–1814) between Spanish forces and the invading army of Napoleon Bonaparte.
Organized by the Snite Museum of Art at the University of Notre Dame, this exhibition, including works by Simon Vouet, Antoine Watteau, François Boucher, Jean-Honoré Fragonard and Jacques-Louis David, illustrates the history of French drawing from before the foundation of the Royal Academy of Painting and Sculpture in 1648 through the French Revolution of 1789 and its subsequent reforms of the 1800s.
In the early 1970s, the New York-based group Experiments in Art and Technology (E.A.T.), looked to put together a collection of some of the most important American art of the 1960s, with the aim of donating it to a public museum. They chose 30 works in a variety of media and selected the Moderna Museet in Stockholm as the recipient because of its strong history of support for American contemporary art.
James E. Routh Jr. was born in New Orleans in 1918 and grew up in Atlanta. In 1936, Routh enrolled in the Art Students League in New York City to study painting, printmaking and lithography.
In partnership with the Jacob Burns Foundation, GMOA serves as a repository of Gerald Brockhurst’s paintings, prints and drawings, as well as the archive of his correspondence and other written records.
This exhibition features video and audio winners and honorable mentions from the Kress Project, a two-year initiative celebrating the 50th anniversary of the museum’s Samuel H. Kress Study Collection that includes an international juried art competition and online exhibition of creative responses inspired by the Georgia Museum of Art’s Kress Study Collection of Italian Renaissance and Baroque paintings. It includes four works of video art, a recorded song and a taped dance piece.
This exhibition, held in conjunction with "A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery" and drawn from the permanent collection of the Georgia Museum of Art, highlights prints of Albrecht Dürer, perhaps the most important Northern Renaissance artist and one of the most accomplished printmakers in Western art.
Organized by the Frist Center for the Visual Arts in Nashville, Tenn., and the Bob Jones University Museum & Gallery in Greenville, S.C., “A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery” and its accompanying catalogue, which have been awarded financial support from the Samuel H. Kress Foundation, presents 28 works of art from one of the finest collections of Old Master paintings in the Southeast.
Raised in Atlanta, John Baeder (b. 1938) is best known for his photorealist paintings and prints of mid-century diners. Originally considered mere source material for his paintings, Baeder’s photographs have now emerged as stand-alone works of art.
A collaboration with undergraduate fabric design students at UGA’s Lamar Dodd School of Art, this exhibition takes as its inspiration Gentry magazine, a 1950s men’s lifestyle magazine that artfully captured nearly a decade of trends in menswear, with special emphasis on textiles and color.
This series showcases videos of performances dealing with issues of identity by three seminal artists of the 1970s and '80s.
American printmaker Polly Knipp Hill began working as an artist in the 1920s and garnered increased recognition in the decades that followed. Although she initially focused on European architecture, in her mature period her broad body of work grew to encompass poignant, amusing and slightly satirical genre scenes that reflected American culture.
This is the first major exhibition of Ault’s work in more than 20 years and includes 47 paintings and drawings by Ault and his contemporaries. It centers on four paintings Ault made between 1943 and 1948 depicting the crossroads of Russell’s Corners in Woodstock, N.Y
Henry Eugene “Gene” (or “Shorty”) Thomas (1883–1965) worked from his home in Athens, Ga., as an antiques dealer and furniture maker for more than four decades. The first exhibition devoted to this artist and his work, "Georgia Bellflowers" documents Thomas’ roles in the Colonial Revival in the United States, in the history of the study of decorative arts in the South and as a 20th-century Georgia craftsman.
In 2001, The Will Henry Stevens Memorial Trust via Janet Stevens McDowell, the artist’s daughter, presented the Georgia Museum of Art a large gift of diverse work by the American painter. Stevens was born in Vevay, a small Indiana town along the Ohio River between Louisville and Cincinnati. He studied at the Cincinnati Art Academy, run by Frank Duveneck, worked at Rookwood Pottery and attended classes at the Art Students League in New York with American Impressionists William Merritt Chase and Jonas Lie.
This exhibition features videos submitted to the Kress Project, a competition and online exhibition of creative responses inspired by the Georgia Museum of Art’s Kress Study Collection of Italian Renaissance and Baroque paintings. The Kress Project is organized by the Georgia Museum of Art and made possible by a grant from the Samuel H. Kress Foundation. Visit http://www.georgiamuseum.org/kressproject for more details and to see submissions in other media.
One of the key elements in GMOA’s expansion was the construction of its Study Centers in the Humanities, four named units containing archives that supplement the museum’s collection and promote hands-on research. This small exhibition serves as an introduction to the Henry D. Green Center for the Study of the Decorative Arts.
Edward Lycett (American, b. England, 1833–1910) was an important porcelain painter who immigrated to New York from Great Britain in 1861. By the early 1880s, Lycett and his family had settled in Atlanta and opened a studio devoted to porcelain decoration with the ancillary mission of educating young women.
