James Michalopoulos, Cerulla, 2016. Oil on canvas. Courtesy
of Michalopoulos Gallery.
GALA PHOTOS ARE HERE! Thank you for attending the 24th Annual Morris Museum of Art Gala!
To view & purchase photographs from the event, click HERE (when prompted, enter password: Art).
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.
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.”
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.
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, 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.
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.
Richard Royal, Vase, 1989. Blown and cased iridescent
glass. Courtesy of Brunk Auctions.
Contemporary Studio Art Glass from the Collection of Eugene Fleischer
OPENS MARCH 11, 2017
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.
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!