Medium - artsbma.orgthe BMA, the Birmingham Botanical and Aldridge Gardens and, most prominently,...

Remembering Frank Fleming

The Magazine of the Birmingham Museum of Art Summer · 2018

Medium

will explore the impact of industry—particularly damming for hydroelectric power and flood control—on indigenous cultures and the land they inhabit, what Nicolson calls “the awkward balancing act of industrial development and environmental stewardship.”

At the beginning of August, we will install the final rotation in the popular contemporary art exhibition Third Space. It’s hard to believe that this two-year endeavor is coming to an end, and if you haven’t yet experienced what New York Times art crit-ic Holland Cotter named to “The Best Art of 2017,” there’s still time; the exhibition closes January 6, 2019. If you don’t be-lieve me or Mr. Cotter, how about Kate V., a visitor from Spokane, Washington, who wrote on TripAdvisor, “Third Space was so good, we skipped all the typical art museum with oil paintings from Europe and American [sic] and came back to go through Third Space a second time. Especially after visiting the historical civil rights sites in Alabama, this exhibit was quite meaningful.” Please join the nearly 50,000 visitors who have experienced Third Space, but while you’re here check out the

“typical art museum,” too! Many of the galleries change frequent-ly with new acquisitions and “rediscovered” works from our rich collection. There’s always something new to see.

I want to thank everyone who supported and attended the 2018 Museum Ball Outside the Lines, which was attended by more than 450 people, breaking previous attendance and fundraising records. I am particularly grateful to our dynamic co-chairs Tricia and Troy Wallwork and Sue and Nick Willis for their dedicated leadership and tireless efforts to ensure the success of the ball.

Lastly, I’d like to take a moment to acknowledge the long-standing and dedicated support of Dr. John and Nancy Poynor, collectors whose singular vision has had a profound and

transformative effect on the Museum’s collection. Over the years, the Poynors have enhanced our holdings of American modern art with important gifts of work by Gene Davis, Kenneth Noland, Roy Lichtenstein, and Robert Mangold, among many others. A selection of works from their collection—including ex-amples by Joan Mitchell and Louise Nevelson—is presently on view in the Museum’s Styslinger Gallery of American Art. The current selection will be up until November, when a new selec-

tion from the Poynor collection will be hung. Collectors such as Dr. and Mrs. Poynor are the cornerstone of this institution and I am grateful to them for their unwavering connoisseur-ship and willingness to share their collection with the people of Birmingham.

Whether you find or lose yourself in our collection, I look for-ward to seeing you soon and often!

Warmly,

Graham C. Boettcher, Ph.D.The R. Hugh Daniel Director

Medium // Summer // 2018

Art enables us to find

ourselves and lose

ourselves at the same time.

Thomas Merton

(American, born France, 1915–1968),

Trappist monk, poet, social critic,

and spiritual writer

Director’s Letter

Dear Member,

Summer is upon us and I want to remind you that the BMA is the perfect place to escape the heat and humidity while exploring our world-class collections. There’s a lot to see! We recently opened The Original Makers:

Folk Art from the Cargo Collection, featuring 160 vibrant and clever works by some of our region’s best-known, self-taught artists. This exhibition delights and inspires, conveying a sense of pride for the rich artistic heritage of our state and region.

Speaking of originality, in March we lost a true Alabama original, the beloved sculptor Frank Fleming, whose “gentle fantasy world of creatures”—as it was described by the late Georgine Clarke—has captivated gen-erations. I am grateful to Director Emerita Gail Andrews for sharing some thoughts about this extraordinary artist in this issue of Medium. The Museum is proud to be the owner and caretaker of Fleming’s most prom-inent public work—The Storyteller—which was acquired and installed in the heart of histor-ic Five Points South with broad community support.

An exhibition you won’t want to miss is Waterline, opening on July 27. The exhibition showcases a recent acquisition: a visually stunning illuminated sculpture by Marianne Nicolson (born 1969), an artist of Scottish and Dzawada’enuxw First Nations descent. The Dzwada’enuxw people comprise one of the Kwakwaka’wakw Nations, who make their home along the coastal areas of north-eastern Vancouver Island and mainland British Columbia, Canada. The exhibition

Contents

4 Features Frank Fleming · The Poynor Collection

13 Exhibitions The Original Makers · Third Space · Waterline

An Exploration of Line

19 Acquisitions Standing Rock · Memories of the Coast of France

22 Programs + Events Ongoing Programs · Art On The Rocks

Latinx Festival · Waterline Lecture · ICS Concert Dixie Art Colony · Maker Station · Art After 5

26 News + Giving NextGen 2018 · Volunteer Spotlight · Teen Night

Meet the Director of Development · Museum Ball Support Group Travel · Visitors’ View Corporate Partners · Memorials + Honorariums

The Birmingham Museum of Art publishes the membership magazine, Medium, quarterly.

The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art.

James Outland – Chairman of the Board Graham C. Boettcher – The R. Hugh Daniel Director Laura Monroe – Editor James Williams – Designer Sean Pathasema – Photographer

Membership inquiries to: [email protected] Editorial inquiries to: [email protected]

2 3Director’s Letter |

Cover: Frank Fleming, American, 1940–2018, Goat Man (detail), 1974, hand-built porcelain; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Ned and Robin Selfe, AFI.174.2015a-c

Opposite page: Photo of Graham C. Boettcher by Beau Gustafson

In Memoriam

Frank FlemingI was more at ease with nature and animals than

people, I lived within myself. I didn’t use words to

describe the things I saw, and I’m sure because I

didn’t use words, I tended to think in visual images.

— Frank Fleming

4 5Features |

By Director Emerita Gail Andrews

“I was more at ease with nature and animals than people, I lived within myself. I didn’t use words to describe the things I saw, and I’m sure because I didn’t use words, I tended to think in visual images.”

Frank Fleming described both himself and the sculpture he made with those words in 2014. However, it was a personal shorthand he frequently used to explain his speech impediment, resulting in eleven years of silence in elementary and high school, and its influence on his witty, incisive, and finely-made porcelain sculptures.

On March 18, 2018, Frank passed away, and we lost a warm, funny, generous, and extraordinarily talented human being.

Fleming was born in Bear Creek, Alabama in 1940, growing up on a cotton and corn farm in an isolated part of the state. His speech impediment and academic ability opened the door for him to attend Florence State College, now the University of North Alabama, for speech therapy. He took an art course on a whim, discovered he had a talent for drawing, and became an art major. He graduated hoping to teach, but positions in the school system were few, and instead he worked for six years at Boeing and NASA as a draftsman, eventually returning to school, receiving MA and MFA degrees from the University of Alabama.

We are fortunate in Birmingham to enjoy many examples of his sculpture in the public realm and as part of the fabric of our city. His work can be found in the Red Mountain Garden at the BMA, the Birmingham Botanical and Aldridge Gardens and,most prominently, The Storyteller at the center of Five Points South. All of these examples were made of bronze, a material Fleming adopted in the early 1980s.

Bronze gave him a greater financial stability, allowing him to create multiples as well as opening the door for additional pub-lic commissions with pieces that could be installed outside.

His passion however was clay, specifically porcelain, which he was working in once again at the time of his death. After receiving his MFA, Frank established a studio in Birmingham in 1973 and began devoting himself to making small, fine-ly-detailed, surreal, and often irreverent sculptures which sold quickly to enthusiastic buyers at art fairs. He initially used color and clear glazes, but a major breakthrough came in his work when he stopped using glazes. He wanted to develop a body of work with a serious approach to realism, to try and capture the surface textures of nature. Frank was a close observer of flora and fauna, and had the patience and dexterity to achieve his goal. He attributed his skill to picking cotton as a child. In addition, he employed elements from nature to help, such as

using a bird feather to impress exact detail on hundreds of tiny pieces of clay, then overlapping them to create the winged sur-face of a bird. Removing the glaze was a major breakthrough. The surface texture becomes more prominent, catching shad-ows to highlight detail and drawing the viewer in to look more closely. The sculptures feel akin to marble, adding to the mythic qualities of the blended human and animal forms created by the artist. Goat Man, a recent gift to the Museum, illustrates these qualities and is also a work which began to unlock the door for greater recognition of Frank’s work, as it was selected for the Biennial at the New Orleans Museum of Art in 1977, giving him exposure to a much wider audience.

His expressions were unique, certainly influenced by Robert Arneson’s work and that of other artists working in clay in the 1960s and 1970s, but these were his own astute observations, life experiences, and ability to point to life’s absurdities. As time went on, there were deeper expressions inspired by Southern culture, folklore, and landscape, sometimes pointedly political and even heart-wrenching.

The BMA gave Frank his first one-person exhibition in 1974, followed by another in 1982 and most recently in 2015. Frank’s work spoke to people beyond the South, and is included in nu-merous public and private collections, including all of the major art museums in Alabama, as well at the Smithsonian’s American

Art Museum, Nelson-Atkins Museum of Art, Kansas City, MFA Houston, and Palm Springs Museum, to name but a few. He received and completed numerous commissions for public art, was represented by galleries across the United States, and had over 40 solo exhibitions in his career.

Frank loved our city, and the people here who supported him as an artist. He gave back to all of us, and will be remembered as a great friend of our city and its nonprofit organizations. He was passionate about the natural world, but perhaps equally pas-sionate about Alabama football! Frank said he wanted us to see the honesty in his work, that it was very personal, and meant many things, and there is not just one way to interpret it. Frank found himself in his art, and I think he is asking each of us to take the time to look, to listen, and do the same.

6 7Features |

Previous spread: Frank Fleming, American, 1940–2018, Spirit Catcher (detail), 1982, un-glazed porcelain; Museum purchase with funds provided by the Members of the Birmingham Museum of Art, 1982.204a-b

Opposite page: Frank Fleming, American, 1940–2018, Goat Man, 1974, hand-built porcelain; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Ned and Robin Selfe, AFI.174.2015a-c

Above: Frank Fleming visiting children during Summer Art Camp 2015. The camp theme was inspired by his solo exhibition, Frank Fleming: Between Fantasy and Reality, on view at the BMA February 27–August 9, 2015

Modernism in the American Gallery

The Poynor CollectionBy The William Cary Hulsey Curator of American Art Katelyn D. Crawford, Ph.D.

