DOCSLIB.ORG

Ogden Museum of Southern Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ogden Museum of Southern Art OGDEN MUSEUM OF SOUTHERN ART. INC. FINANCIAL STATEMENTS AS OF AND FOR THE YEARS ENDED DECEMBER 31, 2019 AND 2018 ERICKSEN KRENTEL CERTIFIED PUBLIC ACCOUNTANTS • CONSULTANTS S Oi Ac 3 - /s. cll OLcl ance witn Lrover IS i ERICKSEN KRENTEL LtKflUbi) PUbLiC ALLOUNIANiS • CaNbULfANTS INDEPENDENT AUDITORS^ REPORT To the Board of Tn^tees of Ogden Museum of Southern Art, Inc. Report on the Financial Statements We have audited the accompanying financial statements of Ogden Museum of Southern Art, Inc. (a nonprofit organization), which comprise the statement of financial position as of December 31, 2019 and 2018, and the related statements of activities, functional expenses, and cash flows for the years then ended, and the related notes to the financial statements. Management's Responsibility for the Financial Statements Management is responsible for the preparation and fair presentation of these financial statements in accordance with accounting principles generally accepted in the United States of America; this includes the design, implementation, and maintenance of internal control relevant to the preparation and fair presentation of financial statements that are free from material misstatement whether due to fraud or error. Auditors' Responsibility Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with auditing standards generally accepted in the United States of America and the standards applicable to financial audits contained in Government Auditing Standards, issued by the Comptroller General of the United States. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor's judgment, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity's preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity's internal control. Accordingly, we express no such opinion. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of significant accounting estimates made by management, as well as evaluating the overall presentation of the financial statements. 4227 Canal Street Ericksen Krentol LLP 2895 Highway 190, Ste213 New Orleans, LA 70119 www.EricksenKrentel com Mandeville, LA 70471 P: (504) 486-7275 I F: (504} 482-2516 ^ P; (985) 727-0777 | F: (985) 727-6701 ERICKSEN KRENTEL 'i;'- IHr., h.ih i: /...i.J'jN f.AN rs • CONbULiANTS To the Board of Trustees of Ogden Museum of Southern Art, Inc. November 22, 2020 We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion. Opinion In our opinion, the financial statements referred to above present fairly, in all material respects, the financial position of Ogden Museum of Southern Art, Inc as of December 31, 2019 and 2018, and the changes in its net assets and its cash flows for the years then ended in accordance with accounting principles generally accepted in the United States of America. Other Matters Other Information Our audit was conducted for the purpose of forming an opinion on the financial statements as a whole. The schedule of compensation, benefits, and other payments to museum head is presented for purposes of additional analysis and is not a required part of the financial statements. Such information is the responsibility of management and was derived from and relates directly to the underlying accounting and other records used to prepare the financial statements. The information has been subjected to the auditing procedures applied in the audit of the financial statements and certain additional procedures, including comparing and reconciling such information directly to the underlying accounting and other records used to prepare the financial statements or to the financial statements themselves, and other additional procedures in accordance with auditing standards generally accepted in the United States of America. In our opinion, the information is fairly stated, in all material respects, in relation to the financial statements as a whole. ERICKSEN KRENTEL I. b ' IHcu PiJrtbiL ALLOUN f AN rS • CON bU Li ANTS To the Board of Trustees of Ogden Museum of Southern Art, Inc. November 22, 2020 Other Reporting Required by Government Auditing Standards In accordance with Government Auditing Standards, we have also issued our report dated November 22, 2020, on our consideration of Ogden Museum of Southern Art, Inc.'s internal control over financial reporting and on our tests of its compliance with certain provisions of laws, regulations, contracts, and grant agreements and other matters. The purpose of that report is solely to describe the scope of our testing of internal control over financial reporting and compliance and the results of that testing, and not to provide an opinion on the effectiveness of Ogden Museum of Southern Art, Inc.'s internal control over financial reporting or on compliance. That report is an integral part of an audit performed in accordance with Government Auditing Standards in considering Ogden Museum of Southern Art, Inc.'s internal control over financial reporting and compliance. November 22, 2020 New Orleans, Louisiana Certified Public Accountants 1,720.425 1,791.411 9.181.003 S 7. ,925 1.136.957 8,690.630 6,857.128 $ 9.181,003 :S 7,6JM,636 FOR THE YEAR ENDED DECEMBER 31. 