Medium The Magazine of the Birmingham Museum of Art Summer · 2018

Remembering Frank Fleming Medium // Summer // 2018

Contents Director’s Letter

4 Features Frank Fleming · The Poynor Collection

13 Exhibitions Dear Member, The Original Makers · Third Space · Waterline An Exploration of Line Summer is upon us and I want to remind you will explore the impact of industry—particularly damming for transformative effect on the Museum’s collection. Over the that the BMA is the perfect place to escape hydroelectric power and flood control—on indigenous cultures years, the Poynors have enhanced our holdings of American 19 Acquisitions the heat and humidity while exploring our and the land they inhabit, what Nicolson calls “the awkward modern art with important gifts of work by Gene Davis, Kenneth Standing Rock · Memories of the Coast of France world-class collections. There’s a lot to see! balancing act of industrial development and environmental Noland, Roy Lichtenstein, and Robert Mangold, among many We recently opened The Original Makers: stewardship.” others. A selection of works from their collection—including ex- 22 Programs + Events Folk Art from the Cargo Collection, featuring amples by Joan Mitchell and Louise Nevelson—is presently on Ongoing Programs · Art On The Rocks 160 vibrant and clever works by some of our At the beginning of August, we will install the final rotation in view in the Museum’s Styslinger Gallery of American Art. The Latinx Festival · Waterline Lecture · ICS Concert region’s best-known, self-taught artists. This the popular contemporary art exhibition Third Space. It’s hard current selection will be up until November, when a new selec- Dixie Art Colony · Maker Station · Art After 5 exhibition delights and inspires, conveying a to believe that this two-year endeavor is sense of pride for the rich artistic heritage of coming to an end, and if you haven’t yet Art enables us to find 26 News + Giving our state and region. experienced what New York Times art crit- NextGen 2018 · Volunteer Spotlight · Teen Night ic Holland Cotter named to “The Best Art ourselves and lose Meet the Director of Development · Museum Ball Speaking of originality, in March we lost a of 2017,” there’s still time; the exhibition ourselves at the same time. Support Group Travel · Visitors’ View true Alabama original, the beloved sculptor closes January 6, 2019. If you don’t be- Corporate Partners · Memorials + Honorariums Frank Fleming, whose “gentle fantasy world lieve me or Mr. Cotter, how about Kate V., Thomas Merton of creatures”—as it was described by the a visitor from Spokane, Washington, who (American, born France, 1915–1968), late Georgine Clarke—has captivated gen- wrote on TripAdvisor, “Third Space was Trappist monk, poet, social critic, erations. I am grateful to Director Emerita so good, we skipped all the typical art and spiritual writer The Birmingham Museum of Art publishes the membership Gail Andrews for sharing some thoughts museum with oil paintings from Europe magazine, Medium, quarterly. about this extraordinary artist in this issue and American [sic] and came back to of Medium. The Museum is proud to be the go through Third Space a second time. Especially after visiting tion from the Poynor collection will be hung. Collectors such The mission of the Birmingham Museum of Art is to spark owner and caretaker of Fleming’s most prom- the historical civil rights sites in Alabama, this exhibit was quite as Dr. and Mrs. Poynor are the cornerstone of this institution the creativity, imagination, and liveliness of Birmingham inent public work—The Storyteller—which was meaningful.” Please join the nearly 50,000 visitors who have and I am grateful to them for their unwavering connoisseur- by connecting all its citizens to the experience, meaning, acquired and installed in the heart of histor- experienced Third Space, but while you’re here check out the ship and willingness to share their collection with the people of and joy of art. ic Five Points South with broad community “typical art museum,” too! Many of the galleries change frequent- Birmingham. support. ly with new acquisitions and “rediscovered” works from our rich James Outland – Chairman of the Board collection. There’s always something new to see. Whether you find or lose yourself in our collection, I look for- Graham C. Boettcher – The R. Hugh Daniel Director An exhibition you won’t want to miss is ward to seeing you soon and often! Laura Monroe – Editor Waterline, opening on July 27. The exhibition I want to thank everyone who supported and attended the 2018 James Williams – Designer showcases a recent acquisition: a visually Museum Ball Outside the Lines, which was attended by more Warmly, Sean Pathasema – Photographer stunning illuminated sculpture by Marianne than 450 people, breaking previous attendance and fundraising Nicolson (born 1969), an artist of Scottish records. I am particularly grateful to our dynamic co-chairs Tricia Membership inquiries to: [email protected] and Dzawada’enuxw First Nations descent. and Troy Wallwork and Sue and Nick Willis for their dedicated Editorial inquiries to: [email protected] The Dzwada’enuxw people comprise one leadership and tireless efforts to ensure the success of the ball. of the Kwakwaka’wakw Nations, who make their home along the coastal areas of north- Lastly, I’d like to take a moment to acknowledge the long- Graham C. Boettcher, Ph.D. eastern Vancouver Island and mainland standing and dedicated support of Dr. John and Nancy Poynor, The R. Hugh Daniel Director British Columbia, Canada. The exhibition collectors whose singular vision has had a profound and 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

2 Director’s Letter | 3 In Memoriam Frank Fleming

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

4 Features | 5 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 using a bird feather to impress exact detail on hundreds of tiny Art Museum, Nelson-Atkins Museum of Art, Kansas City, MFA school, and its influence on his witty, incisive, and finely-made pieces of clay, then overlapping them to create the winged sur- Houston, and Palm Springs Museum, to name but a few. He porcelain sculptures. face of a bird. Removing the glaze was a major breakthrough. received and completed numerous commissions for public art, The surface texture becomes more prominent, catching shad- was represented by galleries across the United States, and had On March 18, 2018, Frank passed away, and we lost a warm, ows to highlight detail and drawing the viewer in to look more over 40 solo exhibitions in his career. funny, generous, and extraordinarily talented human being. closely. The sculptures feel akin to marble, adding to the mythic qualities of the blended human and animal forms created by the Frank loved our city, and the people here who supported him as Fleming was born in Bear Creek, Alabama in 1940, growing artist. Goat Man, a recent gift to the Museum, illustrates these an artist. He gave back to all of us, and will be remembered as up on a cotton and corn farm in an isolated part of the state. qualities and is also a work which began to unlock the door for a great friend of our city and its nonprofit organizations. He was His speech impediment and academic ability opened the door Bronze gave him a greater financial stability, allowing him to greater recognition of Frank’s work, as it was selected for the passionate about the natural world, but perhaps equally pas- for him to attend Florence State College, now the University of create multiples as well as opening the door for additional pub- Biennial at the New Orleans Museum of Art in 1977, giving him sionate about Alabama football! Frank said he wanted us to see North Alabama, for speech therapy. He took an art course on a lic commissions with pieces that could be installed outside. exposure to a much wider audience. the honesty in his work, that it was very personal, and meant whim, discovered he had a talent for drawing, and became an many things, and there is not just one way to interpret it. Frank art major. He graduated hoping to teach, but positions in the His passion however was clay, specifically porcelain, which His expressions were unique, certainly influenced by Robert found himself in his art, and I think he is asking each of us to school system were few, and instead he worked for six years he was working in once again at the time of his death. After Arneson’s work and that of other artists working in clay in the take the time to look, to listen, and do the same. at Boeing and NASA as a draftsman, eventually returning to receiving his MFA, Frank established a studio in Birmingham 1960s and 1970s, but these were his own astute observations, school, receiving MA and MFA degrees from the University of in 1973 and began devoting himself to making small, fine- life experiences, and ability to point to life’s absurdities. As time Alabama. ly-detailed, surreal, and often irreverent sculptures which sold went on, there were deeper expressions inspired by Southern quickly to enthusiastic buyers at art fairs. He initially used color culture, folklore, and landscape, sometimes pointedly political We are fortunate in Birmingham to enjoy many examples of and clear glazes, but a major breakthrough came in his work and even heart-wrenching. 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 his sculpture in the public realm and as part of the fabric of when he stopped using glazes. He wanted to develop a body Museum of Art, 1982.204a-b

