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Eugene Thomason
Richard Segalman, Beach Trio, 2015. Pastel on paper.
Courtesy of Harmon-Meek Gallery.

Gulf Beaches: Paintings and Works on Paper by Richard Segalman
JUNE 4–AUGUST 28, 2016

Gulf Beaches is a colorful celebration of summer in paintings, drawings, and monotypes by the celebrated artist Richard Segalman. A resident of New York City and Woodstock, New York, where he maintains studios, eighty-two-year-old Segalman is considered an American master—he is renowned for his exploration of the human form in many media and in many settings. His work has been eagerly sought-after by collectors for more than fifty years. Richard Segalman was recently honored with his thirty-fifth exhibition at the Harmon-Meek Gallery in Naples, Florida, which has generously lent this work for exhibition here.



Eugene Thomason
Rolland Golden, Maryland Grazing, 2012. Acrylic on canvas.
Courtesy of the artist.

The World of Rolland Golden
AUGUST 6–OCTOBER 30, 2016

Still active at eighty-four, Rolland Golden is one of the most renowned artists to have emerged in the South during the second half of the twentieth century. In addition to the styles of realism and “abstract realism,” he is known for a style he developed, which he calls “’borderline surrealism,’ realistic imagery in a not impossible, but highly unlikely situation.” Golden was born in New Orleans, but his father’s job at AT&T had the family moving with frequency—first to Grenada, Mississippi, and later Jackson, Mississippi, eventually to Montgomery and Birmingham, Alabama, before returning to New Orleans more or less for good. His work has been the subject of more than one hundred museum exhibitions, including, most recently, Rolland Golden: An Alternate Vision at the Ogden Museum of Southern Art and River and Reverie: Paintings of the Mississippi, which was organized by the Mississippi Museum of Art and shown in five other museums in Louisiana and Mississippi.



Eugene Thomason
Aldwyth, What’s Love Got to Do, Got to Do with It,
2007–2009. Mixed media collage. Courtesy of the artist.

Collages and Assemblages by Aldwyth
MAY 18–JULY 27, 2016

Aldwyth constructs intensely detailed and complex mural-sized collages that incorporate hundreds of small shapes cut from printed materials. When seen from a distance, the pieces form a grid-like design. As the viewer moves in, she discovers vignettes and individual stories created by juxtaposed images, text, and color.



Eugene Thomason
Howard Finster, Elvis-at-3, 1994. Oil paint and
glitter on plywood. Morris Museum of Art, Augusta,
Georgia.

Folk Art in the South: Selections from the Permanent Collection
JUNE 11–SEPTEMBER 11, 2016

Drawn from the Morris Museum’s permanent collection, this presentation includes work by some of the region’s best-known folk artists. Though the work of some of these artists may be familiar, much of it has not been exhibited before. Folk artists’ major themes are expressed in many different ways. They employ readily accessible materials—crayons, markers, house paint—as well as found objects, to produce their paintings, drawings, and sculpture, putting mundane materials to fresh and ingenious uses. The present installation underscores the Morris Museum’s status as one of the leading collectors of folk art in the region.



Eugene Thomason
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 5, 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.



Eugene Thomason
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.

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Visit the Morris at 1 Tenth Street • Augusta, Georgia 30901 • p. 706-724-7501 • f. 706-724-7612

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