2019 1,317,411 $ 176,718 S 1. 1.024.211 1.024.211 .111 .111 1,709.534 123,968 1, $ 1 FOR THE YEAR ENDED DECEMBER 31. 201 Restrictions Restrictions Total 2.133, 1.316,579 6,015.571 S 1.13 Pro gram Mana a em en t Services Employee benefits 1.165.504 548.21 ,718 1,920,510 c: 152.786 iD.3! Gift shop and consigned merchandise sold ,611 .590 Special event expenses .721 291 ,767 S 1, 476,437 $ 25, ^ayroll taxes Employee benefits c: 6,065 consigned met lecial event e? 106,654 S 2.663.174 $ 985.21 OF CASH FLOWS DECEMDER 31, 2019 AND 201: e in net assets 11Z91: »e m ais Gain on settlement (Increase) decrease Accounts receiv Net cash from (used for) operating activities 1.4, mis on note pavt Net cash (used for) financing activities vfil .576,980 1,71.6,337 year 1.000.320 S 1,576, OGDEN MUSEUM OF SOUTHERN ART, INC. NOTES TO FINANCIAL STATEMENTS DECEMBER 31. 2019 AND 2018 (1) SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES AND NATURE OF OPERATIONS Nature of Activities The Ogden Museum of Southern Art, Inc. (the Museum) is a Louisiana non-profit corporation organized to broaden the knowledge, understanding, and appreciation of the visual arts and culture of the American South through its permanent collections, changing exhibitions, educational programs, publications, research center, and its Goldring- Woldenberg Institute for the Advancement of Southern Art and Culture. The Museum is supported primarily through donor contributions, museum admissions, memberships, and gift shop sales. Basis of Accounting The accompanying financial statements have been prepared on the accrual basis of accounting and accordingly reflect all significant receivables, payables and other liabilities. Basis of Presentation Financial statement presentation follows the recommendations of the Financial Accounting Standards Board (FASB) in its Accounting Standards Codification (ASC) 958-210-50-3, Financial Statements ofNot-for-Profit Organizations. Under FASB ASC 958-210-50-3, the Museum is required to report information regarding its financial position and activities according to two classes of net assets: Net Assets Without Donor Restrictions — Those net assets whose use is not restricted by donors. Net Assets with Donor Restrictions - Those net assets whose use is subject to donor- imposed restrictions (donors include other types of contributors, including makers of certain grants). Use of Estimates The preparation of financial statements in conformity with generally accepted accounting principles requires management to make estimates and assumptions that affect certain reported amounts and disclosures. Accordingly, actual results could differ from those estimates. 10 DECEMBER 31. 2019 AND 201: s wiiii an or less to detennined that all amounts are collectible and no allowance is necessary iconditional promises to give are recognized as revenues or gains in the period received on tiie unconditional promises to give are considered to be fully collectible. values ana a ition. Unreaiize( •ina statei 11 DECEMBER 31. 2019 AND 201: EASE ASC topic 820, Fair Value Measurement sciosures emphasizes market- based measurement and, in doing so, stipub \"c based on the type of inputs, or data used, to is summarized below: Level 2 inputs are in Level 3 inputs are clUBv d g tnose DECEMBER 31. 2019 AND 201: or service IS useu so slow g- c 111 me typically need to be purchased lues in e and services to Accounting for Contributions Received and Contributions Made. services on tne 13 DECEMBER 31. 2019 AND 201: IS exempt trom tede u.; s lax-e.^ The Museum's evaluation as oi'December 31, 2019 revealed no tax positions that would reasonably possible changes will occur within the next twelve months that will have a The Museum periodically evaluates the canying value of long-lived assets to be held and asset IS s a loss IS value exc of the long-lived asset appraisals or by using the f g-h 2019 or 2018. /ertising expensed as incuixed. Advertising expense amounted to 5248,442 and 5167,903 for the 14 DECEMBER 31. 2019 AND 201: , inc.
