Even as the museum has been busy busy busy installing exhibitions in its galleries, it’s also been working on expanding its range of online exhibitions. Sometimes the online exhibitions mirror in-person ones, and sometimes, as with the brand-new “Beyond Utility: Rugs of Southwest Persia,” they exist only online.
Curatorial intern Santana Nash writes about her research on artist William Anderson Jr. and creating a video so that others might get to know his work, too.
Emma Amos’ journey to become a distinguished artist is nothing short of extraordinary. “Emma Amos: Color Odyssey,” a retrospective solo exhibition curator Shawnya L. Harris has been working on for years, not only shows her presence and growth as an artist, but also highlights the social change for which Amos fought.
If you’ve been to the museum recently, you may have noticed the Letitia and Rowland Radford Gallery roped off as our team worked on reinstalling it. Like the reinstallation of the Marilyn Overstreet Nalley North Gallery earlier this year, it’s part of a project to refresh all the permanent collection galleries while keeping the majority of them open to the public.
In November 2019, the Georgia Museum of Art received a gift of paintings from the Jurii Maniichuk and Rose Brady Collection. Five of these six paintings are now on view in the museum’s permanent collection wing, where they will be up through September 26 (the sixth is undergoing conservation).
On November 5, 2020, the Georgia Museum of Art opened the exhibition “Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt,” which will be on view through September 26, 2021.
In October 2012, interdisciplinary artist Sarah Cameron Sunde witnessed the devastation wrought by Hurricane Sandy in New York City. The storm took 44 lives in the city alone, temporarily displaced thousands of residents, and inflicted an estimated $19 billion in damages and lost economic activity. Struck by the vulnerability of her once seemingly indestructible city, Sunde began to develop “36.5 / A Durational Performance with the Sea” the following year.
Since 2018, Rebecca Rutstein’s wall-mounted sculpture “Shimmer” has been greeting visitors to the Georgia Museum of Art at the University of Georgia. It’s been a popular selfie spot ever since then as well as a concrete example of how science and art can work together to reach new audiences. But the work didn’t belong to the museum’s collection until recently, when the museum’s Collectors group banded together to purchase it for the permanent collection.
The Georgia Museum of Art has always been a bit old-school when it comes to digital publishing, preferring to put out physical books and brochures. But the novel coronavirus pandemic has pushed us into many arenas, and online publishing is one of them. With the opening of the long-planned exhibition “Carl Holty: Romantic Modernist” (on view through January 17), we had planned a print brochure, with an essay by guest curator Marilyn Laufer that helps explain who Holty was and why his work was important. Instead, that brochure exists in the digital realm, accessible through QR codes in the museum’s galleries.
