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Inspired Georgia INSPIRED GEORGIA 28 works from Georgia’s State Art Collection ExploreGeorgia.org Art grows from stories, a sense of place, deeply held Foreword beliefs and commitments that take on meaning Forewardthrough the artist’s inspiration and experience. What the artist gives us is a special way of seeing and !e bene"ts of art can be di#cult to convey. feeling, one that can enhance, beautify, or capture Visitors to Georgia’s Paradise Garden could what is beyond words. "at is the beauty, the power, describe the site as spiritually potent, an the mystery, and the necessity of art. "at is also the expression of childlike wonder, or a place sacredness of an artist’s calling. for re$ection. "e Inspired Georgia tour reveals something else An individual can recognize the value of places like we share with these artists: Georgia. "e exhibition these, but how do they bene!t the community or the showcases twenty-eight works from Georgia’s State state? Art brings a great deal to this state, more than Art Collection, all created by Georgia artists. "eir you may imagine. Art’s presence can be felt in Geor- work captures or evokes the vastness of our state, gia’s economy as a growing industry. In Georgia, the the diversity of its people, the history and culture creative sector comprises 12,000 companies, employs of its regions, the features of its natural history and 200,000 people, and generates almost $29 billion built environment. "e partnership that makes this annually. Art brings in revenue through tourism exhibition possible is a natural one. Georgia Council and triggers community revitalization. Additional- for the Arts, the Georgia Humanities Council, and ly, it is an essential component of education, from the Department of Economic Development/Tour- childhood on. Its study fosters creativity and critical ism are three separate entities, yet many features of thinking skills, valuable assets in all realms. Inspired Georgia remind us how connected the state of Georgia is to its arts and humanities. Georgia Council for the Arts recognized these ben- e!ts almost thirty years ago, and—with the ambition We at the Georgia Museum of Art are delighted to of using public art to engender them—began to cre- work with Inspired Georgia and its sponsors, both ate a state art collection. "e council was careful and in the publication of this catalogue and in assisting deliberate in making selections, cognizant that this communities seeking speakers for their programs. collection would become part of Georgia’s heritage. We see this exhibition as an important opportunity As such, it needed to be of high quality and include for Georgia’s art to reach expanded audiences and a variety of artists and media. Today’s collection con- believe our assistance helps further our own educa- sists of more than six hundred objects and includes tional mission, which began as our founder, Alfred works by important Georgia artists including Benny Holbrook, toured the state in his Buick, bringing Andrews, Lucinda Bunnen, and Howard Finster. paintings from our collection to the people of "ose who study the collection can trace the social Georgia. "is exhibition is one more step in a long changes that have taken place in the state, learn to history of such outreach. di#erentiate among artistic genres, and better under- stand the creative process. In short, it is a collection William Underwood Eiland that is relevant and important to Georgians. Director, Georgia Museum of Art 4 categoriescategories of art Foreward of art Terms and de!nitions of the categories of art found within this exhibition. Folk Art Works on Paper Folk artists are frequently self-taught artists who work "ese works are de!ned by the material on which they in isolation or in small communities. "ey are not are made. Drawing, watercolor, and printmaking use formally trained in art and, therefore, are often less paper as a means to convey artistic ideas in all shapes in$uenced by art movements. and sizes. Abstract Painting Landscape Photography Abstract painting rejects the depiction of reality in Landscape photographers use their cameras to depict art. It uses a visual language of form, color, line, and the natural world. "eir photographs can capture not gesture to create compositions that have little or no only the glory of nature, but also the realities of what visual reference to the real world. mankind has done to it. Realist Painting People and Place in Photography Realist painters use paint as a vehicle for depicting the Since its invention, photography has focused on cap- world in a realistic or truthful manner, whether it be turing human interaction within the world. Portraiture beautiful or distressing. examines the physical and emotional characteristics of an individual, and documentary photography examines how people relate to each other and their communities. 