Recently you may have noticed some changes in the Museum’s Styslinger Gallery of American Art. Erratic brushstrokes, fields of color, and unconventional uses of art materials now fill the outer walls of the gallery, expanding our presentation of American art into the mid-20th century. Works by Joan Mitchell, Louise Nevelson, Gene Davis, Larry Zox, and Claes Oldenburg are informed by the earlier episodes in American art presented

in the gallery. These paintings and prints offer a window into the art world at midcentury, connecting the Museum’s collec-tions of historic American and contemporary art.

The installation is drawn from the collection of Dr. John and Nancy Poynor, collectors whose passion and vision has shaped the Museum’s holdings of modern American art for over 25

years. Dr. Poynor’s passion for this period in art history led him to collect beginning in college, and his carefully cultivated un-derstanding of this period is reflected in the collection he and Nancy have amassed. Because of the Poynor collection, the Museum is able to more comprehensively represent the history of 20th-century American art, including Abstract Expressionism, color field painting, and pop art. Over the next 18 months, we

will be featuring works from this extensive collection in the American gallery.

The current installation begins with a small, intimate painting in oil on paper by Abstract Expressionist Joan Mitchell. The slashed, streaked sheet is experimental beyond her oil on can-vas works of this early moment and foreshadows her mature

8 9Features |

career. As in her major canvases such as the Museum’s Bonjour

Julie, Mitchell here gestures in blue, yellow, red, and black, re-sulting in a composition about color and emotion. In the lower right corner of the painting the inscription “to Zog + love” offers the viewer a point of entry into the New York art world of the 1950s in which Mitchell was living and working. Zog refers to her close friend, sculptor Wilfrid Zogbaum, who traveled in the same community of artists and cultural figures.

Reacting to the formal inventions and personal content in paint-ings by Abstract Expressionists like Mitchell were another group of abstract artists extensively represented in the Poynor collec-tion. In the current installation, this group is seen in the work of two color field artists, Larry Zox and Gene Davis. In Untitled

(Diamond Drill), from 1967, Zox strips emotion from the rigid geometric structure of his painting, instead exploring the inter-play of spaces created through juxtapositions of color. Like Zox,

Davis also focused on the interaction of color in space, creating as part of a group of color field artists based in Washington, DC, in the 1960s. Through its strategically alternating multi-colored vertical stripes, Davis entraps the viewer in Black Watch III, from 1974. The rhythm of the stripes captures the viewer’s attention, encouraging them to forget the overall object.

Louise Nevelson’s cast paper relief, Sky Gate I, from 1982, brings together the effects explored by Mitchell, Zox, and Davis. Her interest in line, flatness, and gesture parallels that of the Abstract Expressionists, but the overall white color of the pressed paper equally emphasizes the work’s exploration of negative and positive space.

Another strength in the Poynor collection is pop art, represent-ed in this installation by Claes Oldenburg’s Geometric Mouse,

Scale D (Paper), “Home-made”, from 1971. This playful pop art object is a scaled down replica of a larger metal sculpture of the same shape created by Oldenburg. Printed on cardboard, the version in the Poynor collection was intended to be purchased by consumers and displayed in homes, existing between art ob-ject and commodity. Geometric Mouse is most obviously an ab-stract tribute to Mickey Mouse, but Oldenburg suggested that

the object might also serve as a kind of self-portrait when he said, “The Mouse, that’s me!”

This first installation of selections from the Poynor collection emphasizes the breadth of their collecting. It also highlights the importance of works on paper—both conventional and less so—for many modern American artists, just one of a number of themes that can be drawn from the collection. The Museum is delighted to honor the Poynors and their key role in shaping our holdings of modern American art. We hope you will return often over the next year and a half to see additional selections from their collection.

Opposite page, left: Louise Nevelson, American, 1899–1988, Sky Gate I, 1982, cast paper relief; Lent by John and Nancy Poynor, 188.2011; © 2018 Estate of Louise Nevelson / Artist Rights Society (ARS), New York

Above: Larry Zox, American, 1937–2006, Untitled (Diamond Drill), 1967, acrylic on canvas; Lent by John and Nancy Poynor, 59.2008; © 2018 Larry Zox / Artist Rights Society (ARS), New York

Opposite page, right: Dr. John and Nancy Poynor

Previous page: Joan Mitchell, American, 1925–1992, Untitled, 1952–1953, oil on paper; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of John and Nancy Poynor, AFI.4.2005, © Estate of Joan Mitchell

10 11Features |

Charlie Lucas, American, born Birmingham, Alabama 1951; works in Pink Lily and Selma, Alabama, Duck or Goose, about 1985, metal; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Robert Cargo Folk Art Collection; Gift of Caroline Cargo, AFI.496.2013

The Original Makers Folk Art from the Cargo Collection

Through December 30 · 2018 · Pizitz Gallery

By Curator of the Arts of Africa and the Americas Emily Hanna, Ph.D.

What is Folk Art?

The term has meant different things over time, and many schol-ars have written about the problems with this catch-all category. It has referred to craft traditions passed down through gener-ations within communities. It has sometimes referred to artists without formal education or artistic training, and those who cre-ate outside of the academic or commercial gallery context.

Other terms have been used to describe these same artists and art over the years: outsider, self-taught, primitive, brut, visionary, rural, isolated, and vernacular. No one label fits, but they are assigned all the same by an anxious art world that categorizes and ranks, includes and excludes, and determines quality and market value. Art dealer Randall Morris stated,

Entire bodies of work have disappeared from our knowl-edge banks because the art establishment did not have the right word to describe it. Environments both sacred and secular are destroyed every week because their im-portance in this universe has never been understood … We are the outsiders.

As Alabama artist Charlie Lucas said more directly to Gail Andrews, Birmingham Museum of Art Director Emerita, “What they be callin’ us today?”

Inspired by the current Maker Movement, this curatorial project began by removing all labels and categories listed above and

identifying these artists first as makers. The makers, we de-termined, could also be described as messengers, storytellers, interpreters, protectors, healers, narrators, recorders, innovators, seekers, dreamers, and believers. They are seers, evangelizers, providers, philosophers, penitents, persuaders, and entertainers. They are quilters, carvers, weavers, painters, builders, recyclers, and assemblers. They are—among many other things—minis-ters, farmers, bricklayers, housekeepers, teachers, mothers, fa-thers, sons, and daughters.

The contemporary Maker Movement began within the last de-cade in the tech world, with the desire to create tangible things from the world of pixels. Open-source software, apps, and 3D printers have allowed people to move away from screens to constructing things for themselves (rather than purchasing mass-manufactured objects). The movement is characterized by a return to self-reliance and personal creativity in designing and building things of all sorts. It reflects a profound desire to re-engage with the physical world and now crosses many sec-tors. Maker spaces have popped up in communities everywhere, and Maker Faires are held all over the world, attracting hun-dreds of thousands of do-it-yourselfers ranging from makers of robotics to crafter of artisanal foods. The movement supports creativity and independence, but it also provides a commu-nity of individuals who are linked by their commitment to the movement.

Excerpt from The Original Makers catalogue, now available for purchase in the Museum Store.

The Original Makers: Folk Art from the Cargo Collection has been made possible by grants from the Henry Luce Foundation, Alabama State Council on the Arts, the National Endowment for the Arts, the Alabama Power Foundation, and The Lydia Eustis Rogers Fund. We also extend our gratitude to the City of Birmingham for their sustained support for the Museum and its mission.

Exhibitions

12 13Exhibitions |

Third SpaceThrough January 6 · 2019 Jemison Galleries

Third Space, the Museum’s two-year exhibition of contemporary art from the collection, will undergo its fourth and final rotation in August. In addition to the 50 pieces that will remain on view for the entirety of the exhibition’s two-year run, 23 new pieces will offer fresh perspectives on the themes of the exhibition.

Just outside of Third Space, the Museum recently unveiled a work by artist Amy Sherald, who was also commissioned to paint Michelle Obama’s official portrait for the Smithsonian Institution’s National Portrait Gallery in 2017. Amy Sherald’s work, All Things Bright and Beautiful, made its public debut at the Museum’s Art On The Rocks event on June 8.

The painting, owned by the same North Carolina couple who owns the Boochever-prize-winning portrait Miss Everything

(Unsuppressed Deliverance), has been featured by The New

York Times and CBS News in its coverage of Sherald’s life and work, and is considered among her most significant works. The owners of the painting chose the Birmingham Museum of Art to display the work, following their desire to share it with the public by placing it on loan to a Southern art museum.

“One of the top priorities of the Birmingham Museum of Art is to bring the joy of art to all of Birmingham’s citizens, and as such, we are committed to collecting and presenting art that better reflects the people who live here,” says Graham Boettcher, R. Hugh Daniel Director of the Birmingham Museum of Art. “Amy Sherald’s large, eye-catching portraits of African Americans help show a more complete picture of American lives, and we are proud to be the temporary custodian of this outstanding work of art.”

A native of Columbus, Georgia, painter Amy Sherald received her BA in painting from Clark Atlanta University in 1997, thereafter apprenticing with Arturo Lindsay, professor of art at Spelman College. Winner of the National Portrait Gallery’s pres-tigious Outwin Boochever Portraiture Competition (2015) and the High Museum of Art’s David C. Driskell Prize (2018).

Sherald was thrust into the national spotlight when she was commissioned to paint First Lady Michelle Obama’s official por-trait for the Smithsonian’s National Portrait Gallery. Reflecting on seeing her portrait at the National Portrait Gallery, Michelle Obama said, “I’m also thinking about all the young people, par-ticularly girls, and girls of color, who in years ahead will come to this place and they will look up and they will see an image of someone who looks like them hanging on the wall of this great American institution. I know the kind of impact that will have on their lives, because I was one of those girls.”

Amy Sherald, American, born Columbus, Georgia 1973; lives and works in Baltimore, Maryland, All Things Bright and Beautiful, 2016, oil on canvas; Collection of Frances and Burton Reifler, Winston-Salem, N.C., Courtesy the artist and Hauser & Wirth

Third Space is presented by PNC. Additional support provided by the Alabama State Council on the Arts and the National Endowment for the Arts, City of Birmingham, Community Foundation

of Greater Birmingham, Protective Life Foundation, Vulcan Materials Company Foundation, Robert R. Meyer Foundation, Luke 6:38 Foundation, Susan Mott Webb Charitable Trust, The Gladys Krieble Delmas Foundation, Robert Rauschenberg Foundation, Alabama Tourism Department, Alabama Humanities Foundation, the state affiliate of the National Endowment for the Humanities, The Lydia Eustis Rogers Fund, and Friends of Third Space.

