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James Michalopoulos
Edward Dufner, Lady in Pink, 1911. Oil on canvas. Helena
Eastman Ogden Campbell Collection, Wesleyan College, Macon,
GA. Adopted by Wesleyan College Trustee Dennie McCrary and
restored through the Adopt-a-Painting program.

American Paintings from the Collection of Wesleyan College
MAY 27–SEPTEMBER 3, 2017

This beautiful exhibition, drawn from the collection of Wesleyan College in Macon, Georgia, features late nineteenth and early twentieth century paintings by many of the leading artists of the era. The core of Wesleyan’s collection was donated to the college during the 1930s–1950s by distinguished painter and Wesleyan alumna Helena Eastman Ogden Campbell (1879–1964). Mrs. Campbell, who was born in Eastman, Georgia, graduated from Wesleyan shortly after the turn of the century. After her graduation she went to Paris to study with Lucien Simon before moving to New York, where she opened a studio and embarked on a long and successful career as a portrait painter. She also painted landscapes and still lifes. In 1934 she began to contribute to Wesleyan her own paintings and paintings that she had collected during her years in New York and Paris, and she encouraged her friends to do the same. The collection remains a testament to her commitment to painting and collecting and her leadership in the New York arts community.

The more than thirty paintings included in the exhibition offer a window into the styles and techniques taught at some of the most prestigious studios of New York City and Europe during the early 1900s. The collection, though highly personal in nature, is reflective of major trends, albeit of a conservative sort, in American art of the period.


Joseph DiGiorgio
Joseph DiGiorgio, Alabama Series 90-27, undated. Oil pastel on
paper. Courtesy of the Estate of Joseph DiGiorgio.

Joseph DiGiorgio: The Alabama Series
JULY 1–OCTOBER 8, 2017

Joseph DiGiorgio was born in Brooklyn, New York, in 1931, the son of Italian immigrants. During the 1950s he studied at Cooper Union in New York City and with Hans Hofmann in Provincetown, Massachusetts. Although he did not have his first solo show in New York until 1975, his work had been exhibited widely and steadily elsewhere, beginning in the late 1950s.

He was perhaps best known for a series of two hundred paintings he made of Prospect Park in Brooklyn, fifty for each season.
His work is represented in public, private, and corporate collections all over the country, including that of the Morris Museum of Art. Joseph DiGiorgio died in New York City in 2000.


Marilyn Murphy
Marilyn Murphy, Twilight Engineer, 2010. Colored pencil on paper.
Courtesy of the artist.

Marilyn Murphy: Magic Realist
JUNE 7–JULY 30, 2017

Marilyn Murphy: Magic Realist features paintings and drawings in which reality is turned upside down in dreamlike scenes, with gravity-defying objects and figures diligently focused on a task—their earnest stances belying what is always, in fact, a very strange object of study. Murphy finds inspiration for her subjects in the popular culture of the 1940s and 1950s, presenting them with an attention to light and shadow that creates a sense of mystery and often incorporates dramatic effects from forces of nature.


James Michalopoulos
Jerry Siegel, Deer Heads, Perry County, Alabama, 2002. Archival pigment print.
Collection of the Artist.

The Blackbelt of Alabama: A Response to Home
MARCH 25–JUNE 18, 2017

Photographer Jerry Siegel was born and raised in Selma, Alabama, where, he says, “family and friends were most valued.” He remembers his hometown as vibrant, though small, and in most respects no different from most communities of similar size elsewhere in the South. Even though many things have changed there since his youth—it is no longer the place that he remembers—he claims never to have lost his attachment to and sentiment for Selma and the surrounding countryside. It remains at the core of who he is and what he does and has informed his mature work as one of the South’s leading photographers.

Siegel is a graduate of the Art Institute of Atlanta, where he received his degree in 1982. Since the mid-1980s he has worked as a commercial photographer in Atlanta while simultaneously pursuing his own interests as a fine artist. His work has been featured in many group and solo exhibitions over the years. He is represented in the permanent collections of the Columbus Museum, the High Museum of Art, the Telfair Museums, the Morris Museum of Art, the Ogden Museum of Southern Art, the Mobile Museum of Art, the Montgomery Museum of Fine Arts, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art. His work is also included in private and corporate collections all over America.

His second book, The Black Belt in Color, is scheduled to be published by the Georgia Museum of Art in March 2017.


James Michalopoulos
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.


Billie Ruth Sudduth
Richard Royal, Vase, 1989. Blown and cased iridescent
glass. Courtesy of Brunk Auctions.

Contemporary Studio Art Glass from the Collection of Eugene Fleischer

The history of the studio glass movement in America is relatively brief. In fact, it’s barely more than fifty years old, dating back to demonstrations conducted by Harvey Littleton and Dominick Labino at the Toledo Museum of Art in 1962. The historical context for its beginnings, the Cold War era, is endlessly interesting.

In this, the second exhibition that the Morris Museum has organized from his collection, we have once again—for reasons of coherence (and with a nod toward the limitations of space)—kept the selection to American glass artists. Among those whose work is now on display are Harvey Littleton, the founder of America’s modern studio art glass movement, Dan Dailey, Rollin Karg, and Tommie Rush—all of them represented by examples of their work that have never been exhibited before.

This is the first installation in what is planned as a continuing display of studio art glass from the Fleischer Collection. The collection will be on indefinite display and, periodically, will be refreshed with other pieces from the collection.

>Past Exhibitions

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