our city. His work can be found in the Red Mountain Garden at of work with a serious approach to realism, to try and capture The BMA gave Frank his first one-person exhibition in 1974, Opposite page: Frank Fleming, American, 1940–2018, Goat Man, 1974, hand-built porcelain; the BMA, the Birmingham Botanical and Aldridge Gardens and, the surface textures of nature. Frank was a close observer of followed by another in 1982 and most recently in 2015. Frank’s Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Ned and Robin Selfe, AFI.174.2015a-c most prominently, The Storyteller at the center of Five Points flora and fauna, and had the patience and dexterity to achieve work spoke to people beyond the South, and is included in nu- South. All of these examples were made of bronze, a material his goal. He attributed his skill to picking cotton as a child. In merous public and private collections, including all of the major 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 Fleming adopted in the early 1980s. addition, he employed elements from nature to help, such as art museums in Alabama, as well at the Smithsonian’s American February 27–August 9, 2015

6 Features | 7 Modernism in the American Gallery The Poynor Collection

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

Recently you may have noticed some changes in the Museum’s in the gallery. These paintings and prints offer a window into years. Dr. Poynor’s passion for this period in art history led him will be featuring works from this extensive collection in the Styslinger Gallery of American Art. Erratic brushstrokes, fields the art world at midcentury, connecting the Museum’s collec- to collect beginning in college, and his carefully cultivated un- American gallery. of color, and unconventional uses of art materials now fill tions of historic American and contemporary art. derstanding of this period is reflected in the collection he and the outer walls of the gallery, expanding our presentation of Nancy have amassed. Because of the Poynor collection, the The current installation begins with a small, intimate painting American art into the mid-20th century. Works by Joan Mitchell, The installation is drawn from the collection of Dr. John and Museum is able to more comprehensively represent the history in oil on paper by Abstract Expressionist Joan Mitchell. The Louise Nevelson, Gene Davis, Larry Zox, and Claes Oldenburg Nancy Poynor, collectors whose passion and vision has shaped of 20th-century American art, including Abstract Expressionism, slashed, streaked sheet is experimental beyond her oil on can- are informed by the earlier episodes in American art presented the Museum’s holdings of modern American art for over 25 color field painting, and pop art. Over the next 18 months, we vas works of this early moment and foreshadows her mature

8 Features | 9 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. career. As in her major canvases such as the Museum’s Bonjour Julie, Mitchell here gestures in blue, yellow, red, and black, re- Louise Nevelson’s cast paper relief, Sky Gate I, from 1982, sulting in a composition about color and emotion. In the lower brings together the effects explored by Mitchell, Zox, and right corner of the painting the inscription “to Zog + love” offers Davis. Her interest in line, flatness, and gesture parallels that the viewer a point of entry into the New York art world of the of the Abstract Expressionists, but the overall white color of the 1950s in which Mitchell was living and working. Zog refers to pressed paper equally emphasizes the work’s exploration of the object might also serve as a kind of self-portrait when he her close friend, sculptor Wilfrid Zogbaum, who traveled in the negative and positive space. said, “The Mouse, that’s me!” same community of artists and cultural figures. Another strength in the Poynor collection is pop art, represent- This first installation of selections from the Poynor collection Opposite page, left: Louise Nevelson, American, 1899–1988, Sky Gate I, 1982, cast paper Reacting to the formal inventions and personal content in paint- ed in this installation by Claes Oldenburg’s Geometric Mouse, emphasizes the breadth of their collecting. It also highlights relief; Lent by John and Nancy Poynor, 188.2011; © 2018 Estate of Louise Nevelson / Artist Rights Society (ARS), New York ings by Abstract Expressionists like Mitchell were another group Scale D (Paper), “Home-made”, from 1971. This playful pop art the importance of works on paper—both conventional and less of abstract artists extensively represented in the Poynor collec- object is a scaled down replica of a larger metal sculpture of the so—for many modern American artists, just one of a number of 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), tion. In the current installation, this group is seen in the work same shape created by Oldenburg. Printed on cardboard, the themes that can be drawn from the collection. The Museum is New York of two color field artists, Larry Zox and Gene Davis. In Untitled version in the Poynor collection was intended to be purchased delighted to honor the Poynors and their key role in shaping our Opposite page, right: Dr. John and Nancy Poynor (Diamond Drill), from 1967, Zox strips emotion from the rigid by consumers and displayed in homes, existing between art ob- holdings of modern American art. We hope you will return often geometric structure of his painting, instead exploring the inter- ject and commodity. Geometric Mouse is most obviously an ab- over the next year and a half to see additional selections from 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 play of spaces created through juxtapositions of color. Like Zox, stract tribute to Mickey Mouse, but Oldenburg suggested that their collection. Poynor, AFI.4.2005, © Estate of Joan Mitchell