WaterlineJuly 27–November 25 · 2018 · Arrington Gallery


The Museum’s Department of Native American Art has acquired an important new work of sculpture by contemporary artist Marianne Nicolson. The work, entitled Waterline, will open to the public on July 27 in the Museum’s Arrington Gallery, and will be on view through November 25, 2018.

Nicolson is a member of the Kwakwaka’wakw Nations of British Columbia, Canada. This Pacific Northwest Native American cul-ture is renowned for its stunning artistic traditions, including mas-sive totem poles, architectural sculpture, transformation masks, and sacred clan regalia. Waterline draws upon these artistic roots. The sculpture consists of a large, glass box with glyphs and sym-bols etched into each panel. The form is derived from a traditional bentwood box, one of which is currently on view in the Museum’s Native American gallery. A mechanical device suspended from the ceiling moves a light slowly up and down within the box. The light casts shadows of the etched symbols—what Nicholson calls

“shadow waters”—which slowly emerge from the box and rise up the walls, creating a panorama of killer whales, wolves, thunder-birds, and other creatures and symbols.

The work refers not only to sacred traditions, forms, and lan-guage, but to the contemporary problems of industrial encroach-ment, particularly onto sacred and life-sustaining waterways. Industrial structures now control the rise and fall of river-water levels, causing ancient pictographs on cliffs and river rocks to disappear under rising water, and then reemerge. Nicolson states,

… the work speaks to the relationship of industry and the land. It speaks of the submergence of Indigenous pres-ence and histories, and attempts to make them visible. As audience to the work, viewers are implicated as their shadows are cast and visually included in this complex narrative as the gallery space is ‘flooded’ with light and imagery.

Nicolson’s training encompasses both traditional Kwakwaka’wakw forms and culture and Western European based art practice. She completed a bachelor of fine arts from Emily Carr University of Art and Design in 1996, a masters in fine arts in 1999, a masters in linguistics and anthropology in 2005, and a Ph.D. in linguistics,

anthropology, and art history in 2013 at the University of Victoria. She has exhibited her artwork locally, nationally, and internation-ally as a painter, photographer, and installation artist, and has written and published numerous essays and articles. Her prac-tice engages with issues of Aboriginal histories and politics aris-ing from a passionate involvement in cultural revitalization and sustainability.

In conjunction with this exhibition, the Museum is partnering with the Cahaba River Society to engage visitors in one of Alabama’s most important waterways.

Marianne Nicolson will give a talk on her work at the Birmingham Museum of Art Thursday, September 27.

Waterline has been made possible by the City of Birmingham and The Lydia Eustis Rogers Fund.

Marianne Nicolson, Waterline, 2015, glass, wood, shell inlay, LED light, mechanism box with cover; Museum purchase, 2016.2a-c

14 15Exhibitions |

Presented by

Ways of SeeingAn Exploration of LineSeptember 8 · 2018–February 10 · 2019 · Bohorfoush Gallery

We see lines everywhere in daily life: in cracks on the sidewalk, on our notebook paper, and as we stand in lines buying grocer-ies, just to name a few. We may learn in school that a line is cre-ated by connecting two points in space. How is line defined in visual arts? How do artists use line to create meaningful works of art?

This exhibition will begin by answering these questions. Part One will create a vocabulary of line, giving viewers the tools to see, understand, and talk about line in the visual arts. Part Two will explore invisible lines that we experience instead of see. Each artwork in this section employs line to communicate about invisible lines drawn by social constructs such as race, gender, and borders, giving the viewer the opportunity to use the knowledge they gained in the first section to undercover meaning in the second.

While the first part of this exhibition is meant to answer ques-tions and teach lessons about line as a formal element in visu-al art, the second half is purposed to generate more thinking,

questioning, and conversation about what divides, what unites, and the space between the two.

Ways of Seeing is an ongoing series of exhibitions located in the Bohorfoush Gallery that explores themes, perspectives, and ideas from across the Museum’s global art collections.

We extend our gratitude to the City of Birmingham for their sus-tained support for the Museum and its mission.

Opposite page, top: Merritt Johnson, American, born 1977, Buffalo Vector Border Crossing (Yellowstone), 2009, oil and alkyd on canvas; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of the artist, AFI.463.2012 © Merritt Johnson

Opposite page, bottom left: Unkown artist, French, Study of a Seated Male Nude, Late 18th century, red chalk with black and white chalk; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Edward J. Olszewski in honor of Jeannine O'Grody, AFI.38.2011

Opposite page, bottom right: Li Kui, China, 1793–1879, Landscape, Qing dynasty (1644–1912), 19th century, ink and color on paper; Museum purchase with funds from the Endowed Fund for Acquisitions and the Birmingham Asian Art Society, 1988.82.69

Above: Chakaia Booker, American, born 1953, It’s Like This, 2001, rubber tires, screws, and wood; Gift of Ellen and Fred Elsas, 2003.47 © Chakaia Booker, courtesy, Marlborough Gallery, New York

16 17Exhibitions |

Standing Rock


This photograph was taken by Tlingit/Cherokee artist Zoë Marieh Urness. Urness par-ticipated in the protests of the Dakota Access Pipeline—an oil pipeline which was to be installed under several bodies of water, endangering the drinking water supply on the Standing Rock Sioux reservation. Standing Rock is home to several bands of Lakota and Dakota Sioux, and consists of over 3,500 square miles spanning several counties in North and South Dakota.

The protests began in April of 2016 with members of the Standing Rock Sioux, but subsequently became a gathering of many tribal nations and non-tribal people from across the country, including U.S. military veterans. Protesters formed a camp that was occupied for months. In sub-freezing temperatures, protesters were repelled with wa-ter cannons, tear gas grenades, tasers, and other weapons. Hundreds of people were arrested in the course of the protests.

This picture was taken on December 5, 2016. Hundreds of U.S. military veterans had arrived that day to encircle and protect the protesters. Urness, who was photograph-ing the unfolding scene saw a person wearing a Tlingit button blanket—regalia from her own ethnic group, and moved quickly to capture this image. The photograph was nominated for a Pulitzer Prize.

This photograph is part of the Museum’s growing collection of works by contemporary Native American artists. It was acquired with funds from a bequest by the estate of Dr. Clyde Oyster.

Acquisitions

Zoë Marieh Urness, Native American, Tlingit and Cherokee, born 1984, December 5th, 2016/Standing Rock, December 5, 2016, photograph; Museum purchase with funds provided by the Estate of Clyde W. Oyster, 2017.61

1918 Acquisitions |

George Copeland Ault’s Memories of the Coast of France

By The William Cary Hulsey Curator of American Art Katelyn D. Crawford, Ph.D.

From 1939 to 1945, the Second World War shattered the world. Nations and their people were plunged into the global conflict, deprived of calm stability in their daily lives. Understanding this clash and its ramifications requires not only looking at military alliances and the theater of war, but also the human toll. The psycho-logical impact of the war shaped canvases produced during and after the war, including an exceptional recent addition to the Birmingham Museum of Art’s collection, George Copeland Ault’s oil on canvas painting, Memories of the Coast of France. In this alluring, mysterious canvas, Ault created a surreal scene that ex-plored his personal feelings about the Allied invasion of France on June 6, 1944.

Ault was born in Ohio but moved to England at a young age with his family. While living in England his family spent their summers in France at Cap Gris-Nez in the Pas-de-Calais. Although he returned to America as a teenager, these summers remained with Ault throughout his life. His wife, Louise, recalled, “He talked to me of those boyhood summers in Brittany, Normandy, and Picardy … He still kept a piece of Quimper, a little cream pitcher from that time, that place.”

In 1937, Ault and his wife moved to Woodstock, New York, a thriving retreat for artists. Ault’s most highly re-garded canvases were made during his time in Woodstock, in a moment when he found new heights of linear clarity in his paintings even as he fell into deep personal despair. Ault’s suffering grew from personal psycho-logical challenges, but he was also deeply troubled by World War II. The paintings he created in Woodstock are precise, still, and desolate, even as they brim with an awareness of the overwhelming carnage in Europe. Of the day France fell, Louise wrote:

I knew he would not paint … there was little to say, the thought—Paris in the hands of Germans!—could not be uttered. … Next day, a serene sunny day, he worked silently, but thinking, I could be certain, of Paris. Suddenly, he jumped away from his easel and went out the back door. A moment later through the window I saw him sitting on the porch steps, face buried in his hands; I found him sobbing.

Just as Ault experienced this personal trauma, he painted Memories of the Coast of France.

The painting represents a beach on a bright day under a sky animated by anthropomorphic clouds. A lone nude woman sits on a rock amid the tide pools, before a wrecked ship and a surreal rock arch. Memories of

the Coast of France is both an explicit reference to Ault’s childhood summers in France and a reaction to the German occupation of this familiar space. The painting evokes the look of a wartime French beach, with the wrecked boat and its leaning posts recalling the carnage and anti-landing obstacles at Normandy. Although the scene is bright, it is as desolate as his most famous nocturnes from this period. Look for this painting in the American gallery, where it was recently installed.

George Copeland Ault, American, 1891–1948, Memories of the Coast of France, 1944, oil on canvas board; Museum purchase, 2018.4

21Acquisitions |20

ONGOING PROGRAMS

ART AFTER 5

First Fridays · September through April

5–9pm · Free

Unwind from the week with art, music, making, and mixing. Each month, we’ll feature a new blend of art and entertain-ment, including mini studio art classes, guest musicians, local mixologists, and art history hacks with the experts.

ART AND CONVERSATION

First Thursdays · 10:30am

$12 for Museum Members

$17 for Not-Yet-Members

This program is for people who want to learn more about art in an informative and interactive setting. The 2018 pro-grams, with the exception of May and July, are held on the first Thursday of each month, January through October. Coffee and light refreshments are available. Lectures are led by curators or guest speakers, and attendees are encouraged to ask questions, share thoughts and ideas, and actively partici-pate in the learning process.

