Anthony Johannes Thieme, Rain in the South, undated. Oil on
board. The Johnson Collection.
Scenic Impressions: Southern Interpretations from the Johnson Collection
JANUARY 16–APRIL 10, 2016
This exhibition presents dozens of works that were intended at the time of their creation to offer relief from the hurly-burly of the urban setting. The artists represented—Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, Gaines Ruger Donoho, James Herring, Alfred Hutty, John Ross Key, Blondelle Malone, Paul Plaschke, Hattie Saussy, Alice Ravenel Huger Smith, Anthony Thieme, Helen Turner, and Ellsworth Woodward, among others—were not all native Southerners; however, all worked in the South at some point. In its presentation of some forty paintings created between 1880 and 1940—including landscapes and genre scenes—Scenic Impressions traces an international aesthetic’s journey to and germination in the American South.
Philip Juras, South End Clouds, Little St. Simons Island, 2012.
Oil on canvas. Private Collection.
The Wild Treasury of Nature: A Portrait of Little St. Simons Island
FEBRUARY 20–MAY 22, 2016
Artist Philip Juras's depictions of Little St. Simons Island make up the body of work that is exhibited here for the first time. While so much of the Southeastern seaboard has been transformed by rampant development, it seems miraculous that such an experience can still be had. Of all the barrier islands, Little St. Simons Island, off the coast of Georgia, is one of the most pristine. In April 2011 Juras was invited to paint the natural environments of Little St. Simons, a subject that he’s been exploring since. The works in this exhibit (and the book that accompanies it) capture a wide variety of the island’s natural landscapes. Through them he shares his passion for experiencing these gorgeous, fascinating environments, while underscoring the natural processes that formed them and the history that sustains them. These beautiful paintings create a portrait of the dynamic natural environments of the island. Philip Juras is the Morris Museum of Art's 2016 featured gala artist. Purchase tickets now for our 2016 gala!
Jessie Meaders, Rooster with Red Comb and Green Feathers, 2001.
Pottery with glaze. Georgia Southern University, Smith Callaway
Banks Southern Folk Art Collection.
Pottery from the Smith Callaway Banks Southern Folk Art Collection
at Georgia Southern University
MARCH 12–JUNE 2016, 2016
Smith Callaway Banks was an avid collector of folk art, purchasing his first piece, a face jug, in the 1980s. Until his death in 2010, Banks continued to travel the South, purchasing work and making friends with hundreds of artists. In 2007 he donated a large part of his collection, more than one thousand objects, including approximately 250 pieces of pottery, to Georgia Southern University in Statesboro, his hometown. This exhibition includes vessels and sculptures by a variety of artists—from early members of the well-known Meaders family of Northeast Georgia to contemporary potters such as Stacy Lambert and Crystal King of North Carolina. Each puts his or her own creative spin on the medium. Some pieces inspire laughter or surprise, while others are delightful portraits of people and animals.
Victoria Lowe, Burn, 1983. Enamel and metal powder on canvas.
Courtesy of the artist.
Paintings by Victoria Lowe
APRIL 23–JULY 24, 2016
Victoria Lowe was born in 1947 in Birmingham, Alabama. She was educated at the University of Alabama where she earned a BS in education in 1969. Lowe focused on painting in graduate school at the University of Alabama, where she received an MA in Visual Arts in 1971. Two of her professors became important mentors: Melville Price, one of the youngest members of the abstract expressionist movement in New York, and Howard Goodson, who was instrumental in the style’s regional influence. Both revered Hans Hofmann as an artist and a teacher, and both patterned their classes after Hofmann’s method of eliciting creative expression from his students. Over the past four decades, her paintings and drawings have focused primarily on atmospheric surfaces and gradations of color. Consistent throughout this body of work is her concern with energy in its many forms and the viewer’s deep emotional response to color. She has noted that the paintings have their origin in her childhood experiences of stargazing through a telescope, and in her feeling of sublime connectedness to things beyond the physical environment and conscious comprehension. Her paintings are free of narrative or subject matter and offer viewers a way to experience the depth of their own imagination.