Georgia Museum of Art Georgia Museum of Art
Athens, GA
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Georgia Museum of Art
90 Carlton Street
University of Georgia
Athens, GA 30602-6719

General: 706.542.GMOA (4662)
Fax: 706.542.1051


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Material Georgia 1733–1900: Two Decades of Scholarship
Saturday, Nov 16, 2019 — Sunday, Mar 15, 2020

This exhibition will review 20 years of scholarly activity at the Henry D. Green Center for the Study of the Decorative Arts. It will include numerous examples of furniture, textiles, pottery and metal work, present a synthesis of Green Center work, show new research and point the way for future research in Georgia-related decorative arts. It will be accompanied by an extensively illustrated book published by the museum.

Mary Lee Bendolph: Quilted Memories
Saturday, Oct 05, 2019 — Sunday, Dec 29, 2019

This exhibition features quilts created by artist Mary Lee Bendolph spanning three decades. Bendolph worked in textile-related fields until 1992, when she retired and then had more time to devote to quilting. The artist, who is from Gee's Bend, Alabama, comes from a family with generations of talented quilt makers.Bendolph learned to quilt from her mother, who helped launch the Freedom Quilting Bee during the 1960s. She began a career working for local textile mills, making garments such as army uniforms. She also earned additional funds for a brief period working with women at the Quilting Bee to provide for her family. Bendolph began to hone her own style in the years that she was affiliated with this important craft cooperative, which included several family members. She was also one of many members of the Gee’s Bend community to accompany Dr. Martin Luther King Jr. in his march at Camden, Alabama (across the river from Gee’s Bend) in 1965. Inspired by King’s activism, she became involved with local voting rights demonstrations.Quilt making was a natural activity that took place between planting and harvesting periods throughout the year in the Gee’s Bend community. The collaborative process of making quilts often entailed conversations, singing, and prayers, which produced bonds of trust among the quilters, who expressed joy in moments of personal triumph and comfort in times of emotional trauma. Annually, Bendolph had the opportunity to learn from other more experienced quilters but also time to improvise and develop her own style. Quilting done individually provided opportunities for self-reflection and personal healing. Bendolph has produced hundreds of colorful, geometric designs linked to family memories, local architecture, and images from daily life using her preferred materials of family clothing scraps over newer cloth.Like others who emerged from the Freedom Quilting Bee, Bendolph’s experimentation with styles attracted the attention of collector William Arnett, whose efforts to document and promote Gee’s Bend led to exhibition opportunities. Since the mid-2000s, Bendolph has embraced opportunities to promote the quiltmaking experience as not only evidence of aesthetic excellence among women but also as significant in community building and personal devotion.

Rachel Whiteread
Through March 08, 2020
Jane and Harry Willson Sculpture Garden

Five cast-stone sculptures by Rachel Whiteread reinterpret the artist’s earlier resin castings of the space beneath chairs. The works are arranged in a table setting, reinforcing their domestic nature and origins. Variations in the stone type and surface textures of each piece make use of changes in outdoor lighting over the course of a day. All loans are courtesy of Gagosian. The museum has also selected works on paper by Whiteread and related artists from its collections that will be on display inside, in the galleries on the second floor. These works provide additional context to the use of negative space in Whiteread’s work.

Whiteread was born in London in 1963. She studied painting at Brighton Polytechnic from 1982 to 1985 and sculpture at the Slade School of Fine Art from 1985 to 1987. In 1993, she was the first woman to win the Turner Prize. She represented the British Pavilion at the 47th Venice Biennale in 1997, and in 2000 she completed a commission for the Holocaust Memorial at the Judenplatz in Vienna, Austria. From 2017 to 2018 a retrospective exhibition of her work was on view at the Tate Britain in London and the National Gallery of Art in Washington, D.C.

Curator: Annelies Mondi, deputy director

Before the War: Photographs of Syria by Peter Aaron
Saturday, Aug 31, 2019 — Sunday, Dec 01, 2019
Boone and George-Ann Knox Gallery II

In 2009, Peter Aaron traveled with his family to Syria. Aaron spent his trip photographing city streets and sites in and around Syria, such as the desert city of Palmyra or Krac de Chevaliers (above), the largest fortified castle built by the crusaders. Two years after his trip, civil war broke out in Syria, and since then, many of the monuments in these photographs have been destroyed. This exhibition will include images from Aaron’s book “Syria: Before the Deluge,” which contains photographs from his trip.

The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Drama and Devotion in Baroque Rome
Through August 23, 2020
Nelda Damiano

Rome has long been a key destination for artists. At the beginning of the 17th century, painters from across Europe flocked to the Eternal City to see the revolution caused by painter Michelangelo Merisi da Caravaggio (1571 – 1610). Everyone copied his stark contrast of light and dark, powerful realism and dramatic sense of staging. The works presented in this exhibition, all from the Museum and Gallery at Bob Jones University, celebrate how Caravaggio shaped the Italian Baroque and galvanized numerous followers. One of the main highlights is a Crucifixion by Peter Paul Rubens, who spent more than eight years in Italy.

Nelda Damiano, Pierre Daura Curator of European Art

Storytelling in Renaissance Maiolica
Apr 27, 2019 — Jan 05, 2020
Martha Thompson Dinos Gallery

This focused exhibition brings together a small selection of tin-glazed earthenware produced in the duchy of Urbino, Italy, in the 16th century. Colorfully decorated with ornamental motifs and narrative scenes from the Bible, classical mythology and ancient history, these ceramic vessels demonstrate the extension of the Renaissance revival of Greek and Roman antiquity into private and public life. In celebration of the Georgia Museum of Art’s acquisition of two objects from this period, “Storytelling in Renaissance Maiolica” investigates the visual links between these objects and the art of classical antiquity along with a range of decorative motifs and subjects.

Nelda Damiano, Pierre Daura Curator of European Art, and Perri Lee Roberts, professor emeritus, University of Miami

The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

Belleek Porcelain from the Collection of Linda N. Beard
Wall case gifted by Linda N. and Larry H. Beard, permanent collection galleries

This periodically rotating exhibition of Belleek porcelain comprises masterworks from the comprehensive and noted collection of Linda N. Beard. The roots of Belleek porcelain production lay in the lands of John Caldwell Bloomfield, who in 1849 had a geologic survey of his property in the village of Belleek, County Fermanagh, in what would later become Northern Ireland, that revealed rich deposits of minerals. In large part, Belleek production came into being as a response to economic distress, as opposed to affluence and the rise of empire that had served as the basis for earlier factories. Characterized by a distinctive and sensuous “pearl” glaze, Belleek porcelain has uniform quality often not found in the production of other great European porcelain factories. Ireland, then an impoverished country with no strong tradition of porcelain manufacture, seems an unlikely venue for the rise of a world-class center making such a refined and technically challenging product. Yet, the Belleek firm, Belleek Pottery Works Company Ltd., was a success in all its aims, both economic and artistic.

Dale Couch, curator of decorative arts

The W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art. This exhibition is also supported by the Georgia Humanities Council and the National Endowment for the Humanities and through appropriations from the Georgia General

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