SLOW ART SUNDAYS

Sundays · 2pm · Free

Slow food, slow living, slow … art? Unlock the secrets of works in the Museum’s collection by cultivating the art of looking slowly. Our docents ask and answer questions to help guide your slow art experience and foster conversation. Leave the Museum feeling inspired—not tired!

ARTBREAKS

Third Tuesdays · Noon · Free

On the third Tuesday of each month, Museum curators lead visitors on a thirty minute exploration of art in the galleries. Through a series of close-looking tech-niques and questioning, this free experi-ence helps build the visitor’s interpretive skills across the comprehensive-range of art periods and canons represented by the BMA’s collections. Stay for lunch at Oscar’s and they will throw in a free dessert!

VISUALLY IMPAIRED PROGRAM

Second Saturdays · 10am · Free

In this program for adults with visual im-pairments and their companions, special-ly trained docents present the Museum’s collection by means of verbal descrip-tions, three-dimensional tactile models based on original works of art, and sculp-ture. The experience may be enhanced by related music and/or art-making to provide multi-sensory access to the visu-al arts.

Advance reservations are required; space is limited. VIP tours are also avail-able for school-age or adult groups. To reserve your spot or learn more about group tours, call 205.254.2964.

The Visually Impaired Program is sup-ported in part by a grant from The EyeSight Foundation of Alabama.

ART-MAKING PROGRAMS

DROP-IN DRAWING

Third Sundays · 2–4pm

Free, no registration necessary

Looking for a last-minute art fix? Here’s an open invitation to explore your cre-ative sensibilities in a relaxed setting with inspiration from a pro. Make your own drawing in the galleries under the guid-ance of teaching artist Jamison Harper. You provide the creativity. We’ll provide the art supplies. Locations vary, see signs at entrances.

STUDIO SCHOOL

Studio School offers a wide range of art classes for adults and children, in-cluding painting, drawing, pottery, and more. Using the Museum’s collection and exhibitions as inspiration, explore your own creativity while discovering new techniques. Whether you’re interested in a laid-back craft night or an in-depth course, Studio School has something for you.

BMA members receive a 20% discount on all Studio School classes. To see more information and to register, go to artsbma.org/studio-school.

Studio School is presented by The Comer Foundation.

To learn more about our ongoing programs and what we have planned for each event, please visit our online calendar at artsbma.org/events.

Programs + EventsArt On The RocksJuly 27 · August 17 · 7–11pm $15 Members / $25 Gen Admission

The 14th season of Art On The Rocks presented by Dale’s Seasoning is in full swing this summer, with the remaining two events taking place July 27 and August 17.

Art On The Rocks brings three lively nights of entertainment to downtown Birmingham with artist collaborations, live mural painting, interactive performances, food, cocktails, and more. This season features special musical guests The Suffers, Seratones, and Tank and the Bangas.

Museum members enjoy a discounted admission price of $15. Tickets are available for purchase at artsbma.org.

Latinx Heritage FestivalSeptember 15 · 10AM–2PM · Free

Celebrate Latin culture and traditions at the Birmingham Museum of Art during our third annual Latinx Heritage Festival! Join us for a day of festivities, featuring Spanish-language gal-lery tours and delicious Latin cuisine. Enjoy family-friendly art activities, face painting, and much more!

The 2018–2019 Family Fetivals Series is presented by Medical Properties Trust

Waterline LectureSeptember 27 · 6PM · Free

During a special artist talk on September 27, artist Marianne Nicolson will discuss the forms and symbols in her sculpture installation Waterline, and how they reflect the experience of industrial encroachment onto tribal land, water, and human experience.

Indian Cultural Society ConcertSeptember 30 · 5–7PM · Free

The Birmingham Museum of Art and the Indian Cultural Society present a special concert featuring the Divine Trio, comprised of three world-renowned Indian musicians: Vidushi Mita Nag, Janab Hassan Haider, and Pandit Subhen Chatterjee.

22 23Programs + Events |

Art and Conversation:Dixie Art ColonyAugust 2 · 10AM–2PM · $12 for Museum Members, $17 for Not-Yet-Members

Art and Conversation is for people who want to learn more about art in an informal and interactive setting. These programs, with the exception of May and July, are held on the first Thursday of each month January through October at 10:30AM. Coffee and light refreshments are available one half-hour prior in the Main Lobby. Lectures are led by curators or guest lecturers, and attendees are encouraged to ask questions, share thoughts and ideas, and actively participate in the learning process.

On August 2, Founder and Director of the Dixie Art Colony Foundation Mark Harris will tell the story of one of the Deep South’s first art colonies, the Dixie Art Colony, ac-tive in Elmore County from 1933 to 1948. He includes in his presentation examples of the colonists’ artwork, along with vintage photographs and other materials from their scrapbooks.

Makers Station Inspired by The Original MakersJuly 21, August 4 and August 11 · 10AM–12:30PM

There’s a maker in us all. Discover yours at the BMA’s pop-up Maker Station and cre-ate your own art inspired by The Original Makers: Folk Art from the Cargo Collection. Drop by on July 21, August 4, and August 11 from 10AM-12:30PM. Each drop-in session will feature a new community artist and related art activities, so you can make something different every time. Open to makers of all ages.

Take your artwork with you or loan it to us temporarily and be part of the New Makers Community Exhibition in the Sharon and Grady Burrow Education Gallery, August 16 through August 28. Join us for a closing reception on August 28 from 5-7PM and enjoy light refreshments. After the reception, you’re invited to take home your works of art.

Art After 5 ReturnsSeptember 7 · 5–9PM · Free

Mark your calendars for September because Art After 5 is back! The Museum is open late on first Fridays in September through April for an evening of art, music, makers activities, and more! See our collection in a new light when you take an adults-only gallery tour. Discover the maker within and bring home your own masterpiece to put on the fridge. Sip a specialty cocktail crafted by a local mixologist while you enjoy the sounds of a local band. Art After 5 is a free night of fun and entertainment for every-one in Birmingham. We’ll see you there!

Deputy Director Selected as NextGen2018 Fellow

In March, the Birmingham Museum of Art’s James Milton and Sallie R. Johnson Deputy Director, Meghan Ann Hellenga, completed the highly esteemed Getty Leadership Institute’s NextGen 2018, an executive education program for managers tapped as the next generation of museum leaders. The program featured diverse and impressive representation of profession-als from across the museum industry, including top leadership in education, exhibitions, development, planning and administra-tion, and technology.

“The program was challenging, but very rewarding. Participants were stretched to consider not only personal limitations, strengths, and goals, but institutional and field-wide strategies and opportunities,” Hellenga said.

Selection criteria considered candidates’ detailed analysis of the challenges they face in the immediate future; commitment to the museum field; creativity; broad strategic thinking; and the ability to influence policy and affect change at their institutions. The curriculum fosters learning through both theory and prac-tice and aims to enhance museum leadership at the individual, institutional, and societal levels.

“As one of 33 international fellows, I have been introduced to many different approaches and possibilities,” Hellenga said. “I am thankful for the support I received to attend the program and am looking forward to contributing my newly gained per-spective during this truly exciting time at the BMA.”

Volunteer Spotlight: George Robbins III

By Manager of Volunteer and Visitor Services Lindsey Hammel

George Robbins III has had a love for art since he was 10 years old when his mother bought him a collection of art books that he pored over time and time again. He always wanted to work at an art museum, but circumstances did not allow it. He ful-filled his lifelong dream of attending college at 44 years old when he enrolled at UAB. He graduated with a bachelor’s de-gree in history with a minor in art history at 47, and received his master’s degree in history at the age of 49. He especially loved his art history classes at UAB and knew he wanted to be more involved in the art world. As soon as George retired from Bellsouth, volunteering at the BMA was the first thing he thought of and he applied to become a volunteer at the infor-mation desk.

During his first couple of months as a BMA volunteer, George took the time to explore the galleries. Even though he had been visiting the BMA since 1975, he realized that he didn’t know the extent of the collection. He appreciates the diversity and depth of the collection and especially loves the Dutch and Flemish gallery and other European galleries. His favorite paint-ing is Perseus Armed by Mercury and Minerva by Paris Bordon. George enjoys the perks of being a volunteer, such as being among the first to know about upcoming lectures and tours, and meeting people from all over the world. Thank you, George, for three and a half dedicated years of service to the BMA!

News + Giving

24 25Programs + Events | News + Giving |

Teen Night Recap

By Manager of Volunteer and Visitor Services Lindsey Hammel

On April 20, the Museum invited all Birmingham area high school students to a special after-hours event just for them. Teen Night was planned and hosted by Teen BMA, the Museum’s volunteer group of high school students. They de-vised the theme “Out of This World” and planned activities for the evening, including a very popular cosmic photo booth and galactic art activities. Teen BMA members worked with the Education Department to create a digital time-travel scavenger hunt that sent teens throughout time and space in the galleries to search for clues that led to a missing artwork. Other Teen BMA members led a tour that included facts about the art and artists as well as fun games for the group to play in the galleries. Teen Night was a big success with 156 high school students in attendance. Teen BMA member Sadie Odom had this to say about the event:

“Teen Night was filled with my favorite things- friends, music, and art. We planned meticulously in the months leading up to Teen

Night and no small detail went unnoticed. We based the scav-enger hunt off of a time travel adventure with different aspects coming from our favorite television shows. The decorations and activities correlated with one another, each thing compli-menting the other. The starlight projector leaked into the photo booth, making the photos look as if they are standing amongst the stars. The music echoed through the halls, making you feel connected with the others even as you admired the art pieces. The tour was my favorite part. I prepared my part in advance with great care and thorough research. My friends and brothers came to see the tour and their support meant the world to me. I’ve been in this program for four years now, this year being my last year. Teen Night was an absolute success, a reflection on the program itself—a creative outlet to not only learn more about art and careers in the arts, but a way to connect with your peers. It makes you feel as if you are a part of something bigger, a part of the vast universe that we are in.”

Meet the Director of Development

In the spring, Kate Tully Delgreco joined the Birmingham Museum of Art as its new Director of Development. After more than 10 years in development at the University of Alabama at Birmingham, Kate brings to the Museum experience in building rewarding philanthropic partnerships through her ambitious and strategic approach to fundraising.

