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Morris Museum Morris Museum of Art
Augusta, GA
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Morris Museum of Art: Celebrating Southern Art and Culture
One 10th Street, Ste. 320
Augusta, GA 30901-0100
Phone: 706-724-7501
Fax: 706.724.7612
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www.themorris.org
www.southernsoulandsong.org
Vast Scale—Intimate Space: Paintings by Cheryl Goldsleger
Through August 9, 2020

Vast Scale—Intimate Space: Paintings by Cheryl Goldsleger is a small exhibition—just five paintings—that represents and shares big ideas about time and space and our place in each. It is a valedictory celebration of Goldsleger’s wonderfully successful term as the William S. Morris Eminent Scholar in Art at Augusta University.

Goldsleger’s work has been exhibited nationally and internationally. The work in the present exhibition was included in the European Cultural Centre’s 2019 exhibition Personal Structures: Identities at the Palazzo Bembo during the fifty-eighth Venice Biennale in Italy, a singular honor.

Her work is represented in many important museum collections, including those of the Museum of Modern Art, the High Museum of Art, the Albright-Knox Art Gallery, the Fogg Museum at Harvard University, the Israel Museum, the Tel Aviv Museum of Art, the New Orleans Museum of Art, the Brooklyn Museum, the North Carolina Museum of Art, the Greenville County Museum of Art, the Yale University Art Gallery, and the Herbert F. Johnson Museum of Art at Cornell University, and in many important corporate and private collections. Her time at Augusta University was preceded by a long and distinguished academic career.

Early Modernism in the South
Through September 27, 2020

Since 1900 much of American painting and sculpture has been represented by a series of revolts against tradition, especially academic tradition.

At the dawn of the twentieth century, realism became the new direction for American artists. Later those realists gave way to modernists, many of them arriving from Europe. The impact of the 1913 Armory Show, where Americans saw Marcel Duchamp’s Nude Descending a Staircase (No. 2) for the first time, was incalculable, and soon pioneering art dealers like Alfred Stieglitz were promoting and selling the work of a younger generation of American artists influenced by cubism and abstraction.

After World War I many American artists rejected these modern trends and chose to return to various (in some cases academic) styles of realism in order to depict urban and rural America. The type of realism found in American scene painting was favored by those who depicted rural life, whereas the precisionists sought to capture architectural forms and industry in their paintings.

The South, like other parts of the country, was subject to these influences. Many of the South’s most important teaching artists spent time in New York City and Paris and brought home new painting styles. This is exemplified by this selection from the museum’s permanent collection, which features the work of Frank London, Wade White, Will Henry Stevens, John McCrady, Paul Ninas, Robert Gwathmey, and others.

The Eugene Fleischer Collection of Studio Art Glass
Through December 31, 2020

The history of the studio art glass movement in America is relatively brief. Its origins can be pinpointed precisely to two workshops conducted by ceramist Harvey Littleton, who was interested in the potential of glass as an artistic medium, and chemist and engineer Dominick Labino held at the Toldeo Museum of Art in 1962. Littleton had envisioned a more or less traditional studio space in which individual artists could design and execute their own finished works of art in glass on a small scale. Labino was instrumental in the design and manufacture of a small furnace in which glass could be melted, fused, and fashioned into art. (Up until then, most glass artwork—such as that of Louis Comfort Tiffany—was created by a designer but executed in industrial manufacturing settings.) After those workshops, Littleton returned to the University of Wisconsin, where he taught, and started a glass program within the school’s Ceramics Department. Some of his earliest students—Dale Chihuly, Marvin Lipofsky, and Fritz Dreisbach—became the pioneers of the modern movement.

Despite its humble origins, the studio glass movement is arguably one of the most important advancements in the world of contemporary art. Many of the most important artists of the studio glass movement are represented in the remarkable collection that was assembled by the late Eugene Fleischer. A man of many enthusiasms (and almost as many collections), he pursued the best examples by the best glass artists with ardor and energy and built an important collection that he bequeathed to the Morris Museum of Art. Much of it is on display in the museum’s newest permanent collection gallery, beginning in late September.

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