Load more

Recommended publications
  • An Internship Report on the Ogden Museum of Southern Art
    University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 12-2015 An Internship Report on the Ogden Museum of Southern Art Grace Rennie University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Rennie, Grace, "An Internship Report on the Ogden Museum of Southern Art" (2015). Arts Administration Master's Reports. 185. https://scholarworks.uno.edu/aa_rpts/185 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. An Internship Report on the Ogden Museum of Southern Art An Internship Academic Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration by Grace Rennie B.F.A. School of the Art Institute of Chicago, 2011 December 2015 Table of Contents
    [Show full text]
  • Southeastern Reciprocal Membership Program
    SOUTHEASTERN RECIPROCAL MEMBERSHIP PROGRAM Upon presentation of your membership card you will receive: Free admission at all times during museum hours. The same discount in the gift shop and café as those offered to members of that museum. The same discount on purchases made on the premises for concert and lecture tickets, as those offered to members of that museum. Reciprocal privileges do not include receiving mailings from any of the participating museums except for the museum with which the member is affiliated. Note: List subject to change without notice. Museums may temporarily suspend reciprocal program during special exhibitions. Some museums do not accept SERM from other local museums. Call before you go. ALABAMA Augusta Museum of History – Augusta Greensboro Birmingham Museum of Art -- Birmingham Bartow History Museum – Cartersville Greenville Museum of Art – Greenville Carnegie Visual Arts Center -- Decatur Columbus Museum – Columbus Hickory Museum of Art -- Hickory Huntsville Museum of Art – Huntsville Georgia Museum of Art – Athens Mint Museum, Randolph -- Charlotte Jule Collins Smith Museum of Fine Art at Auburn -- Marietta Museum of History – Marietta Mint Museum Uptown – Charlotte Auburn Morris Museum of Art – Augusta Waterworks Visual Art Center – Salisbury Mobile Museum of Art – Mobile Museum of Arts & Sciences – Macon Weatherspoon Art Museum – Greensboro Montgomery Museum of Fine Arts – Montgomery Museum of Design Atlanta – Atlanta Reynolda House Museum of American Art – Winston Wiregrass Museum of Art – Dothan
    [Show full text]
  • John Alexander
    John Alexander 1945 Born in Beaumont, Texas EDUCATION 1970 M.F.A. from Southern Methodist University, Dallas, Texas 1968 B.F.A. from Lamar University, Beaumont, Texas SOLO EXHIBITIONS 2011 John Alexander: One World: Two Artists, Ogden Museum of Southern Art, New Orleans, LA John Alexander: Paintings, J. Johnson Gallery, Jacksonville, FL John Alexander: John Alexander and Walter Anderson, One World: Two Artists, The University of Mississippi Museum, Oxford, MS 2010 John Alexander, McClain Gallery, Houston, TX 2009 John Alexander, Arthur Roger Gallery, New Orleans, LA 2008 John Alexander: Drawings. Hemphill Fine Art, Washington DC John Alexander: A Retrospective. Museum of Fine Arts, Houston, TX John Alexander: New Paintings, McClain Gallery, Houston, TX John Alexander. Drawing Room, East Hampton, NY John Alexander: New Drawings, McClain Gallery, Houston, TX John Alexander: Recent Paintings, Imago Galleries, Palm Desert, CA 2007 John Alexander: New Works on Paper. Eaton Fine Art, West Palm Beach, FL John Alexander: A Retrospective. Smithsonian American Art Museum, Washington DC 2006 John Alexander, Arthur Roger Gallery, New Orleans, LA 2005 John Alexander: The Sea! The Sea!, Eaton Fine Art, West Palm Beach, FL John Alexander: Recent Observations, The Butler Institute of American Art. Youngstown, OH 2004 John Alexander, J. Johnson Gallery, Jacksonville Beach, FL John Alexander, Bentley, Gallery, Scottsdale, AZ 2003 Dishman Gallery of Art, Lamar University, Beaumont, TX JA: 35 Years of Works on Paper. Art Museum of Southeast Texas, Beaumont,