Medium: What do you enjoy most about working in fundraising?

Kate Tully Delgreco: Through volunteering in college, I saw that you could find a job you love as much as you love the people you work with. When an opportunity to work in philanthropy came up, it felt like a dream. I took a gamble and left an otherwise good career for a chance to learn about nonprof-it management and major gift fundraising from an experi-enced leader in the field. That year, I vowed my career goal was “people not paper,” and that I could look back and mea-sure my time in human interaction and not stacks of files. When I reflect on what that I love most about working in nonprofit, it’s the top-to-bottom prioritization of communities and the people they’re comprised of. At the end of the day, our goals are about serving people.

M: You worked in development at UAB for more than 10 years supporting advancement in the sciences. How has working in the arts compared to medicine?

KTD: In many ways, fundraising for medicine is very much the same as fundraising for the arts. In medicine, a donor has connected with a program over something that has hap-pened in their life that caused a strong, direct interest in a disease group, for example, receiving a diagnosis. The do-nor is passionate for finding a cure, which motivates their giving. Museum patrons feel the same depth of passion in their giving for the arts. They understand the value of the art they collect and support. They are appreciative of its historic value, aesthetic, and preservation. In that way, the conver-sations around giving are very much the same. My role is to help every donor connect their giving to a program or proj-ect that most closely aligns with their values and passions. Working in philanthropy is a great honor in this way. I have the privilege of serving a community of donors dedicated to advancing the human condition.

M: From your perspective, what is the greatest benefit of sup-porting the Museum?

KTD: Museums serve a multitude of important functions in their communities. The BMA is uniquely privileged to house thou-sands of years of human history in artifacts, clothing, ceram-ics, photographs, and art. And in a digital world where we live buried in a four-inch screen, museums enable guests to experience a glimpse of something tangible, something physical. We aren’t just on a screen. We’re texture and ma-terials. We’re scale and presentation. We help to preserve the physical human history, both for education and for en-joyment. Supporting the BMA enables a furthering of that mission, to tell the story behind the human experience with broader audiences, while we also expand to share new fac-ets of our ever blending cultures.

M: Out of 27,000 to choose from, have you picked a favorite work in our collection?

KTD: As hard as it is to choose a favorite, as a hobbyist pho-tographer, I’ve always had an affinity for portraits - especial-ly with strong female subjects. The Sorceress by Georges Merle is particularly fascinating to me, both for the mystery surrounding the symbolism in the work and for her captivat-ing eyes, which follow you as you pass the painting. I’m also extremely excited to be part of the museum chosen to dis-play Amy Sherald’s loan All Things Bright and Beautiful.The piece is displayed alongside a touching quote by Michelle Obama who mused that she hoped little girls would see her portrait in the National Portrait Gallery and see themselves in it. Sherald’s work embodies the radiance and power of little girls. It’s a great honor to work for an organization that so deeply values diversity and bringing fresh, contemporary representations of African American art on display for our own community along with the thousands of visitors we at-tract from across the nation each year.

26 27News + Giving |

Outside the LinesThe 2018 Museum Ball

Saturday, May 5 · 2018

The 63rd annual Museum Ball took place on Saturday, May 5. Co-chairs Tricia and Troy Wallwork and Sue and Nick Willis welcomed guests to an evening Outside the Lines, a contem-porary theme inspired by works in the Third Space exhibition. Designer Jill Garmon of AG Lighting created an edgy interpre-tation of the theme, featuring bold flowers and modern decor.

Guests arrived at dusk for cocktails and hors d’oeuvres on the terrace. As a special treat, Oysters XO made their Alabama debut, offering freshly-shucked Murder Point oysters. Guests were invited to the galleries for a seated dinner prepared by Chef Rob McDaniel of Springhouse at Lake Martin. The three-course menu was accompanied by wine pairings generously provided by Susan and the late Tom Curtin. After dinner, the big sounds of the 12South Band brought guests out to the dance floor for an outstanding performance that lasted all night.

The evening was a record-breaking success, raising the larg-est amount in the history of the Museum Ball. Funds from the Museum Ball provide critical support for the Museum’s educa-tional initiatives including public programs, school tours, and community outreach.

Tricia and Troy Wallwork, Graham C. Boettcher, and Sue and Nick Willis

Ivan Rich, Carolyn Featheringill, Jane and Harold Goings

Larry Thornton, Jestina Howard, Kwame and Zillah Fluker, Clint and Gianetta Jones, Walter and Vanessa Body

Leslie Wampol, Ken Novak, Akiko and Joshua Jones

Bisakha Sen, Farah Sultan, Dora Singh, Rebekah Elgin-Council, Peggy Balliet, Rupa Kitchens

The Museum is eternally grateful to the late Tom Curtin for bringing good cheer and refinement to the Museum Ball year after year through the generous donations of wine from his distinguished collection.


Friends of American Art Trip to Santa Fe, New MexicoApril 9–13 · 2018 · By FoAA Member Jane Goings

Led by Curator of American Art Dr. Katelyn Crawford and Deputy Director Meghan Ann Hellenga, 21 members of the Friends of American Art enjoyed a glorious week in Santa Fe, New Mexico, in April. La Fonda, the hotel in which we stayed, is simply the Grande Dame of Santa Fe’s hotels. Located at the terminus of the Santa Fe Trail, it is a charming Pueblo Revival structure inspired by the adobe architecture of the indigenous Pueblo peoples.

Our trip began with a delicious welcome dinner to fortify us for our compelling itinerary packed with intriguing sights and ex-periences. The following morning, we walked to the Georgia O’Keeffe Museum, dedicated to the art of one of our country’s most influential artists known for her groundbreaking use of abstraction, dramatically modern compositions, and exquisite sense of the beauty of the natural world. We toured several other museums that day and took a bus to the Allan Houser Sculpture Garden. Located on a 15-acre site with panoramic mountain vistas, the gardens included monumental works by Houser and a gallery displaying paintings and watercolors that

have made him one of the most respected modernist sculptors of his time and one of the premier Native American artists of the 20th century.

We had the good fortune of being in Santa Fe at the same time that friend and former BMA Board Member Beverly Erdreich was having an exhibit at the Center for Contemporary Arts. From

Goya to Erdreich was inspired by The Disasters of War, a series of 82 prints created between 1810 and 1820 by Francisco de Goya y Lucientes. Goya is known for cataloging the brutality and fatal consequences of war in a stark, confrontational, and unflinching manner. Beverly is known for lyrical abstract can-vases. For this series, however, she was moved by the violence and destruction in the United States as catalogued nightly in the evening news. Her drawings are created atop reproductions of Goya’s powerful compositions bringing the stinging brutality of 19th century atrocities into a modern context.

Please visit artsbma.org/foaa to continue reading.

Collectors Circle Trip to Crystal Bridges MuseumMarch 13–18 · 2018 · By CC President Lisa Mani, M.D.

In March, the Collectors Circle spent four days in Bentonville and Fayetteville, Arkansas, enjoying a semi-magical stay at the Hotel 21c, as well as in and around the ecosystem of the Crystal Bridges Museum with surrounding nature trails, outdoor exhibi-tions, and restaurants in the nearby town square of Bentonville.

The primary purpose of the trip, however, was to tour the Soul of

a Nation exhibition of African American art. This semi-exclusive exhibition, to travel only to The Brooklyn Museum in the United States after Crystal Bridges, displayed and discussed art of widely varied media in historical and political contexts. The ex-hibition was well curated with works grouped in like media and themes to convey intended ideas and concepts of the artists. We were fortunate to have a privately guided tour by Lauren Haynes, the Curator of Contemporary Art at Crystal Bridges and a former member of the curatorial staff at the Studio Museum in Harlem.

Dr. Mindy Besaw, the curator of American Art at Crystal Bridges, led an extensive tour of the permanent collection at the mu-seum. Her tour was an intellectual one, and she captivated us

with her professorial approach to the collection. Of note was photography on display at Crystal Bridges by Celestia Morgan of Birmingham.

The museum itself is a vast structure anchored in water and fabricated in glass, cement, and steel designed by Moshe Safdie. Our time at Crystal Bridges was graced with sunlight that played wonderfully on the water outside and through the glass windows of the museum and restaurant.

On the grounds of the Crystal Bridges Museum are numerous outdoor sculptures, namely and recognizable such as a LOVE sculpture by Robert Indiana and those bleak, monochromat-ic human figures by George Segal. We also toured the Frank Lloyd Wright Bachman-Wilson House, an example of classic Usonian architecture or coinage by Wright from United States of America. The house was relocated to the Crystal Bridges campus from New Jersey with reconstruction on site in 2015.

Please visit artsbma.org/cc to continue reading.


European Art Society Trip to Boston

April 26–29 · 2018 · By EAS Member Margaret Hubbard

Our group met at the elegant Lucca Back Bay restaurant on Thursday night, which was a perfect introduction to the excep-tional tour ahead. For the next three days, Curator of European Art Dr. Robert Schindler led us to the most significant venues in and around Boston. The Copley Square Hotel, the second oldest in continuous operation in Boston, is central to Boston’s early construction and easy walking distance to restaurants and surrounding sights.

On Friday morning, our group visited the Worcester Art Museum, where we were welcomed by the Director, Dr. Matthias Waschek. The newest exhibition there, The Mystery

of Worcester’s Leonardo, pairs the WAM’s A Miracle of Saint

Donatus of Arezzo with the Louvre’s The Annunciation, both of which formed an Italian altarpiece. The European galleries in this museum were especially intriguing. The absence of text panels, tilting pictures, and armchairs grouped facing corners, all work to engage viewers and encourage discussion. We cer-tainly experienced this intention, which made for a more mem-orable visit.

The afternoon hours were spent at the Museum of Fine Arts Boston. There reside more than 450,000 works of art. We

concentrated on only 21,000 of its European paintings, sculp-tures, and decorative arts from the Middle Ages through the mid-20th century. Dr. Ronni Baer, Senior Curator of European Paintings, led us through specialized galleries, the most note-worthy in Masterpieces of Dutch and Flemish Painting. We saw Rembrandt’s early Artist in his Studio and seminal works by Peter Paul Rubens and his pupil, Anthony Van Dyck. The col-lection of 19th century French painting is world famous, and we saw Renoir’s Dance at Bougival, Degas’ sculpture The Little

Dancer, and several of Gauguin’s finest. Dr. Frederick Ilichman, the Chair of Art of Europe and Curator of Paintings, followed with a tour of period rooms and in-depth studies of select-ed paintings. In short, each gallery was too overwhelming for words. Following this awesome private tour, we had a relaxing dinner at Stephanie’s on Newbury.