5 Inspired Georgia: Where We’ve Been and Where We’re Going Anne Lambert Tracht ConsultArt, Inc. Introduction I !rst became acquainted with Georgia’s State Art Collection in 2011, when the collection had to be moved into its new home in Midtown Atlanta. Tasked with coordinating and managing the move of the collection, my colleague Jill Malino and I quickly had to familiarize ourselves with each work of art. Many History of Georgia’s State Art Collection artists were familiar names; many more were not. In the late 1960s, Georgia Council for the Top-notch works by well-known artists such as Benny Arts developed the Georgia Art Bus Pro- Andrews, Lucinda Bunnen, Herbert Creecy, "ornton gram as an informal way to present original Dial, Howard Finster, Ruth Laxson, and Nellie Mae works of art made by Georgia artists to people Rowe are highlights, yet the majority of the collection throughout the state. "e Art Bus (an actual is a fantastic assortment of works in all media made by bus that was transformed into a traveling art lesser known artists from all over the state. exhibition space) drove to schools, libraries, and other community venues engaging the Some might wonder why the collection is not entirely public and introducing them to the artistic made up of well-known artists. "ere is no simple endeavors of Georgia artists. After a successful answer. Some artists gain recognition as their careers few years, the General Assembly then formed move forward, and others do not. History has shown the Georgia Art Acquisition Program to buy that many exceptional artists did not get the recogni- works created by Georgia artists. An expert tion that they deserved during their lifetimes. Some panel of judges met annually to recommend genres and mediums of art go out of fashion, while acquisitions, and the purchased works were others unexpectedly gain popularity. then displayed in government buildings What we do know is that the six hundred-plus works around the state. When both the Art Bus Pro- that make up the State Art Collection represent Geor- gram and the Art Acquisition Program ended, gia, and Georgians, as a whole. "e collection expresses in 1991, the art remained under the care and our diversity and chronicles a portion of our history in supervision of Georgia Council for the Arts, a truly beautiful and signi!cant way. It is not every day in Atlanta. "e work has been on display in that a one-of-a-kind turned wood bowl carved from a its o%ces, with no formal exhibition space, as Georgia tree is displayed next to an abstract oil paint- well as in storage. As a result, this valuable re- ing, which in turn hangs beside a black-and-white source has infrequently been exhibited outside photograph depicting our state’s beautiful landscape. of Atlanta for more than twenty years. "e collection re$ects our state’s wide-ranging artistic heritage and illustrates the di#erent points of view of its many citizens who call themselves artists. 6 !e 2013–2014 Traveling Exhibition Much like the Art Bus Program, this traveling exhibition of selections from the State Art !e Selections Collection was born as an e#ort to inspire and inform Georgians about the power, purpose, For the safety of the art and the collection and necessity of art. Georgia Council for the as a whole, it was decided that only two- Arts partnered with the Georgia Department dimensional works would be available to of Economic Development’s Tourism Division travel. While thinking about this portion and the Georgia Humanities Council in the of the collection, a few categories began to collective belief that art not only inspires a emerge. Folk art is well represented within community and “feeds the soul,” but is also a the collection and is an important genre major economic driver throughout the state. throughout the Southeast. Photography is As a result, each exhibition venue has been also a signi!cant portion of the collection asked to organize cultural events such as dance and has become an increasingly important art performances, artists’ demonstrations, and form worldwide. Painting (both abstract and lecture series in concert with hanging this realistic) and works on paper, featuring a wide exhibition. To facilitate these cultural o#erings, variety of printmaking and drawing techniques, Georgia Council for the Arts is providing a make up the last two sections. menu of programs from which each commu- A great deal of thought went into selecting the nity can select. "is traveling exhibition and its work within each category. "e driving factor associated events encourage collective support in our selection process was the quality and for the role of the arts in Georgia’s commu- power of expression within each work of art, nities.
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