    [Show full text]
  • HETAG: the Houston Earlier Texas Art Group
    HETAG: The Houston Earlier Texas Art Group HETAG Newsletter No. 31, March 2019 Center for the Advancement and Study of Early Texas Art Friday-Sunday, March 29-30, 2019 The 2019 CASETA Symposium and Texas Art Fair at the TCEA Conference Center in Austin, TX. Registration, program and hotel info now available on the CASETA website. Thanks to all who helped make HETAG a Gold sponsor again this year, and to all Houston individual and organization symposium sponsors, including The Menil Collection and the Museum of Fine Arts, Houston. See you all in Austin in just two weeks! Symposium speakers for 2019: Katherine Brimberry Bradley Sumrall Co-founder and Director Curator of the Collection Flatbed Press and Gallery, Austin, TX Ogden Museum of Southern Art, New Orleans, Topic: Early Texas Artists in the History LA of the Flatbed Press Topic: The Ogden Museum and Roger Ogden Collections Michael R. Grauer McCasland Chair of Cowboy Culture/ Ron Tyler, Ph.D. Curator of Cowboy Collections and Western Art Former Director, Amon Carter Museum of National Cowboy & Western Heritage Museum, American Art, Fort Worth, TX Oklahoma City, OK The Art of Texas: 250 Years Porfirio Salinas: Serious Artist or Potboiler Painter Panel – So Much Art, Too Little Space: What can Susie Kalil Collectors Do with Their Artwork? Author/ Independent Curator, Houston, TX and Sue Canterbury Roger Winter The Pauline Gill Sullivan Associate Curator of Artist, New York, NY American Art, Dallas Museum of Art, Dallas, TX Fire and Ice: A conversation with artist Roger Winter Ted Lusher Early Texas Art Collector, Austin, TX Liz Kim, Ph.D.
    [Show full text]
  • John Alexander
    JOHN ALEXANDER 1945 Born in Beaumont, Texas Lives in New York City EDUCATION 1968 BFA, Lamar University, Beaumont, Texas 1970 MFA, Southern Methodist University, Dallas, Texas SOLO EXHIBITIONS 2021 John Alexander: New Paintings and Drawings, Berggruen Gallery, East Hampton, New York 2020 John Alexander: Landscape and Memory, Berggruen Gallery, San Francisco 2018 John Alexander: Recent Drawings & Paintings, Arthur Roger Gallery, New Orleans 2016 John Alexander: Recent Drawings & Paintings, John Berggruen Gallery, San Francisco 2015 Human/Nature. The Ridiculous & Sublime: Recent Works by John Alexander, Meadows Museum, Southern Methodist University, Dallas, Texas John Alexander and Francisco Goya (forthcoming), Meadows Museum, SMU, Dallas, Texas 2014 John Alexander: Unique Observations of the Natural World, Arthur Rogers Gallery, New Orleans, Louisiana 2013 John Alexander, Guild Hall Museum, East Hampton, New York John Alexander, Pace Editions, Southampton Art Fair Southampton, New York 2012 Recent Observations, Arthur Roger Gallery, New Orleans, Louisiana John Alexander, Pace Editions, Dallas Art Fair, Dallas, Texas One World, Two Artists, John Alexander & Walter Anderson, Walter Anderson Museum, Ocean Springs, Mississippi 2011 In My Garden, McClain Gallery, Houston, Texas One World, Two Artists: John Alexander & Walter Anderson, Ogden Museum of Southern Art, New Orleans University, New Orleans, Louisiana; travelled to University of Mississippi Museum, Oxford, Mississippi John Alexander: Paintings, J. Johnson Gallery, Jacksonville, Florida 2010 Life on a Merry-Go-Round, McClain Gallery, Houston, Texas 2009 Arthur Roger Gallery, New Orleans, Louisiana 2008 Drawings, Hemphill Fine Art, Washington, D.C. John Alexander: A Retrospective, Museum of Fine Arts, Houston, Texas New Paintings, McClain Gallery, Houston, Texas Drawing Room, East Hampton, New York Recent Paintings, Imago Galleries, Palm Desert, California New Drawings, McClain Gallery, Houston, Texas 2007 John Alexander, A Retrospective, Smithsonian American Art Museum, Washington, D.C.