Organized by the Bone Creek Museum of Agrarian Art in David City, Neb., this retrospective exhibition presents Nebraska native Dale Nichols’ nostalgic images of rural America. Paintings dating from 1935 to 1972 establish Nichols not only as a regionalist in the company of such great artists as Grant Wood and Thomas Hart Benton, but one who transcended the confines of the genre to achieve universal success.
Organized by the Mint Museum of Art in Charlotte, N.C., this exhibition includes images from the Mint’s Pratt Collection, one of the largest collections of Clare Leighton’s work in the country and spans Leighton’s career from 1923 to 1965. “Quiet Spirit, Skillful Hand: The Graphic Work of Clare Leighton” provides a full survey of Leighton’s career, from her earliest prints in the 1920s that depict the labors of the English working classes to a selection of her rarely seen watercolors.
An installation of “Horizons,” by the Icelandic artist Steinunn Þórarinsdóttir (pronounced Stay-nun Thorens-daughter), will inaugurate GMOA’s Jane and Harry Willson Sculpture Garden, which is dedicated to women sculptors. Previously installed in such contexts as fields, forests, galleries and gardens, 12 androgynous, life-sized, cast-iron figures are connected as a group by a polished glass band inserted across each figure’s chest.
This exhibition features Libby Bailey’s holiday woodcuts, which have a distinctly Italian flavor. A Georgia native and an art history professor at Wesleyan College in Macon, Ga., Bailey has studied art in Cortona and Florence, Italy, and has recently begun to study art in England, France and Germany.
This exhibition of works on paper from the museum’s permanent collection, originally printed in l’Estampe originale, a quarterly started in March 1893 in France, focuses on the circumstances that coalesced to make the quarterly such a success.
Midwestern artist Edmund Lewandowski (1914–1998) was an influential painter and art educator known for his images of industrial, urban and architectural subject matter. Organized by the Flint Institute of Arts, “Edmund Lewandowski: Precisionism and Beyond” surveys all aspects of Lewandowski’s oeuvre, which includes a wide array of subjects in varied styles and media.
Anthony Goicolea was born in 1971 in Atlanta, Ga., and is currently based in Brooklyn, N.Y. He obtained a BA in art history and a BFA in painting from the University of Georgia and an MFA from the Pratt Institute. As part of the Georgia Museum of Art’s reopening, he has created an original photo mural and video installation.
One of the key elements in GMOA’s expansion was the construction of its Study Centers in the Humanities, four named units containing archives that supplement the museum’s collection and promote hands-on research. This small exhibition serves as an introduction to three of the four: the C.L. Morehead Jr. Center for the Study of American Art, the Jacob Burns Foundation Center (devoted to the study of prints and drawings) and the Pierre Daura Center.
This focused exhibition presents works by private presses, including books printed by LaNana Creek Press (Charles D. Jones, Stephen F. Austin State University, Nacogdoches, Texas), the Press of the Nightowl (Dwight Agner, Athens, Ga.) and Tinhorn Press (Chuck Robertson, Atlanta, Ga.).
This exhibition illustrates the fascinating fusion of art with popular culture and music history. Featuring the work of one of the nation’s oldest and continuously printing shops—Nashville, Tennessee’s Hatch Show Print—it highlights the uniquely American posters produced to advertise everything from vaudeville shows, state fairs and stock car races to the Grand Ole Opry, Elvis Presley and Herbie Hancock.
Drawing from the outstanding collection of works on paper at the Georgia Museum of Art, this exhibition will provide a history and overview of Japanese woodblock prints or ukiyo-e—literally, pictures of the floating or fleeting world. As their name suggests, these landscapes, cityscapes and scenes of domestic life were intended to emphasize the impermanence and fleeting beauty of the world around us.
Lamar Dodd––teacher, arts administrator, advocate and artist––rebuilt and revitalized the University of Georgia's art department beginning in 1937. He was the most recognized artist of his generation from the state of Georgia and is considered the "godfather" of the Georgia Museum of Art.
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.
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.
Approximately 20 small works in steel and such materials as onyx, porphyry, marble and granite by American sculptor Beverly Pepper as well as small-scale models of her site-specific work “Ascension,” which is permanently installed in the quad between the museum, the Hugh Hodgson School of Music, the Performing Arts Center and the Lamar Dodd School of Art.
Dalí considered this project to be one of the most important of his career. Organized by the Las Cruces Museum of Art in New Mexico, this exhibition contains all one hundred prints from Salvador Dalí’s “Divine Comedy” Suite and is part of a ten-city national tour developed and managed by Smith Kramer Fine Art Services.
“The American Scene on Paper” includes 153 prints and drawings by American artists from across the country, mostly working between the wars. Smaller versions of this exhibition traveled to the Gibbes Museum of Art in Charleston, S.C., and to the Columbus Museum of Art in Columbus, Ga., in 2009.
Seventy-two works by 67 black artists who typically have not been recognized in the traditional narratives of African American art make up “Tradition Redefined,” an exhibition organized by the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park.