Saturday we visited the Isabella Stewart Gardner Museum and the astonishing private collection of Jeffrey and Carol Horvitz, followed by a trip to the Harvard Art Museums on Sunday.

Please visit artsbma.org/eas to continue reading.

Visitors’ View

From thoughtful reflections to silly selfies and everything in between, we love to see the Museum through your eyes. Share your BMA ex-perience with us on Instagram for a chance to be featured in our next Visitors’ View!


Honorariums + Memorials

Gift date range for this editions of Medium is July 01, 2017 through March 31, 2018.

In Honor OfGriffin Adler: Mr. and Mrs. Robert M. FiermanCatherine Wheelock Giti Ahmad: Mr. and Mrs. S. Perry Given,

Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Mrs. Elon Allen: Mr. and Mrs. S. Perry GivenRuth Alsbrooks: BMA Thursday Docents Ms. Gail Andrews: Linda T. Abele, Mr. and Mrs. Harold L.

Abroms, Beth and Scott Adams, Mr. and Mrs. John P. Adams, Alabama Power Foundation, Inc., Mr. and Mrs. Edward K. Aldag, Jr., Diane and Mark Aldridge, Margaret and Bruce Alexander, Ms. Olivia E. Alison, Melia Horton Allen and Family, Renée Goode Allison, Mr. and Mrs. Robert Anderson, Gail C. Andrews and Richard B. Marchase and their children—Julia Trechsel Davis, Andrew R. Trechsel, Nicholas D. Marchase, Allison E. Marchase, Anonymous, Mr. and Mrs. Thomas D. Armstrong, A Social Affair, Mrs. Pam Ausley, Dr. and Mrs. Fred Baekeland, Ms. Candice W. Bagby; Ms. Sidney R. Bagby, Mr. and Mrs. Frank M. Bainbridge, Jr., Dr. and Mrs. Gene V. Ball, Peggy and Michael Balliet, Mrs. Charlton Bargeron, Beaux Arts Krewe, Ms. Joyce Benington, Frances and Claude Bennett, Richard and Tracey Hering Bielen, Hal and Jane Bissell, Ms. Geneva Blackburn, Judge Sharon Lovelace Blackburn, Clarence and Sheila Blair, Irene Blalock, Dalton and Jon Blankenship, Ms. Katherine Blount, Cate and Brian Boehm, Chris and Mary Boehm, Dr. Graham C. Boettcher, Nina and Ken Botsford, Mr. and Mrs. Thomas M. Boulware III, Alice Meriwether Bowsher, Betsy Bradley, Virginia and Laurence Bradley, Robert Brady, Mr. and Mrs. Frank H. Bromberg, Jr., Mr. and Mrs. William Brooke, Judge and Mrs. Houston L. Brown, Mrs. Peter Bunting, Kathy and Bruce Burdette, Grady F. and Sharon B. Burrow, Annie and Greg Butrus, Camille Butrus, Gayle and Mike Byrne, Mr. and Mrs. William J. Cabaniss, Jr., Mr. and Mrs. Charles S. Caldwell III, Myla Calhoun, Meredith and Wesley Calhoun, Kristina Callahan, Mr. and Mrs. Ehney A. Camp III, Caroline Cargo and Bernard Peterson, Mr. Thomas N. Carruthers, Jr., Mr. Patrick Cather, Dr. and Mrs. Jerry W. Chandler, Louise Chow and Tom Broker, Mr. and Mrs. William N. Clark, Mr. and Mrs. Charles T. Clayton, Jr., Ms. Kate Cleveland, Mr. and Mrs. Robert Cobb, Brooke H. Coleman, Jane S. Comer and Charles A. Lantz, Ms. Rita C. Constantine, The Honorable and Mrs. Ralph D. Cook, Mr. and Mrs. Donald L. Cook, Judy

and Jim Cook, Mr. and Mrs. Thomas R. Cosby, Amy Crawford, Mr. and Mrs. Francis H. Crockard, Jr., Mrs. Mary Lynda Crockett, Ralph and Mary Helen Crowe, Mrs. Stefanie Rookis Crumpton and Mr. Jack Crumpton, Lyndra and Charles W. (Bill) Daniel, Stewart Mott Dansby, Mr. and Mrs. Richard T. Darden, Mr. and Mrs. J. Mason Davis, Jr., Mr. H. Corbin Day and Mrs. Kim Morgan, Dr. and Mrs. Larry Deep, Terri Denard and Steven Reider, Drs. Michael and Lisa DeVenny, Dr. and Mrs. Michael J. DeVivo, Mrs. Forsyth S. Donald, Patsy Dreher, Rachel K. Drennen (Mrs. Alan T. Drennen, Jr.) and Alan T. Drennen lll, Patty B. and Dave Driscoll, Mrs. Betsy A. Dumas, EBSCO Industries, Carmen and Trey Echols, Kathryn and Doug Eckert, Mr. Robert D. Eckinger and Ms. Maibeth J. Porter, Ms. Rebekah Elgin-Council and Mr. Bryan Council, Mr. and Mrs. Paul Elkourie, Ann Rolling Elliot, Mr. and Mrs. Charles H. Ellis, Dr. and Mrs. Frederick Elsas, Mrs. Henrietta Emack, Lisa and Alan Engel, Mrs. Ruth Engel, Dr. William E. Engel, The Engel Family, Beverly and Stanley Erdreich, Mr. and Mrs. Glenn Eubanks, Mrs. William W. Featheringill, Kaywin Feldman, Mr. and Mrs. Robert M. Fierman, Mr. and Mrs. William Fishburn III, Kelley and CT Fitzpatrick, Mrs. Dorothy Ireland Fletcher, Walton and Key Foster, Rachel and Conrad Fowler, Maye and Bernard Frei, Mr. and Mrs. James S. M. French, Carolyn and Henry Frohsin, Rebecca and Ben Fulmer, Mr. and Mrs. A. Henry Gaede, Jr., Hugh and Anna Gainer, Mr. and Mrs. James Gewin, Ellen and Houston Gillespy, Mr. Andrew H. Glasgow, Mr. and Mrs. Harold Goings, Mr. and Mrs. Hubert Goings, Jr., Braxton and Mary Goodrich, Mr. William W. Goodrich, Mr. and Mrs. T. Michael Goodrich, Mr. and Mrs. M. Williams Goodwyn, Jr., Mr. and Mrs. James Gorrie, Mr. and Mrs. Miller Gorrie, Mr. and Mrs. Gordon Graham, Mr. Roy C. Green, Jr., Mr. and Mrs. Paul Greenwood, Joy and Beau Grenier, Melanie and Jay Grinney, Ms. Margaret Grubb, Mr. and Mrs. Troy Haas, , John Hagefstration, Wyona and Tom Hamby, Judith H. Hand, Mary and Victor Hanson, Craig and Griff Harsh, Joan and Preston Haskell, Mr. and Mrs. Wyatt R. Haskell, Dr. and Mrs. Lawrence S. Hawley, Meghan Ann and Michael Hellenga, Mr. and Mrs. Elias Hendricks, Jr., Mrs. S. Richardson Hill, Jr., Ms. Catherine Hillenbrand and Mr. Joseph Hudson, Virginia and John Hillhouse, Barbara Hirschowitz, Mary Louise Hodges, Frank and Denise Hughes, Mr. and Mrs. William C. Hulsey, Ms. Carissa Hussong, Mrs. Stanton B. Ingram Charitable Fund - Yin and

Corporate Partners

Founder’s Circle

Sustainer’s Circle

Each year, our Corporate Partners provide critical support for the Museum’s programs, exhibitions, and most importantly, keeping the Museum free of charge for our visitors. Ranging from our hands-on interactive space, Bart’s ArtVenture, to family festivals, school tours, studio classes, and more, Corporate Partners are vital to ensuring that our Family and Youth Programs allow nearly 35,000 children each year to create, read, dance, and explore while celebrating cultures and traditions from around the world. Thank you to our Corporate Partners for helping to connect all of Birmingham to the experience, meaning, and joy of art.

For more information about the BMA’s Corporate Partner membership program or to involve your company, please contact Claire Hubbs Gray, senior development officer, at 205.254.2086 or [email protected]

Chairman’s Circle

Bradley Arant Boult Cummings LLP

Butler Snow LLP

Encompass Health Corporation

Jemison Investment Co., Inc.

New Capital Partners, Inc.

Red Diamond, Inc.

Regions Bank

Stewart Perry Construction

Director’s Circle

Altec Industries, Inc.

Ram Tool and Supply Company

Thompson Tractor

Curator’s Circle

Arlington Properties,Inc.

Cobbs Allen

Dunn Investment Company

First Commercial Bank

Marx Brothers, Inc.

Motion Industries, Inc.

Benefactor’s Circle

Brookmont Realty Group LLC

Christie’s

Coca-Cola Bottling Company United, Inc.

Four Corners Custom Framing Gallery

Hughes and Scalise, P.C.

Kassouf & Co., P.C.

Levy’s Fine Jewelry Inc

National Cement Company of Alabama, Inc.

O’Neal Industries

Pizitz Management Group

Precision Grinding, Inc.