10 Features | 11 Exhibitions

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? identifying these artists first as makers. The makers, we de- termined, could also be described as messengers, storytellers, The term has meant different things over time, and many schol- interpreters, protectors, healers, narrators, recorders, innovators, ars have written about the problems with this catch-all category. seekers, dreamers, and believers. They are seers, evangelizers, It has referred to craft traditions passed down through gener- providers, philosophers, penitents, persuaders, and entertainers. ations within communities. It has sometimes referred to artists They are quilters, carvers, weavers, painters, builders, recyclers, without formal education or artistic training, and those who cre- and assemblers. They are—among many other things—minis- ate outside of the academic or commercial gallery context. ters, farmers, bricklayers, housekeepers, teachers, mothers, fa- thers, sons, and daughters. Other terms have been used to describe these same artists and art over the years: outsider, self-taught, primitive, brut, visionary, The contemporary Maker Movement began within the last de- rural, isolated, and vernacular. No one label fits, but they are cade in the tech world, with the desire to create tangible things assigned all the same by an anxious art world that categorizes from the world of pixels. Open-source software, apps, and and ranks, includes and excludes, and determines quality and 3D printers have allowed people to move away from screens market value. Art dealer Randall Morris stated, to constructing things for themselves (rather than purchasing mass-manufactured objects). The movement is characterized Entire bodies of work have disappeared from our knowl- by a return to self-reliance and personal creativity in designing edge banks because the art establishment did not have and building things of all sorts. It reflects a profound desire to the right word to describe it. Environments both sacred re-engage with the physical world and now crosses many sec- and secular are destroyed every week because their im- tors. Maker spaces have popped up in communities everywhere, portance in this universe has never been understood … and Maker Faires are held all over the world, attracting hun- We are the outsiders. dreds of thousands of do-it-yourselfers ranging from makers of robotics to crafter of artisanal foods. The movement supports As Alabama artist Charlie Lucas said more directly to Gail creativity and independence, but it also provides a commu- Andrews, Birmingham Museum of Art Director Emerita, “What nity of individuals who are linked by their commitment to the they be callin’ us today?” movement.

Inspired by the current Maker Movement, this curatorial project Excerpt from The Original Makers catalogue, now available for began by removing all labels and categories listed above and purchase in the Museum Store.

Charlie Lucas, American, born Birmingham, Alabama 1951; works in Pink Lily and Selma, The Original Makers: Folk Art from the Cargo Collection has been made possible by grants from Alabama, Duck or Goose, about 1985, metal; Collection of the Art Fund, Inc. at the Birmingham the Henry Luce Foundation, Alabama State Council on the Arts, the National Endowment for the Museum of Art; Robert Cargo Folk Art Collection; Gift of Caroline Cargo, AFI.496.2013 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.

12 Exhibitions | 13 Third Space Waterline Through January 6 · 2019 July 27–November 25 · 2018 · Arrington Gallery Jemison Galleries

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

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 Third Space, the Museum’s two-year exhibition of contemporary on view through November 25, 2018. art from the collection, will undergo its fourth and final rotation in August. In addition to the 50 pieces that will remain on view Nicolson is a member of the Kwakwaka’wakw Nations of British for the entirety of the exhibition’s two-year run, 23 new pieces Columbia, Canada. This Pacific Northwest Native American cul- will offer fresh perspectives on the themes of the exhibition. ture is renowned for its stunning artistic traditions, including mas- sive totem poles, architectural sculpture, transformation masks, Just outside of Third Space, the Museum recently unveiled a and sacred clan regalia. Waterline draws upon these artistic roots. work by artist Amy Sherald, who was also commissioned to The sculpture consists of a large, glass box with glyphs and sym- paint Michelle Obama’s official portrait for the Smithsonian bols etched into each panel. The form is derived from a traditional Institution’s National Portrait Gallery in 2017. Amy Sherald’s bentwood box, one of which is currently on view in the Museum’s work, All Things Bright and Beautiful, made its public debut at Native American gallery. A mechanical device suspended from the Museum’s Art On The Rocks event on June 8. the ceiling moves a light slowly up and down within the box. The A native of Columbus, Georgia, painter Amy Sherald received light casts shadows of the etched symbols—what Nicholson calls The painting, owned by the same North Carolina couple who her BA in painting from Clark Atlanta University in 1997, “shadow waters”—which slowly emerge from the box and rise up owns the Boochever-prize-winning portrait Miss Everything thereafter apprenticing with Arturo Lindsay, professor of art at the walls, creating a panorama of killer whales, wolves, thunder- (Unsuppressed Deliverance), has been featured by The New Spelman College. Winner of the National Portrait Gallery’s pres- birds, and other creatures and symbols. York Times and CBS News in its coverage of Sherald’s life and tigious Outwin Boochever Portraiture Competition (2015) and work, and is considered among her most significant works. The the High Museum of Art’s David C. Driskell Prize (2018). The work refers not only to sacred traditions, forms, and lan- anthropology, and art history in 2013 at the University of Victoria. owners of the painting chose the Birmingham Museum of Art to guage, but to the contemporary problems of industrial encroach- She has exhibited her artwork locally, nationally, and internation- display the work, following their desire to share it with the public Sherald was thrust into the national spotlight when she was ment, particularly onto sacred and life-sustaining waterways. ally as a painter, photographer, and installation artist, and has by placing it on loan to a Southern art museum. commissioned to paint First Lady Michelle Obama’s official por- Industrial structures now control the rise and fall of river-water written and published numerous essays and articles. Her prac- trait for the Smithsonian’s National Portrait Gallery. Reflecting levels, causing ancient pictographs on cliffs and river rocks to tice engages with issues of Aboriginal histories and politics aris- “One of the top priorities of the Birmingham Museum of Art is to on seeing her portrait at the National Portrait Gallery, Michelle disappear under rising water, and then reemerge. Nicolson states, ing from a passionate involvement in cultural revitalization and bring the joy of art to all of Birmingham’s citizens, and as such, Obama said, “I’m also thinking about all the young people, par- sustainability. we are committed to collecting and presenting art that better ticularly girls, and girls of color, who in years ahead will come to … the work speaks to the relationship of industry and the reflects the people who live here,” says Graham Boettcher, R. this place and they will look up and they will see an image of land. It speaks of the submergence of Indigenous pres- In conjunction with this exhibition, the Museum is partnering with Hugh Daniel Director of the Birmingham Museum of Art. “Amy someone who looks like them hanging on the wall of this great ence and histories, and attempts to make them visible. the Cahaba River Society to engage visitors in one of Alabama’s Sherald’s large, eye-catching portraits of African Americans American institution. I know the kind of impact that will have on As audience to the work, viewers are implicated as their most important waterways. help show a more complete picture of American lives, and we their lives, because I was one of those girls.” shadows are cast and visually included in this complex are proud to be the temporary custodian of this outstanding narrative as the gallery space is ‘flooded’ with light and Marianne Nicolson will give a talk on her work at the Birmingham work of art.” imagery. Museum of Art Thursday, September 27.