    [Show full text]
  • 2014 Exhibition of Contemporary Southern Art
    2014 Exhibition of Contemporary Southern Art Huntsville Museum of Art 2014 Exhibition of Contemporary Southern Art August 17 — October 26, 2014 Major funding is generously provided by: The Kuehlthau Family Foundation With additional support from: The Alabama State Council on the Arts Altherr Howard Design The Women’s Guild of the Huntsville Museum of Art Copyright © 2014 Huntsville Museum of Art All rights reserved Catalogue Design, Illustration & Production: Betty Altherr Howard New Market, AL Photography: The Individual Artists Spike Mafford Seattle, WA Huntsville Museum of Art 300 Church Street Southwest Huntsville, AL 35801 USA 256.535.4350 www.hsvmuseum.org The Red Clay Survey is organized by Peter J. Baldaia, Director of Curatorial Affairs of the Huntsville Museum of Art, to highlight outstanding regional contemporary art. Contents Foreword & Acknowledgments 6 Museum Purchase Awards 7 Juror’s Comments 10 Juror’s Awards 11 The Exhibition 20 Exhibition Checklist 81 Foreword & Acknowledgments The Huntsville Museum of Art is very pleased endeavor. We additionally thank graphic to present the 2014 edition of The Red Clay designer Betty Altherr Howard for providing Survey exhibition of contemporary Southern a handsomely designed exhibition art. Since its inception in 1988, this recurring announcement and catalogue, and for competition has provided a forum for her meticulous management of all aspects current art in our region through a critical of their production. selection of work from eleven Southern states. This year’s Survey features 90 works Public and private support provides the by 72 artists, juried by distinguished artist foundation for this exhibition. We are and educator Susanna Coffey.
    [Show full text]
  • America's Historical and Cultural Organizations
    NEH Application Cover Sheet America's Historical and Cultural Organizations PROJECT DIRECTOR Barbara C Batson E-mail:[email protected] Exhibitions Coordinator Phone(W): 804-692-3518 800 East Broad Street Phone(H): Richmond, VA 23219-8000 Fax: UNITED STATES Field of Expertise: Arts: History, Criticism, and Theory of the Arts INSTITUTION Library of Virginia Foundation Richmond, VA UNITED STATES APPLICATION INFORMATION Title: To Be Sold: Virginia and the American Slave Trade Grant Period: From 4/2014 to 5/2016 Field of Project: History: U.S. History; History: African American History Description of Project: To Be Sold: Virginia and the American Slave Trade is an exploration of the visual and material culture of the American domestic slave trade captured through the paintings and illustrations created by British artist Eyre Crowe based on his 1853 visit to Richmond's slave market. Crowe's works captured the complexities and pathos of American slavery and the internal slave trade. To Be Sold uses Crowe's works as the basis to explore Virginia's role as a mass exporter of enslaved people through the Richmond market to the Lower South and the inner workings of the market itself--the most profitable economic activity in terms of gross receipts in Virginia and possibly the nation. To Be Sold is the first exhibition to explore and examine the development of the visual and material culture of the internal slave trade. The project is comprised of a traveling exhibition (January 2015-March 2016), a one- day, two-site webcast symposium,
    [Show full text]
  • Manolis Projects Gallery HUNT SLONEM
    HUNT SLONEM - Biography Hunt Slonem was born on July 18, 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. As Slonem honed his aesthetic, his work began appearing in unique, contextual spaces. By 1995 he finished a massive six-by-86-foot mural of birds, which shoots across the walls of the Bryant Park Grill Restaurant in New York City. His charity work has resulted dozens of partnerships, including a wallpaper of his famous bunnies designed specifically with Lee Jofa for the Ronald McDonald House in Long Island.