Realty South

Williams-Blackstock Architects


Stanton Ingram, Advisors, Jeanne Jackson and Mark Lester, Mr. and Mrs. Donald M. James, Dr. and Mrs. H. Peter Jander, Mr. and Mrs. Norman Jetmundsen, John Johns and Nancy Dunlap, Dr. and Mrs. James C. Johnson, Sallie and Jim Johnson, Mr. and Mrs. J. Brooke Johnston, Jr., Cathy and Paul Jones, Ms. Lial Jones, Dr. and Mrs. James Kamplain, Mr. and Mrs. Gerard J. Kassouf, Bill and Jeanette Keller, Dr. Kent T. and Mrs. Enid F. Keyser, Dr. and Mrs. Robert Kimberly, Dr. David Kitchens and Dr. Rupa Kitchens, Dr. and Mrs. Lanning Kline, Seth and Meg Landefeld, Dr. and Mrs. Joe B. LaRussa, Lynn and Benny LaRussa, Mary Lyn and David LaRussa, Jonathan Lehman and Zachary Huelsing, Dr. V. Markham Lester and Ms. Jeanne L. Jackson, Jim and Kelly Lewis (Rushin), Mrs. James A. Livingston, George Gambrill Lynn, Mr. Henry S. Lynn, Jr., Mrs. C. Caldwell Marks, Mr. and Mrs. John Markus, Marion and Edgar Marx, Marx Brothers, Bill Mason, Bob Scharfenstein and Bryan Underwood, Susan Matlock / Michael Calvert, Mrs. Alan R. Matthews, Judy and Gerson May, Emily and Willard McCall, Jr., Dr. Charles “Scotty” McCallum, Mrs. Lynette A. McCary, Doug McCraw, Mr. and Mrs. Thomas S. McGahey, Emmy and Travis McGowin, Mr. Johnny McIntosh, Mr. and Mrs. Emmett E. McLean, Mr. and Mrs. George McMillan, Dr. Heather McPherson, Louise and Frank McPhillips, Jim and Robin Meador-Woodruff, Dr. Suzanne M. Michalek, Mr. and Mrs. Charles D. Miller, Mrs. Patricia A. Millhouse, Ms. Dottie Mitchell, Joyce Crawford Mitchell and John Mitchell, Ms. Margaret Monaghan, Mr. and Mrs. Joseph F. Morad, Dr. and Mrs. Robert Morris, Mr. Brad Morton, Mr. and Mrs. Sam W. Murphy, Mr. and Mrs. Mark L. Myatt, Susan and Alex Nading, Ms. Tanya Najwa, Dorothy and Al Naughton, Kate and Claude Nielsen, Jean and John Oliver, Ms. Ann F. Omura, Dr. Emily F. Omura, Mrs. Shirley K. Osband, Elizabeth and James Outland, Penny and Ruffner Page, Buddy Palmer, Mr. and Mrs. Sam Pathasema, Katherine and Donny Patton, Mrs. Elise M. Penfield, Martha Pezrow, Karen and Joel Piassick, Ms. Pauline Pinto, Diana and Gray Plosser, PNC Foundation, Paula Purse Pointer, Margaret and Kip Porter, Mrs. William Powell, Jr., John and Nancy Poynor, Dr. and Mrs. William T. Price, Ms. Angela F. Pruitt, Kathie and Pringle Ramsey, Mr. and Mrs. R. Bryan Ratliff, Mr. and Mrs. William T. Ratliff III, Mrs. Hallie H. Rawls, Carolyn McDavid Ray, Red Diamond Coffee and Tea, Red Mountain Garden Club, Ms. Sonja Rieger, Mr. and Mrs. T. Alan Ritchie, Jr., Dr. Janice W. Roberts, Dr. Lindsay S. Robison and Mr. J. Andrew Robison, Dr. Carol Rosenstiel and Ms. Fran Hogg, Mr. Mark Rosse and Mrs. Kaye McWane, Margaret and Francis Rushton, Mr. and Mrs. William J. Rushton lll, Mr. and Mrs. William H. Satterfield, Ms. Melissa A. Schoel, Mr.

John Schorrenberg, Virginia Hendrix Scruggs, Mr. and Mrs. Scott Selman, Mrs. Jean S. Shanks, Babbie and Waid Shelton, Jackie and Eric Simons, Dora and Sanjay Singh, Kate and Charles Simpson, Sandra S. Simpson, Dr. and Mrs. David A. Skier, Ann Morris Smith, Garland and Lathrop Smith, Mrs. Marilyn S. Smith, Mr. and Mrs. Murray Smith and Mr. and Mrs. Joseph C. South lll, Mrs. Peter G. Smith, Ms. Stacy A. Smith, Ms. Ceil J. Snow, Sara B. Snow and Farley M. Snow, Jim Sokol and Lydia Cheney, Carol O. Sommers, Janie Spencer, Patricia and Rick Sprague, Dr. Sandra Sprayberry and Mr. Sam Munyer, Monty and Vastine Stabler, John and Carolyn Stadtlander, Mr. and Mrs. Jim C. Stapleton, Arnold Steiner, Elizabeth and John Steiner, Mrs. Mary S. Steiner, Ms. Rose H. Steiner, Mr. and Mrs. James T. Stephens, Bill and Kimeran Stevens, Lewis and Carol Stewart, Ms. Kate C. Stockham, Denis and Julia Stork, Evelyn and Gene Stutts, Lee and Kelly Styslinger, Mr. and Mrs. Lee J. Styslinger, Jr., Dr. and Mrs. Roger Suttle, Mr. and Mrs. C. Logan Taylor lll, Dr. and Mrs. Kenneth P. Taylor, Mr. and Mrs. David L. Tharpe, Alice and Carl Thigpen, Anna M. and Douglass J. Thompson, Mr. and Mrs. George C. Thompson, Larry D. Thornton, Dr. Jack W. Trigg, Jr., Mr. and Mrs. Temple Tutwiler III, Mr. and Mrs. Ingram D. Tynes, Connie and Marshall Urist, Mr. Samuel E. Urmey, The Honorable J. Scott Vowell and Dr. Cameron McDonald Vowell, Mr. and Mrs. Robin A. Wade, Jr., Patricia and Troy Wallwork, Julie and Jeff Ward, Mr. and Mrs. William J. Ward, Charles L. and Mary L. Watkins, Lucy Trabue Watson, Ms. Angie S. Webb, Holly and Prince Whatley, Frances and George Wheelock, Mr. and Mrs. Heustis P. Whiteside, Jr., Ms. Maralyn D. Wilson, Dr. Donald A. Wood, Laura and David Woodruff, Kay and Jim Wooten, Mrs. Peter T. Worthen, Sally V. Worthen, Leo and Rhetta Wright, Mr. and Mrs. Marion Wynn, Mr. Alan K. Zeigler

Mary Selden Andrews: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Elinor Clay Anthony: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Mrs. Dickie Boykin Arn: Mr. and Mrs. John B. Elliott IIISally Baker: Leyden and Lucy ComerMr. and Mrs. William Bates: Mr. and Mrs. S. Perry GivenTerry Beckham: Sylvia Goldberg, Mr. and Mrs. Thomas R.

McLeodHarold Blach: Dr. and Mrs. David A. SkierDr. Graham C. Boettcher: Ms. Joyce Benington, Mr. Patrick

Cather, John Durr and Marilyn Elmore Fund, Mountain Brook Baptist Church, St. Luke Episcopal Church, The Honorable J. Scott Vowell and Dr. Cameron McDonald

Vowell, Vulcan Materials Employee Development Association

Mr. and Mrs. William Bowron, Jr.: Debardeleben FoundationHaley Elizabeth Bradford: Mr. and Mrs. S. Perry Given, Stephen,

Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Norbert Brown: Dr. and Mrs. David A. SkierDr. and Mrs. Charles E. Bugg: Mr. and Mrs. John B. Elliott IIIMargaret Burnham: Bob ScharfensteinMr. and Mrs. James J. Bushnell, Jr.: Mr. and Mrs. S. Perry GivenChris Cain: Dr. and Mrs. David A. SkierMr. and Mrs. Ben Carroll: Mr. and Mrs. John B. Elliott IIIMr. Thomas N. Carruthers: Mr. and Mrs. J. D. DresherMia Oostinga Cather: Mr. Patrick CatherMary C. Clem: Mr. Joseph D. ClemDr. and Mrs. Charles H. Colvin: Mr. and Mrs. John B. Elliott IIIKate Crawford: Mrs. James A. LivingstonMary Boyd Crosier: Mr. and Mrs. S. Perry Given, Stephen,


Kendall Elizabeth Crumbaugh: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Dr. and Mrs. John C. Foster: Mr. and Mrs. S. Perry GivenLucy Elizabeth Gardner: Mr. and Mrs. S. Perry Given, Stephen,


Anna Catherine Gillespy: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Ellen Elizabeth deBerniere Given: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Margaret Allyn Pratt Given: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Mr. Harold Goings: Ms. Martha Hiden, Millie and Billy Hulsey, Dr. and Mrs. Roger Smith, John and Elizabeth Steiner, Mr. and Mrs. Fred Turner, Jr.

Mr. and Mrs. Harold Goings: Mr. and Mrs. S. Perry Given, Mike and Gillian Goodrich, Ginger and Jimmy Stewart

Mary Keller Greene: Mr. and Mrs. S. Perry Given Deanny Hardy & Steeple Arts: Leyden and Lucy ComerCatherine Brevard Harmon: Mr. and Mrs. S. Perry Given,


Hazel Lena Hayes: Dr. and Mrs. David A. SkierWilliam C. “Billy” Hulsey: Mr. William W. Goodrich Camille Elizabeth Jernigan: Mr. and Mrs. S. Perry Given,


Mr. and Mrs. Jim Kelley: Mr. and Mrs. John B. Elliott IIIKaylor Elizabeth Kidd: Mr. and Mrs. S. Perry Given, Stephen,


Mr. and Mrs. Robert M. Köller: Mr. and Mrs. Francis Crockard, Jr.Stella Christine Kontos: Mr. and Mrs. S. Perry Given, Stephen,


Robert and Caroline Kower: Mr. and Mrs. J. Brooke Johnston, Jr.