Nicolson’s training encompasses both traditional Kwakwaka’wakw Waterline has been made possible by the City of Birmingham Presented by Third Space is presented by PNC. Additional support provided by the Alabama State Council on Amy Sherald, American, born Columbus, Georgia 1973; forms and culture and Western European based art practice. She and The Lydia Eustis Rogers Fund. the Arts and the National Endowment for the Arts, City of Birmingham, Community Foundation lives and works in Baltimore, Maryland, All Things Bright and of Greater Birmingham, Protective Life Foundation, Vulcan Materials Company Foundation, Robert R. Meyer Foundation, Luke Beautiful, 2016, oil on canvas; Collection of Frances and completed a bachelor of fine arts from Emily Carr University of 6:38 Foundation, Susan Mott Webb Charitable Trust, The Gladys Krieble Delmas Foundation, Robert Rauschenberg Foundation, Burton Reifler, Winston-Salem, N.C., Courtesy the artist and Art and Design in 1996, a masters in fine arts in 1999, a masters Alabama Tourism Department, Alabama Humanities Foundation, the state affiliate of the National Endowment for the Humanities, Hauser & Wirth Marianne Nicolson, Waterline, 2015, glass, wood, shell inlay, LED light, mechanism box with The Lydia Eustis Rogers Fund, and Friends of Third Space. in linguistics and anthropology in 2005, and a Ph.D. in linguistics, cover; Museum purchase, 2016.2a-c

14 Exhibitions | 15 Ways of Seeing An Exploration of Line September 8 · 2018–February 10 · 2019 · Bohorfoush Gallery

We see lines everywhere in daily life: in cracks on the sidewalk, questioning, and conversation about what divides, what unites, on our notebook paper, and as we stand in lines buying grocer- and the space between the two. 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 Ways of Seeing is an ongoing series of exhibitions located in visual arts? How do artists use line to create meaningful works the Bohorfoush Gallery that explores themes, perspectives, and of art? ideas from across the Museum’s global art collections.

This exhibition will begin by answering these questions. Part We extend our gratitude to the City of Birmingham for their sus- One will create a vocabulary of line, giving viewers the tools tained support for the Museum and its mission. to see, understand, and talk about line in the visual arts. Part

Two will explore invisible lines that we experience instead of Opposite page, top: Merritt Johnson, American, born 1977, Buffalo Vector Border Crossing see. Each artwork in this section employs line to communicate (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 about invisible lines drawn by social constructs such as race, gender, and borders, giving the viewer the opportunity to use 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 the knowledge they gained in the first section to undercover Museum of Art; Gift of Edward J. Olszewski in honor of Jeannine O'Grody, AFI.38.2011

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

16 Exhibitions | 17 Acquisitions

Standing Rock

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

This photograph was taken by Tlingit/Cherokee artist Zoë Marieh Urness. Urness par- Zoë Marieh Urness, Native American, Tlingit and Cherokee, born 1984, December 5th, 2016/Standing Rock, December ticipated in the protests of the Dakota Access Pipeline—an oil pipeline which was 5, 2016, photograph; Museum purchase with funds provided to be installed under several bodies of water, endangering the drinking water supply by the Estate of Clyde W. Oyster, 2017.61 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.

18 Acquisitions | 19 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

20 Acquisitions | 21 Programs + Events Art On The Rocks ONGOING PROGRAMS ART-MAKING PROGRAMS July 27 · August 17 · 7–11pm $15 Members / $25 Gen Admission ART AFTER 5 ARTBREAKS DROP-IN DRAWING First Fridays · September through April Third Tuesdays · Noon · Free Third Sundays · 2–4pm The 14th season of Art On The Rocks presented by Dale’s 5–9pm · Free Free, no registration necessary Seasoning is in full swing this summer, with the remaining two On the third Tuesday of each month, events taking place July 27 and August 17. Unwind from the week with art, music, Museum curators lead visitors on a thirty Looking for a last-minute art fix? Here’s making, and mixing. Each month, we’ll minute exploration of art in the galleries. an open invitation to explore your cre- Art On The Rocks brings three lively nights of entertainment feature a new blend of art and entertain- Through a series of close-looking tech- ative sensibilities in a relaxed setting with to downtown Birmingham with artist collaborations, live mural ment, including mini studio art classes, niques and questioning, this free experi- inspiration from a pro. Make your own painting, interactive performances, food, cocktails, and more. guest musicians, local mixologists, and ence helps build the visitor’s interpretive drawing in the galleries under the guid- This season features special musical guests The Suffers, art history hacks with the experts. skills across the comprehensive-range ance of teaching artist Jamison Harper. Seratones, and Tank and the Bangas. of art periods and canons represented You provide the creativity. We’ll provide by the BMA’s collections. Stay for lunch the art supplies. Locations vary, see Museum members enjoy a discounted admission price of $15. at Oscar’s and they will throw in a free signs at entrances. Tickets are available for purchase at artsbma.org. ART AND CONVERSATION dessert! First Thursdays · 10:30am $12 for Museum Members $17 for Not-Yet-Members STUDIO SCHOOL Latinx Heritage Festival VISUALLY IMPAIRED PROGRAM September 15 · 10AM–2PM · Free This program is for people who want to Second Saturdays · 10am · Free Studio School offers a wide range of learn more about art in an informative art classes for adults and children, in- Celebrate Latin culture and traditions at the Birmingham and interactive setting. The 2018 pro- In this program for adults with visual im- cluding painting, drawing, pottery, and Museum of Art during our third annual Latinx Heritage Festival! grams, with the exception of May and pairments and their companions, special- more. Using the Museum’s collection Join us for a day of festivities, featuring Spanish-language gal- July, are held on the first Thursday of ly trained docents present the Museum’s and exhibitions as inspiration, explore lery tours and delicious Latin cuisine. Enjoy family-friendly art each month, January through October. collection by means of verbal descrip- your own creativity while discovering new activities, face painting, and much more! Coffee and light refreshments are tions, three-dimensional tactile models techniques. Whether you’re interested available. Lectures are led by curators based on original works of art, and sculp- in a laid-back craft night or an in-depth The 2018–2019 Family Fetivals Series is presented by Medical or guest speakers, and attendees are ture. The experience may be enhanced course, Studio School has something for Properties Trust encouraged to ask questions, share by related music and/or art-making to you. thoughts and ideas, and actively partici- provide multi-sensory access to the visu- pate in the learning process. al arts. BMA members receive a 20% discount Waterline Lecture on all Studio School classes. To see September 27 · 6PM · Free Advance reservations are required; more information and to register, go to space is limited. VIP tours are also avail- artsbma.org/studio-school. During a special artist talk on September 27, artist Marianne SLOW ART SUNDAYS able for school-age or adult groups. To Nicolson will discuss the forms and symbols in her sculpture Sundays · 2pm · Free reserve your spot or learn more about Studio School is presented by The installation Waterline, and how they reflect the experience of group tours, call 205.254.2964. Comer Foundation. industrial encroachment onto tribal land, water, and human Slow food, slow living, slow … art? experience. Unlock the secrets of works in the The Visually Impaired Program is sup- Museum’s collection by cultivating the art ported in part by a grant from The of looking slowly. Our docents ask and EyeSight Foundation of Alabama. Indian Cultural Society Concert answer questions to help guide your slow September 30 · 5–7PM · Free art experience and foster conversation. Leave the Museum feeling inspired—not The Birmingham Museum of Art and the Indian Cultural Society tired! To learn more about our ongoing programs and what we have planned for each event, present a special concert featuring the Divine Trio, comprised please visit our online calendar at artsbma.org/events. of three world-renowned Indian musicians: Vidushi Mita Nag, Janab Hassan Haider, and Pandit Subhen Chatterjee.