    [Show full text]
  • Larsen Cv Copy
    N A T A L I E L A R S E N Exhibions Classrooms Without Borders Exhibi4on, Pi4sburgh, Pennsylvania and Karmiel, Israel, forthcoming 2018/2019 Pi7sburgh Society of Ar4sts Exhibi4on, Spinning Plate Gallery, Pi4sburgh, Pennsylvania, 2015 New AAP Members Exhibi4on, Cultural Trust Educa.on Gallery, Pi4sburgh, Pennsylvania, 2015 Faculty and Alumni Exhibi4on, Marshall University Visual Arts Center, Hun.ngton, West Virginia, 2014 Maine College of Art Painters 10 Years Later, June Fitzpatrick Gallery, Portland, Maine, 2014 Anonymous Drawings, Galerie Nord/Kunstverein Tiergarten, Berlin, Germany, 2013 24th Naonal Drawing and Print Compe44ve Exhibion, Gormley Gallery, Bal.more, Maryland, 2013 Sense of Place: Sesquicentennial Ar4st Invita4onal, Hun.ngton Museum of Art, Hun.ngton, West Virginia, 2013 Food: Friend or Foe?, Torpedo Factory’s Target Gallery, Arlington, Virginia, 2013 The Art of Teaching Art, Hun.ngton Museum of Art, Hun.ngton, West Virginia, 2013 Marshall University Faculty Exhibi4on, Gallery 842, Hun.ngton, West Virginia, 2012 Gallery Divided, Clay Center for the Arts and Sciences, Charleston, West Virginia, 2012 Cause and Effect, Birke Art Gallery, Marshall University, Hun.ngton, West Virginia, 2012 Drawing Connecons, Siena Art Ins.tute, Siena, Italy, 2011 Americas 2011: Paperworks, Northwest Art Center, Minot State University, Minot, North Dakota, 2011 Synergis4c, West Tampa Center for the Arts, Tampa, Florida, 2011 On Spirituality: Emerging Visions of the Spiritual, Gallery 842, Hun.ngton, West Virginia, 2011 Body Shots, Joan C. Edwards
    [Show full text]
  • You Can Also View a Digital Version of the Auction Program!
    WELCOME Welcome to Cabin Fever, 1708’s 31st Annual—and 1st virtual—Art 1708 GALLERY'S ANNUAL ART AUCTION Auction! We are so incredibly grateful that you are joining us on this most unusual platform in this most unusual time. Thank you for continuing to be a part of Cabin Fever—we feel your love over the internet! We are also full of gratitude for the entire Richmond arts community. Over these past months, you have demonstrated your mettle and heart, CABIN FEVER intrepidness and vision. We are inspired and awed by each of you! And of course, a big THANK YOU to the Cabin Fever artists and the organizers of the Hope Wall project, tonight’s many generous sponsors, 1708’s small but mighty staff, and our fellow Board of Directors. While we can’t come together in person, we can still celebrate contemporary art and artists. The Live and Silent Auctions feature terrific works by regionally and nationally regarded artists. They represent the best emerging talent and the celebrated champions of this city’s art scene. We hope you will log out tonight with an artwork (or two) from this amazing AUCTION COMMITTEE group. These past months we have demonstrated our commitment to being a MOLLY DODGE, PAIGE GOODPASTURE, CATALYST for artists in our community. Through projects like the Space SUSAN JAMIESON, HALEY MCLAREN, Grant program, our new Virtual Studio Tours, and InLight, we found VALERIE MOLNAR, JULIE WEISSEND, creative ways to provide support and outlets for so many emerging talents. AND CAROLINE WRIGHT By purchasing sponsorships, collecting great art, and raising your paddle tonight, YOU are a CATALYST for this transformative support of artists and for the provocative and engaged art that results.
