Cheryl Goldsleger, Interference, 2016. Mixed media on linen.
Courtesy of the artist.
Unquiet Territories: Art by Cheryl Goldsleger
DECEMBER 10, 2016–MARCH 12, 2017
Born in Philadelphia, Pennsylvania, in 1951, Cheryl Goldsleger matriculated at the Philadelphia College of Art (now the University of the Arts) in 1969. She attended Temple University’s Tyler School of Art in Rome in 1971 and earned her bachelor of fine arts degree from the Philadelphia College of Art in 1973. She earned a master of fine arts degree from Washington University in St. Louis, Missouri, in 1975. She has taught at Western Carolina University (1975–1977), Georgia Piedmont College (1988–2001), and Georgia State University (2001–2014), where she served as the director of the Ernest G. Welch School of Art & Design. In 2015 she was named the fifth William S. Morris Eminent Scholar in Art at Augusta University.
Her work has been exhibited widely in solo and group shows in the United States and abroad, including notable exhibitions at the Corcoran Gallery of Art and the National Museum of Women in the Arts in Washington, D.C.; the American Academy of Arts and Letters and the Brooklyn Museum in New York City; the Albright-Knox Art Gallery in Buffalo; the Virginia Museum of Fine Arts in Richmond; the New Orleans Museum of Art; the Tel Aviv Museum of Art; and the Israel Museum in Jerusalem. In 2013 she created a series of acclaimed paintings, drawings, and sculpture and a series of videos for the National Academy of Sciences in Washington, D.C.
As Felicia Feaster noted recently in the Atlanta Journal-Constitution, “There is an ethereal quality to the works, and an undeniable quality the artist describes of getting lost in the work, falling into these vast metaphysical spaces.”
James Michalopoulos, Cerulla, 2016. Oil on canvas. Courtesy
of Michalopoulos Gallery.
Rhythm and Movement: Paintings by James Michalopoulos
FEBRUARY 18–MAY 14, 2017
Painter James Michalopoulos, born in Pittsburgh, Pennsylvania, in 1951, graduated from Bowdoin College in Brunswick, Maine. Shortly afterward he moved to New Orleans, where he has lived and worked since. His richly textured, color-saturated images of New Orleans have become iconic. It is through his paintings that many have come to know the city, its denizens and architecture.
Michalopoulos learned his trade by observing other artists—specifically the street artists who worked in and around Jackson Square. He took classes at the New Orleans Academy of Fine Arts and the University of New Orleans before he also became one of the Jackson Square street artists he had come to admire.
His colorful oil paintings are especially famous for their skewed perspectives and exaggerated points of view. He paints with a palette knife rather than brushes, and that contributes to the intense color and texture of his paintings. He’s a famously fast worker and is known to complete paintings within two to three days.
James Michalopoulos is the featured artist at the 2017 Morris Museum of Art Gala.
Billie Ruth Sudduth, Fibonacci Rising, 2011. Reed, henna,
madder, and crushed walnut hull dye. Courtesy of Hathia
and Andrew Hayes.
Billie Ruth Sudduth: Baskets from the Collection of Hathia and Andrew Hayes
DECEMBER 17, 2016–FEBRUARY 26, 2017
Billie Ruth Sudduth is a widely acclaimed basket maker who lives in the mountains of North Carolina. A native of Sewanee, Tennessee, where she was born in 1945, she was raised in Birmingham, Alabama.
Basketry is actually her second career. After earning degrees in psychology and sociology from Huntingdon College in Montgomery, Alabama, and a master’s degree in social work from the University of Alabama in Tuscaloosa, she pursued a career as a medical and psychiatric social worker and school psychologist for more than twenty years. In 1983 after a particularly taxing school year, her boss suggested she do something fun and relaxing over the summer. She elected to take four basket-making lessons at the local community college—and they changed her life.
She juggled two careers and family responsibilities for several years before turning to basket making full-time in 1989. Since then, she has achieved fame as one of America’s leading craftspersons. She is represented in the permanent collections of the Smithsonian American Art Museum’s Renwick Gallery in Washington, D.C., the Museum of Arts and Design in New York City, and the Mint Museum in Charlotte, North Carolina, as well as in numerous corporate and private collections. Her work has been featured in American Craft, Southern Accents, Colonial Homes, Southern Living, and Smithsonian magazine, among others, on the CBS program Sunday Morning, and on PBS and HGTV. In 1997 she was named a North Carolina Living Treasure, the state’s highest honor for creative excellence in crafts.
Lucinda Bunnen, Herman Russell and Coretta Scott King, at Spelman
, 1977. Gelatin silver print. Courtesy of the Do Good Fund.
The Female Lens: Photography from the Do Good Fund
JANUARY 4–MARCH 26, 2017
In January the Morris kicks off the 2017 Art Now Artist Talk lecture series with a panel discussion featuring several artists represented in the exhibition The Female Lens: Photography from the Do Good Fund. The collection began as an effort by attorney and philanthropist Alan Rothschild to preserve and showcase photography that depicts and documents the American South. Since 2012 the Do Good Fund has collected more than three hundred works by dozens of both well-known and emerging artists.
The Female Lens focuses on images by a selection of women photographers including Maude Schuyler Clay, famous for her haunting images of the people and places of the Mississippi Delta; Rineke Dijkstra, a Dutch photographer whose portraits are widely exhibited and highly collectible; Stacy Kranitz, Time magazine’s 2015 Instagram Photographer of the Year; and Rosalind Fox Solomon, a New York–based artist who began capturing timeless and personal instances of human existence at age thirty-eight and is still working at eighty-six. The exhibition will be on view in the Education Gallery and the stairwell area.
Art Now Artist Talk and Exhibition • Thursday, February 9, 2017: Alan Rothschild moderates a discussion with photographers Tamara Reynolds, and Jill Frank, about their work featured in the exhibition The Female Lens. 6:00 p.m. talk, 7:00 p.m. food and drinks. Free admission!
Ansel Adams, Mount Williamson, Sierra Nevada, from Manzanar,
California, 1944, gelatin silver print. On loan from the Hunter
Museum of American Art, Chattanooga, Tennessee. Gift of Dr.
and Mrs. Bruce E. Dahrling II and museum purchase, HMAA
1984.26. Photo by James Madden, 204 Studios, Chattanooga.
Exploring the Land: Landscapes from the Hunter Museum Collection
NOVEMBER 12, 2016–FEBRUARY 5, 2017
Exploring the Land documents American artists’ continuing fascination with the American landscape. The breadth of the exhibition, which includes both nineteenth-and twentieth-century works of art, enables the viewer to make some interesting comparisons.
For example, a small painting of a sylvan glade created in 1862 by Worthington Whittredge, one of the most prominent of the Hudson River school artists, captures the grandeur of the landscape—the so-called “New Eden.” He hints at the presence of God in nature through his depiction of cathedral-like arched tree boughs. The Hudson River school believed that nature in the form of the American landscape was a manifestation of God. Their reverence for America’s natural beauty was shared by American writers of the period, including Henry David Thoreau and Ralph Waldo Emerson.
Exploring the Land is complemented by several little-seen works of art by Sally Mann, William C. A. Frerichs, and others from the Morris Museum’s collection.