22 Programs + Events | 23 News + Giving Art and Conversation: Dixie Art Colony August 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. Deputy Director Selected as Volunteer Spotlight: NextGen2018 Fellow George Robbins III Makers Station Inspired by The Original Makers By Manager of Volunteer and Visitor Services Lindsey Hammel July 21, August 4 and August 11 · 10AM–12:30PM In March, the Birmingham Museum of Art’s James Milton and George Robbins III has had a love for art since he was 10 years There’s a maker in us all. Discover yours at the BMA’s pop-up Maker Station and cre- Sallie R. Johnson Deputy Director, Meghan Ann Hellenga, old when his mother bought him a collection of art books that ate your own art inspired by The Original Makers: Folk Art from the Cargo Collection. completed the highly esteemed Getty Leadership Institute’s he pored over time and time again. He always wanted to work Drop by on July 21, August 4, and August 11 from 10AM-12:30PM. Each drop-in NextGen 2018, an executive education program for managers at an art museum, but circumstances did not allow it. He ful- session will feature a new community artist and related art activities, so you can make tapped as the next generation of museum leaders. The program filled his lifelong dream of attending college at 44 years old something different every time. Open to makers of all ages. featured diverse and impressive representation of profession- when he enrolled at UAB. He graduated with a bachelor’s de- als from across the museum industry, including top leadership gree in history with a minor in art history at 47, and received Take your artwork with you or loan it to us temporarily and be part of the New Makers in education, exhibitions, development, planning and administra- his master’s degree in history at the age of 49. He especially Community Exhibition in the Sharon and Grady Burrow Education Gallery, August 16 tion, and technology. loved his art history classes at UAB and knew he wanted to through August 28. Join us for a closing reception on August 28 from 5-7PM and be more involved in the art world. As soon as George retired enjoy light refreshments. After the reception, you’re invited to take home your works “The program was challenging, but very rewarding. Participants from Bellsouth, volunteering at the BMA was the first thing he of art. were stretched to consider not only personal limitations, thought of and he applied to become a volunteer at the infor- strengths, and goals, but institutional and field-wide strategies mation desk. and opportunities,” Hellenga said. During his first couple of months as a BMA volunteer, George Art After 5 Returns Selection criteria considered candidates’ detailed analysis of took the time to explore the galleries. Even though he had September 7 · 5–9PM · Free the challenges they face in the immediate future; commitment been visiting the BMA since 1975, he realized that he didn’t to the museum field; creativity; broad strategic thinking; and the know the extent of the collection. He appreciates the diversity Mark your calendars for September because Art After 5 is back! The Museum is open ability to influence policy and affect change at their institutions. and depth of the collection and especially loves the Dutch and late on first Fridays in September through April for an evening of art, music, makers The curriculum fosters learning through both theory and prac- Flemish gallery and other European galleries. His favorite paint- activities, and more! See our collection in a new light when you take an adults-only tice and aims to enhance museum leadership at the individual, ing is Perseus Armed by Mercury and Minerva by Paris Bordon. gallery tour. Discover the maker within and bring home your own masterpiece to put institutional, and societal levels. George enjoys the perks of being a volunteer, such as being on the fridge. Sip a specialty cocktail crafted by a local mixologist while you enjoy the among the first to know about upcoming lectures and tours, sounds of a local band. Art After 5 is a free night of fun and entertainment for every- “As one of 33 international fellows, I have been introduced to and meeting people from all over the world. Thank you, George, one in Birmingham. We’ll see you there! many different approaches and possibilities,” Hellenga said. “I for three and a half dedicated years of service to the BMA! 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.”

24 Programs + Events | News + Giving | 25 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 KTD: Museums serve a multitude of important functions in their came up, it felt like a dream. I took a gamble and left an communities. The BMA is uniquely privileged to house thou- otherwise good career for a chance to learn about nonprof- sands of years of human history in artifacts, clothing, ceram- it management and major gift fundraising from an experi- ics, photographs, and art. And in a digital world where we enced leader in the field. That year, I vowed my career goal live buried in a four-inch screen, museums enable guests was “people not paper,” and that I could look back and mea- to experience a glimpse of something tangible, something sure my time in human interaction and not stacks of files. physical. We aren’t just on a screen. We’re texture and ma- When I reflect on what that I love most about working in terials. We’re scale and presentation. We help to preserve nonprofit, it’s the top-to-bottom prioritization of communities the physical human history, both for education and for en- and the people they’re comprised of. At the end of the day, joyment. Supporting the BMA enables a furthering of that our goals are about serving people. mission, to tell the story behind the human experience with broader audiences, while we also expand to share new fac- M: You worked in development at UAB for more than 10 years ets of our ever blending cultures. Teen Night Recap supporting advancement in the sciences. How has working in the arts compared to medicine? M: Out of 27,000 to choose from, have you picked a favorite By Manager of Volunteer and Visitor Services Lindsey Hammel work in our collection? KTD: In many ways, fundraising for medicine is very much the On April 20, the Museum invited all Birmingham area high Night and no small detail went unnoticed. We based the scav- same as fundraising for the arts. In medicine, a donor has KTD: As hard as it is to choose a favorite, as a hobbyist pho- school students to a special after-hours event just for them. enger hunt off of a time travel adventure with different aspects connected with a program over something that has hap- tographer, I’ve always had an affinity for portraits - especial- Teen Night was planned and hosted by Teen BMA, the coming from our favorite television shows. The decorations pened in their life that caused a strong, direct interest in a ly with strong female subjects. The Sorceress by Georges Museum’s volunteer group of high school students. They de- and activities correlated with one another, each thing compli- disease group, for example, receiving a diagnosis. The do- Merle is particularly fascinating to me, both for the mystery vised the theme “Out of This World” and planned activities for menting the other. The starlight projector leaked into the photo nor is passionate for finding a cure, which motivates their surrounding the symbolism in the work and for her captivat- the evening, including a very popular cosmic photo booth and booth, making the photos look as if they are standing amongst giving. Museum patrons feel the same depth of passion in ing eyes, which follow you as you pass the painting. I’m also galactic art activities. Teen BMA members worked with the the stars. The music echoed through the halls, making you feel their giving for the arts. They understand the value of the art extremely excited to be part of the museum chosen to dis- Education Department to create a digital time-travel scavenger connected with the others even as you admired the art pieces. they collect and support. They are appreciative of its historic play Amy Sherald’s loan All Things Bright and Beautiful.The hunt that sent teens throughout time and space in the galleries The tour was my favorite part. I prepared my part in advance value, aesthetic, and preservation. In that way, the conver- piece is displayed alongside a touching quote by Michelle to search for clues that led to a missing artwork. Other Teen with great care and thorough research. My friends and brothers sations around giving are very much the same. My role is to Obama who mused that she hoped little girls would see her BMA members led a tour that included facts about the art and came to see the tour and their support meant the world to me. help every donor connect their giving to a program or proj- portrait in the National Portrait Gallery and see themselves artists as well as fun games for the group to play in the galleries. I’ve been in this program for four years now, this year being ect that most closely aligns with their values and passions. in it. Sherald’s work embodies the radiance and power of Teen Night was a big success with 156 high school students my last year. Teen Night was an absolute success, a reflection Working in philanthropy is a great honor in this way. I have little girls. It’s a great honor to work for an organization that in attendance. Teen BMA member Sadie Odom had this to say on the program itself—a creative outlet to not only learn more the privilege of serving a community of donors dedicated to so deeply values diversity and bringing fresh, contemporary about the event: about art and careers in the arts, but a way to connect with your advancing the human condition. representations of African American art on display for our peers. It makes you feel as if you are a part of something bigger, own community along with the thousands of visitors we at- “Teen Night was filled with my favorite things- friends, music, and a part of the vast universe that we are in.” M: From your perspective, what is the greatest benefit of sup- tract from across the nation each year. art. We planned meticulously in the months leading up to Teen porting the Museum?