    [Show full text]
  • Salvest 9.3.19
    john salvest b. 1955, Kearny, N.J. education 1983 MFA University of Iowa, Iowa City, IA 1979 MA, English, University of Iowa, Iowa City, IA 1977 BA, English, Duke University, Durham, NC professional 1989- Arkansas State University, Jonesboro, AR solo exhibitions 2019 John Salvest: Field Guide, David Lusk Gallery, Nashville 2018 Arboretum, David Lusk Gallery, Memphis 2017 John Salvest: New Work, Bradbury Art Museum, Jonesboro. AR Breaking, SITE Gallery Houston at the Silos at Sawyer Yards, Houston, TX 2016 Out of the Ordinary, Alexandria Museum of Art, Alexandria, LA BassX: John Salvest, Bass Museum of Art, Miami, FL 2015 John Salvest: 21cVitrine Exhibition, 21c Museum Hotel, Bentonville, AR 2014 Disappearing Ink, Art Museum at the University of Memphis, Memphis Object Lessons, Morgan Lehman Gallery, New York 2012 Not everyone (can carry the weight of the world), Gallery 130, The University of Mississippi, Oxford, MS (with Les Christensen) 2011 New Cornucopia and the Big IOU, Grand Arts, Kansas City, MO 2010 Consumo Ergo Sum, Brooks Museum of Art, Memphis 2009 Not Myself Lately, Morgan Lehman Gallery, New York 2008 John Salvest at Morgan Lehman Gallery, Pulse Contemporary Art Fair, New York 2007 Il Memoriale del Fango, Florence Biennale of Contemporary Art, Florence, Italy 2006 No Time for Sorrow, Morgan Lehman Gallery, New York 2005 Fly etc., Bernice Steinbaum Gallery, Miami, FL 2002 New Glory, Cheekwood Museum of Art, Nashville John Salvest: TEXTure, Arkansas Arts Center, Little Rock, AR 2000 Undercurrent, Rudolph Projects, New York Undercurrent, Rudolph Poissant Gallery, Houston, TX 1999 John Salvest: Time on His Hands, Phoenix Art Museum, Phoenix Words to Live By, Arkansas State University, Jonesboro, AR Busy Hands, Southwest Texas State University, San Marcos, TX 1998 Nothing Endures, New Museum of Contemporary Art, New York Kindling, Smoky Hill River Festival, Salina, KS 1997 Meditation 7.21, Forum for Contemporary Art, St.
    [Show full text]
  • Umbreit 7.10.18
    jeane umbreit b. 1953 Minneapolis, MN solo exhibitions 2018 Southern Obscura, David Lusk Gallery, Memphis 2016 Say Hello To America, Crosstown Arts, Memphis 2013 Animalia, Gasoline Gallery, Memphis, Memphis 2012 mystical highway, David Lusk Gallery, Memphis 2010 A Private Gaze, Material Art Space, Memphis 2009 Gondwanaland, David Lusk Gallery, Memphis 2006 Stranger, David Lusk Gallery, Memphis 2005. Blackbird, David Lusk Gallery, Memphis 2002 Blue, David Lusk Gallery, Memphis 1998 Millsaps College, Jackson, MS 1997 Passage, Ledbetter Lusk Gallery, Memphis 1995 The Fall, Kurts Bingham Gallery, Memphis 1994 The Painted Photograph, Tennessee Arts Commission Gallery, Nashville 1991 Center for Photography at Woodstock, Woodstock, NY La Desercion Divina, Bingham Kurts Gallery, Memphis 1990 The French Lessons, Lisa Kurts Gallery, Memphis 1989 Home, Lisa Kurts Gallery, Memphis Arkansas State University, Jonesboro, AR 1988 Fall Exhibition, McCoy Theatre, Rhodes College, Memphis Secret Places, Lisa Kurts Gallery, Memphis group exhibitions 2015 Price is Right, David Lusk Gallery, Memphis and Nashville Landrush, David Lusk Gallery, Nashville 2014 Price is Right, David Lusk Gallery, Memphis and Nashville 2013 Price is Right, David Lusk Gallery, Memphis 2012 Price is Right, David Lusk Gallery, Memphis 2011 Price is Right, David Lusk Gallery, Memphis 2009 Price is Right, David Lusk Gallery, Memphis 2007 Southern Living's 2007 Idea House, David Lusk Gallery, Watersound, FL 2004 Work selected for participation in the US Art in the Embassies Program, on
    [Show full text]