Chandler Thorogood Law: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Ann Blalock Lee: Mr. Willis J. Meriwether IIIHelen Oliver Little: Mr. and Mrs. S. Perry Given, Stephen,


Mrs. James A. Livingston: Ellen and Hobart McWhorter, The Cadmean Circle

Mac and Maya Logue: Ted and Robin MetzCaroline Goodwyn Luckie: Mr. and Mrs. S. Perry Given,


Annie Lee Buce Mathews: Robert and Barbara BuceMargaret Bell McCalley: Mr. and Mrs. S. Perry Given, Stephen,


Mr. and Mrs. William L. McDavid: Mr. and Mrs. John B. Elliott IIIKatherine Beall Michaux: Mr. and Mrs. S. Perry Given, Stephen,


Alice Lee Naughton: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

The Oostinga Family: Robert A. Cather Pat Palmer: Dr. and Mrs. Robert A. Scott Becky Patterson: Margaret and Bruce AlexanderAnne Genevieve Pickering: Mr. and Mrs. S. Perry Given,


Mr. and Mrs. Don Plosser: Mr. and Mrs. S. Perry GivenNancy and John Poynor: Mr. and Mrs. Wilmer S. Poynor IIICaroline Sanders Reed: Mr. and Mrs. S. Perry Given, Stephen,


Mrs. Elberta G. Reid: Mr. Charles ScribnerMrs. Florence Richey: Mr. Patrick Cather


Amy Rogers: Ellen and Herbert McWhorterKelly Rushin and Jim Lewis: Dr. and Mrs. David A. SkierWalker Evans Sanders: Mr. and Mrs. S. Perry Given, Stephen,


Dr. Robert Schindler: Mr. and Mrs. Melford T. ClevelandAnne Kinsman Simmons: Mr. and Mrs. S. Perry Given, Stephen,


Dora and Sanjay Singh: Mr. and Mrs. Timothy CallahanDr. and Mrs. David A. Skier: Antiquarian Society of Birmingham

AlabamaEmily Symington Slayton: Mr. and Mrs. S. Perry Given, Stephen,


Mrs. Peter Smith: Mr. and Mrs. Michael JefcoatMr. Jim Sokol: Mary Ruth and Fred Ingram Mr. and Mrs. Clifford M. Spencer: Mr. and Mrs. John B. Elliott IIIMary Evelyn Sprain: Mr. and Mrs. S. Perry Given, Stephen,

Carolyn, and Mary Keller Greene, Catherine Luckie, The Sperling Family Charitable Foundation, Queen Alli and her family

David Stearns: Mr. and Mrs. David StearnsWalton Leigh Stivender: Mr. and Mrs. S. Perry Given, Stephen,


Mr. Jeffrey I. Stone and Dr. Linda J. Stone: Mr. and Mrs. S. Perry Given

Mildred Eugenia Stutts: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Anne and Roger Suttle: Elise Leonard DossMargaret Elizabeth Tapscott: Mr. and Mrs. S. Perry Given,


Mr. and Mrs. George Thompson: Mr. and Mrs. S. Perry GivenCatherine Claire Turner: Mr. and Mrs. S. Perry Given, Stephen,


Kathryn Alline Vogtle: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Anne Douglass Williams: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Kathleen Claire Wilson: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family

Dr. Donald A. Wood: Ms. Joyce Benington, Mr. and Mrs. Stanley

Erdreich, Jr., Sylvia Goldberg, Dr. and Mrs. William T. Price, Dr. John E. Schloder, Mr. and Mrs. John S. Steiner, Mr. Alan K. Zeigler

Jim Wooten: Mrs. Jane F. Wooten Kay Wooten: Mrs. Jane F. Wooten Antoinette Dunn Wyatt: Mr. and Mrs. S. Perry Given, Stephen,


In Memory OfNelson Abercrombie, Jr.: Mr. Patrick CatherMrs. Evelyn Allen: The Phillip Abroms Family, Mr. Jesse M.

Bates III, Ms. Joyce Benington, Mr. Frank Fleming, Mrs. Reta Guttman, Dr. and Mrs. James C. Johnson, Ms. Ellen R. Kallman, Dr. and Mrs. Jim Kamplain, Michelle and Herbert Luria, Mrs. Patricia A. Millhouse, Mrs. Shirley K. Osband, Mr. and Mrs. Howard E. Palmes, Robert Raiford and Zane Rhoades, Harriet Schaffer and Karl Schaffer, Ms. Marianne Schoel, Mrs. Marilyn S. Smith, Jim Sokol and Lydia Cheney, Cathy and Steve Wright

Ruby S. and John P. Ansley: Ms. Sallie S. AmanDr. Frederick Baekeland: Dr. and Mrs. David A. Skier Beth Blair: New Horizons (UAB), Richard Tubb Interiors, Dr.

and Mrs. David A. Skier Dr. Peter Bunting: Mr. Patrick Cather, Mrs. James A. LivingstonJim Burnham: Ms. Martha PezrowMelford T. Cleveland: Ms. Karen KellyRebecca Bowers Cooper: Dr. and Mrs. John Eagan, Sr.Bettye B. Hirsch: Dr. and Mrs. David A. SkierJoyce Holcomb: Mr. Amasa G. Smith, Jr.John H. Josey: Dr. and Mrs. David A. SkierVirginia Stockham Ladd: Mrs. William W. FeatheringillAnn Bairnsfather Lambert: Mr. and Mrs. Robert Eskew, Mr. and

Mrs. Charles Waites, Kathi and Danny Wallace, Mr. and Mrs. Michael C. Wells, Mr. and Mrs. Carlos Womble

Stuart Lindquist: Dr. and Mrs. David A. SkierWilson Alexander Long: Mr. Patrick CatherJohn Massey: Dr. and Mrs. James C. JohnsonMs. Marilyn Merkle: Ms. Amy ConnallyShelia Chunn Morton: Mr. Brad Morton Max Nomberg: Dr. and Mrs. David A. SkierDr. Jeannine O’Grody: Mr. Richard T. Darden, Mr. and Mrs. Paul

GreenwoodWim Oostinga: Mr. Patrick CatherMr. Rollin Osgood: Margaret G. LivingstonJudith J. Proctor: Baker Donelson Bearman Caldwell &

Berkowitz, PC, Kimberly and Nelson Bean, Ms. Mickie Coggin, Mr. and Mrs. John E. Cuttino, DRI, Inc., Susan and John Dulin, Susanne and Robert Esdale, Michael and Karen

Keel, Teri and Pat Lavette, Sally and Will Legg, the Louisiana-Pacific Corporation Legal Department, Mr. George G. Lynn, Heather and Phillip McWane, Ms. Carol Nickell; Mr. and Mrs. Harlan I. Prater IV, Mr. and Mrs. James L. Priester, Diane and Jim Richardson, Mr. and Mrs. Gregory Vistica, Mr. James Weatherholtz

Mr. Pringle Ramsey: Ms. Martha PezrowTopsy Smith Rigney: Betty and Tom

BartonLorol Roden Bowron Rediker Rucker:

John Michael Rediker and Diana Rediker Slaughter

Spencer Shoults: Dr. and Mrs. James Kamplain, Ms. Martha Pezrow, Dr. Donald A. Wood

Evans Simpson: Kappie and Evans Dunn, Jr., Mr. and Mrs. William C. Hulsey, Mr. and Mrs. Robin Wade, Jr., Mr. and Mrs. Cullom Walker, Jr.

Mr. Henry E. Simpson: Mr. and Mrs. James E. Aisner

Mr. James E. Simpson: Mr. and Mrs. James E. Aisner

Renee Sims: BMA Wednesday Docents, Ms. Martha Pezrow, The Focus Group

Elizabeth Dunlap Smith: Mrs. Betty Glass, Ms. Anne Hartline, Jane and Paul Van Wyke

Mrs. Helen Hassler Snow: Monica and Mike Cochran, Mr. and Mrs. John B. Elliott III, Dr. and Mrs. James Kamplain, Mrs. Patricia A. Millhouse, Mrs. Marilyn S. Smith

Mr. Fritz Woehle: Mr. and Mrs. Michael Balliet, Sr., Mr. and Mrs. Frank H. Bromberg, Jr., Mr. and Mrs. Francis Crockard, Jr., Mrs. Elberta G. Reid, Mr. Guy Reynolds, Mr. Amasa G. Smith, Jr.

Hours

Tuesday–Saturday, 10am–5pm Sunday, Noon–5pm Closed Mondays and select holidays

Oscar’s at the Museum Tuesday–Friday, 11am–2pm Members receive a 10% discount 205.328.7850; [email protected]

Clarence B. Hanson, Jr. Library By appointment: [email protected]

The Museum Store Open Museum hours Members receive a 10% discount; 205.254.2777; [email protected] www.birminghammuseumstore.org

Telephones

Main Office, 205.254.2565

Public Programs, 205.254.2571

Museum Tours, 205.254.2964

Membership, 205.254.2389

Development, 205.297.8214

Facilities Rental Jestina Howard, Special Events 205.254.2681; [email protected]

Board of Trustees

Mr. James K. Outland, Museum Board Chairman; Ms. Myla E. Calhoun, Secretary; Mr. Braxton Goodrich, Endowment Chair; Mr. Joel B. Piassick, Treasurer & Finance Chair; Mrs. Maye Head Frei, Governance Chair; The Honorable Houston Brown; Mr. Mark L. Drew; Dr. George T. French; Mr. John O. Hudson III; Mrs. Joyce Crawford Mitchell; Mr. G. Ruffner Page, Jr.; Mr. Sanjay Singh; Mrs. Nan Skier; Mrs. Kelly Styslinger; Mrs. Patricia Wallwork

Chairmen Emeriti: Mr. Thomas N. Carruthers, Jr.; Mrs. Margaret Livingston

Accredited by the American Alliance of Museums. A portion of the general operating budget is supported by the City of Birmingham and a grant from the Alabama State Council on the Arts and the National Endowment for the Arts.


BIRMINGHAM MUSEUM OF ART2000 Rev. Abraham Woods, Jr. Blvd.Birmingham, Alabama 35203

PRESORT STD.U.S. POSTAGE

PAIDPERMIT NO. 02160

BIRMINGHAM, AL

/artsbma @bhammuseumartsbma.org/medium

Is your name or address incorrect?Please let us know by calling 205.297.8088 or emailing [email protected]. Thank you!

Shop the World

This indoor/outdoor recycled metal chime features a looping floral pattern within its diamond-shaped form and is painted an antiqued mint green for a vintage look. Accented with golden bells and clappers for mellow metallic sound. Suspend free hanging or as wall art from attached 5” chain. 18”l x 17”w.

$28.00

Medium - artsbma.orgthe BMA, the Birmingham Botanical and Aldridge Gardens and, most prominently,...

Documents

Transcript of Medium - artsbma.orgthe BMA, the Birmingham Botanical and Aldridge Gardens and, most prominently,...