26 News + Giving | 27 Tricia and Troy Wallwork, Graham C. Boettcher, and Sue and Nick Willis

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

Ivan Rich, Carolyn Featheringill, Jane and Harold Goings The 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 Larry Thornton, Jestina Howard, Kwame and Zillah Fluker, terrace. As a special treat, Oysters XO made their Alabama Clint and Gianetta Jones, Walter and Vanessa Body 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 The Museum is eternally grateful to the sounds of the 12South Band brought guests out to the dance late Tom Curtin for bringing good cheer floor for an outstanding performance that lasted all night. and refinement to the Museum Ball year after year through the generous donations The evening was a record-breaking success, raising the larg- of wine from his distinguished collection. est amount in the history of the Museum Ball. Funds from the

Museum Ball provide critical support for the Museum’s educa- Leslie Wampol, Ken Novak, Akiko and Joshua Jones tional initiatives including public programs, school tours, and community outreach.

28 News + Giving | 29 Friends of American Art Trip to Santa Fe, New Mexico April 9–13 · 2018 · By FoAA Member Jane Goings

Led by Curator of American Art Dr. Katelyn Crawford and have made him one of the most respected modernist sculptors Deputy Director Meghan Ann Hellenga, 21 members of the of his time and one of the premier Native American artists of Friends of American Art enjoyed a glorious week in Santa Fe, the 20th century. 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 We had the good fortune of being in Santa Fe at the same time terminus of the Santa Fe Trail, it is a charming Pueblo Revival that friend and former BMA Board Member Beverly Erdreich structure inspired by the adobe architecture of the indigenous was having an exhibit at the Center for Contemporary Arts. From Pueblo peoples. Goya to Erdreich was inspired by The Disasters of War, a series of 82 prints created between 1810 and 1820 by Francisco de Our trip began with a delicious welcome dinner to fortify us for Goya y Lucientes. Goya is known for cataloging the brutality our compelling itinerary packed with intriguing sights and ex- and fatal consequences of war in a stark, confrontational, and periences. The following morning, we walked to the Georgia unflinching manner. Beverly is known for lyrical abstract can- O’Keeffe Museum, dedicated to the art of one of our country’s vases. For this series, however, she was moved by the violence most influential artists known for her groundbreaking use of and destruction in the United States as catalogued nightly in abstraction, dramatically modern compositions, and exquisite the evening news. Her drawings are created atop reproductions sense of the beauty of the natural world. We toured several of Goya’s powerful compositions bringing the stinging brutality other museums that day and took a bus to the Allan Houser of 19th century atrocities into a modern context. Sculpture Garden. Located on a 15-acre site with panoramic mountain vistas, the gardens included monumental works by Please visit artsbma.org/foaa to continue reading. Houser and a gallery displaying paintings and watercolors that

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

In March, the Collectors Circle spent four days in Bentonville with her professorial approach to the collection. Of note was and Fayetteville, Arkansas, enjoying a semi-magical stay at the photography on display at Crystal Bridges by Celestia Morgan Hotel 21c, as well as in and around the ecosystem of the Crystal of Birmingham. Bridges Museum with surrounding nature trails, outdoor exhibi- tions, and restaurants in the nearby town square of Bentonville. The museum itself is a vast structure anchored in water and fabricated in glass, cement, and steel designed by Moshe The primary purpose of the trip, however, was to tour the Soul of Safdie. Our time at Crystal Bridges was graced with sunlight a Nation exhibition of African American art. This semi-exclusive that played wonderfully on the water outside and through the exhibition, to travel only to The Brooklyn Museum in the United glass windows of the museum and restaurant. States after Crystal Bridges, displayed and discussed art of widely varied media in historical and political contexts. The ex- On the grounds of the Crystal Bridges Museum are numerous hibition was well curated with works grouped in like media and outdoor sculptures, namely and recognizable such as a LOVE themes to convey intended ideas and concepts of the artists. sculpture by Robert Indiana and those bleak, monochromat- We were fortunate to have a privately guided tour by Lauren ic human figures by George Segal. We also toured the Frank Haynes, the Curator of Contemporary Art at Crystal Bridges and Lloyd Wright Bachman-Wilson House, an example of classic a former member of the curatorial staff at the Studio Museum Usonian architecture or coinage by Wright from United States in Harlem. of America. The house was relocated to the Crystal Bridges campus from New Jersey with reconstruction on site in 2015. Dr. Mindy Besaw, the curator of American Art at Crystal Bridges, led an extensive tour of the permanent collection at the mu- Please visit artsbma.org/cc to continue reading. seum. Her tour was an intellectual one, and she captivated us

30 News + Giving | 31 Visitors’ View

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 concentrated on only 21,000 of its European paintings, sculp- Thursday night, which was a perfect introduction to the excep- tures, and decorative arts from the Middle Ages through the tional tour ahead. For the next three days, Curator of European mid-20th century. Dr. Ronni Baer, Senior Curator of European Art Dr. Robert Schindler led us to the most significant venues Paintings, led us through specialized galleries, the most note- in and around Boston. The Copley Square Hotel, the second worthy in Masterpieces of Dutch and Flemish Painting. We saw oldest in continuous operation in Boston, is central to Boston’s Rembrandt’s early Artist in his Studio and seminal works by early construction and easy walking distance to restaurants and Peter Paul Rubens and his pupil, Anthony Van Dyck. The col- surrounding sights. lection of 19th century French painting is world famous, and we saw Renoir’s Dance at Bougival, Degas’ sculpture The Little On Friday morning, our group visited the Worcester Art Dancer, and several of Gauguin’s finest. Dr. Frederick Ilichman, Museum, where we were welcomed by the Director, Dr. the Chair of Art of Europe and Curator of Paintings, followed Matthias Waschek. The newest exhibition there, The Mystery with a tour of period rooms and in-depth studies of select- of Worcester’s Leonardo, pairs the WAM’s A Miracle of Saint ed paintings. In short, each gallery was too overwhelming for Donatus of Arezzo with the Louvre’s The Annunciation, both of words. Following this awesome private tour, we had a relaxing which formed an Italian altarpiece. The European galleries in dinner at Stephanie’s on Newbury. this museum were especially intriguing. The absence of text panels, tilting pictures, and armchairs grouped facing corners, Saturday we visited the Isabella Stewart Gardner Museum and all work to engage viewers and encourage discussion. We cer- the astonishing private collection of Jeffrey and Carol Horvitz, tainly experienced this intention, which made for a more mem- followed by a trip to the Harvard Art Museums on Sunday. From thoughtful reflections to silly selfies orable visit. and everything in between, we love to see the Please visit artsbma.org/eas to continue reading. Museum through your eyes. Share your BMA ex- The afternoon hours were spent at the Museum of Fine Arts perience with us on Instagram for a chance to Boston. There reside more than 450,000 works of art. We be featured in our next Visitors’ View!

32 News + Giving | 33 Corporate Partners Honorariums + Memorials

Gift date range for this editions of Medium is July 01, 2017 through March 31, 2018. Founder’s Circle Chairman’s Circle In Honor Of and Jim Cook, Mr. and Mrs. Thomas R. Cosby, Amy Bradley Arant Boult Cummings LLP Griffin Adler: Mr. and Mrs. Robert M. Fierman Crawford, Mr. and Mrs. Francis H. Crockard, Jr., Mrs. Mary Butler Snow LLP Catherine Wheelock Giti Ahmad: Mr. and Mrs. S. Perry Given, Lynda Crockett, Ralph and Mary Helen Crowe, Mrs. Encompass Health Corporation Stephen, Carolyn, and Mary Keller Greene, Catherine Stefanie Rookis Crumpton and Mr. Jack Crumpton, Lyndra Jemison Investment Co., Inc. Luckie, Queen Alli and her family and Charles W. (Bill) Daniel, Stewart Mott Dansby, Mr. and New Capital Partners, Inc. Mrs. Elon Allen: Mr. and Mrs. S. Perry Given Mrs. Richard T. Darden, Mr. and Mrs. J. Mason Davis, Jr., Mr. Red Diamond, Inc. Ruth Alsbrooks: BMA Thursday Docents H. Corbin Day and Mrs. Kim Morgan, Dr. and Mrs. Larry Regions Bank Ms. Gail Andrews: Linda T. Abele, Mr. and Mrs. Harold L. Deep, Terri Denard and Steven Reider, Drs. Michael and Sustainer’s Circle Stewart Perry Construction Abroms, Beth and Scott Adams, Mr. and Mrs. John P. Lisa DeVenny, Dr. and Mrs. Michael J. DeVivo, Mrs. Forsyth Adams, Alabama Power Foundation, Inc., Mr. and Mrs. S. Donald, Patsy Dreher, Rachel K. Drennen (Mrs. Alan T. Director’s Circle Edward K. Aldag, Jr., Diane and Mark Aldridge, Margaret Drennen, Jr.) and Alan T. Drennen lll, Patty B. and Dave and Bruce Alexander, Ms. Olivia E. Alison, Melia Horton Driscoll, Mrs. Betsy A. Dumas, EBSCO Industries, Carmen Altec Industries, Inc. Allen and Family, Renée Goode Allison, Mr. and Mrs. Robert and Trey Echols, Kathryn and Doug Eckert, Mr. Robert D. Ram Tool and Supply Company Anderson, Gail C. Andrews and Richard B. Marchase and Eckinger and Ms. Maibeth J. Porter, Ms. Rebekah Elgin- Thompson Tractor their children—Julia Trechsel Davis, Andrew R. Trechsel, Council and Mr. Bryan Council, Mr. and Mrs. Paul Elkourie, Nicholas D. Marchase, Allison E. Marchase, Anonymous, Mr. Ann Rolling Elliot, Mr. and Mrs. Charles H. Ellis, Dr. and Mrs. Curator’s Circle and Mrs. Thomas D. Armstrong, A Social Affair, Mrs. Pam Frederick Elsas, Mrs. Henrietta Emack, Lisa and Alan Engel, Ausley, Dr. and Mrs. Fred Baekeland, Ms. Candice W. Mrs. Ruth Engel, Dr. William E. Engel, The Engel Family, Arlington Properties,Inc. Bagby; Ms. Sidney R. Bagby, Mr. and Mrs. Frank M. Beverly and Stanley Erdreich, Mr. and Mrs. Glenn Eubanks, Cobbs Allen Bainbridge, Jr., Dr. and Mrs. Gene V. Ball, Peggy and Mrs. William W. Featheringill, Kaywin Feldman, Mr. and Mrs. Dunn Investment Company Michael Balliet, Mrs. Charlton Bargeron, Beaux Arts Krewe, Robert M. Fierman, Mr. and Mrs. William Fishburn III, Kelley First Commercial Bank Ms. Joyce Benington, Frances and Claude Bennett, Richard and CT Fitzpatrick, Mrs. Dorothy Ireland Fletcher, Walton Marx Brothers, Inc. and Tracey Hering Bielen, Hal and Jane Bissell, Ms. Geneva and Key Foster, Rachel and Conrad Fowler, Maye and Motion Industries, Inc. Blackburn, Judge Sharon Lovelace Blackburn, Clarence Bernard Frei, Mr. and Mrs. James S. M. French, Carolyn and and Sheila Blair, Irene Blalock, Dalton and Jon Blankenship, Henry Frohsin, Rebecca and Ben Fulmer, Mr. and Mrs. A. Benefactor’s Circle Ms. Katherine Blount, Cate and Brian Boehm, Chris and Henry Gaede, Jr., Hugh and Anna Gainer, Mr. and Mrs. Mary Boehm, Dr. Graham C. Boettcher, Nina and Ken James Gewin, Ellen and Houston Gillespy, Mr. Andrew H. Brookmont Realty Group LLC Botsford, Mr. and Mrs. Thomas M. Boulware III, Alice Glasgow, Mr. and Mrs. Harold Goings, Mr. and Mrs. Hubert Christie’s Meriwether Bowsher, Betsy Bradley, Virginia and Laurence Goings, Jr., Braxton and Mary Goodrich, Mr. William W. Coca-Cola Bottling Company United, Inc. Bradley, Robert Brady, Mr. and Mrs. Frank H. Bromberg, Jr., Goodrich, Mr. and Mrs. T. Michael Goodrich, Mr. and Mrs. M. Each year, our Corporate Partners provide critical support for the Museum’s programs, Four Corners Custom Framing Gallery Mr. and Mrs. William Brooke, Judge and Mrs. Houston L. Williams Goodwyn, Jr., Mr. and Mrs. James Gorrie, Mr. and exhibitions, and most importantly, keeping the Museum free of charge for our visitors. Hughes and Scalise, P.C. Brown, Mrs. Peter Bunting, Kathy and Bruce Burdette, Mrs. Miller Gorrie, Mr. and Mrs. Gordon Graham, Mr. Roy C. Ranging from our hands-on interactive space, Bart’s ArtVenture, to family festivals, Kassouf & Co., P.C. Grady F. and Sharon B. Burrow, Annie and Greg Butrus, Green, Jr., Mr. and Mrs. Paul Greenwood, Joy and Beau school tours, studio classes, and more, Corporate Partners are vital to ensuring that Levy’s Fine Jewelry Inc Camille Butrus, Gayle and Mike Byrne, Mr. and Mrs. William Grenier, Melanie and Jay Grinney, Ms. Margaret Grubb, Mr. our Family and Youth Programs allow nearly 35,000 children each year to create, read, National Cement Company of Alabama, Inc. J. Cabaniss, Jr., Mr. and Mrs. Charles S. Caldwell III, Myla and Mrs. Troy Haas, , John Hagefstration, Wyona and Tom dance, and explore while celebrating cultures and traditions from around the world. O’Neal Industries Calhoun, Meredith and Wesley Calhoun, Kristina Callahan, Hamby, Judith H. Hand, Mary and Victor Hanson, Craig and Thank you to our Corporate Partners for helping to connect all of Birmingham to the Pizitz Management Group Mr. and Mrs. Ehney A. Camp III, Caroline Cargo and Griff Harsh, Joan and Preston Haskell, Mr. and Mrs. Wyatt experience, meaning, and joy of art. Precision Grinding, Inc. Bernard Peterson, Mr. Thomas N. Carruthers, Jr., Mr. Patrick R. Haskell, Dr. and Mrs. Lawrence S. Hawley, Meghan Ann Realty South Cather, Dr. and Mrs. Jerry W. Chandler, Louise Chow and and Michael Hellenga, Mr. and Mrs. Elias Hendricks, Jr., Mrs. For more information about the BMA’s Corporate Partner membership program or to Williams-Blackstock Architects Tom Broker, Mr. and Mrs. William N. Clark, Mr. and Mrs. S. Richardson Hill, Jr., Ms. Catherine Hillenbrand and Mr. involve your company, please contact Claire Hubbs Gray, senior development officer, Charles T. Clayton, Jr., Ms. Kate Cleveland, Mr. and Mrs. Joseph Hudson, Virginia and John Hillhouse, Barbara at 205.254.2086 or [email protected] Robert Cobb, Brooke H. Coleman, Jane S. Comer and Hirschowitz, Mary Louise Hodges, Frank and Denise Charles A. Lantz, Ms. Rita C. Constantine, The Honorable Hughes, Mr. and Mrs. William C. Hulsey, Ms. Carissa and Mrs. Ralph D. Cook, Mr. and Mrs. Donald L. Cook, Judy Hussong, Mrs. Stanton B. Ingram Charitable Fund - Yin and

34 News + Giving | 35 Stanton Ingram, Advisors, Jeanne Jackson and Mark Lester, John Schorrenberg, Virginia Hendrix Scruggs, Mr. and Mrs. Vowell, Vulcan Materials Employee Development Stephen, Carolyn, and Mary Keller Greene, Catherine Mr. and Mrs. Donald M. James, Dr. and Mrs. H. Peter Jander, Scott Selman, Mrs. Jean S. Shanks, Babbie and Waid Association Luckie, Queen Alli and her family Mr. and Mrs. Norman Jetmundsen, John Johns and Nancy Shelton, Jackie and Eric Simons, Dora and Sanjay Singh, Mr. and Mrs. William Bowron, Jr.: Debardeleben Foundation Mr. and Mrs. Jim Kelley: Mr. and Mrs. John B. Elliott III Dunlap, Dr. and Mrs. James C. Johnson, Sallie and Jim Kate and Charles Simpson, Sandra S. Simpson, Dr. and Mrs. Haley Elizabeth Bradford: Mr. and Mrs. S. Perry Given, Stephen, Kaylor Elizabeth Kidd: Mr. and Mrs. S. Perry Given, Stephen, Johnson, Mr. and Mrs. J. Brooke Johnston, Jr., Cathy and David A. Skier, Ann Morris Smith, Garland and Lathrop Smith, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Paul Jones, Ms. Lial Jones, Dr. and Mrs. James Kamplain, Mrs. Marilyn S. Smith, Mr. and Mrs. Murray Smith and Mr. and Alli and her family Alli and her family Mr. and Mrs. Gerard J. Kassouf, Bill and Jeanette Keller, Dr. Mrs. Joseph C. South lll, Mrs. Peter G. Smith, Ms. Stacy A. Norbert Brown: Dr. and Mrs. David A. Skier Mr. and Mrs. Robert M. Köller: Mr. and Mrs. Francis Crockard, Jr. Kent T. and Mrs. Enid F. Keyser, Dr. and Mrs. Robert Smith, Ms. Ceil J. Snow, Sara B. Snow and Farley M. Snow, Dr. and Mrs. Charles E. Bugg: Mr. and Mrs. John B. Elliott III Stella Christine Kontos: Mr. and Mrs. S. Perry Given, Stephen, Kimberly, Dr. David Kitchens and Dr. Rupa Kitchens, Dr. and Jim Sokol and Lydia Cheney, Carol O. Sommers, Janie Margaret Burnham: Bob Scharfenstein Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Mrs. Lanning Kline, Seth and Meg Landefeld, Dr. and Mrs. Spencer, Patricia and Rick Sprague, Dr. Sandra Sprayberry Mr. and Mrs. James J. Bushnell, Jr.: Mr. and Mrs. S. Perry Given Alli and her family Joe B. LaRussa, Lynn and Benny LaRussa, Mary Lyn and and Mr. Sam Munyer, Monty and Vastine Stabler, John and Chris Cain: Dr. and Mrs. David A. Skier Robert and Caroline Kower: Mr. and Mrs. J. Brooke Johnston, David LaRussa, Jonathan Lehman and Zachary Huelsing, Carolyn Stadtlander, Mr. and Mrs. Jim C. Stapleton, Arnold Mr. and Mrs. Ben Carroll: Mr. and Mrs. John B. Elliott III Jr. Dr. V. Markham Lester and Ms. Jeanne L. Jackson, Jim and Steiner, Elizabeth and John Steiner, Mrs. Mary S. Steiner, Ms. Mr. Thomas N. Carruthers: Mr. and Mrs. J. D. Dresher Chandler Thorogood Law: Mr. and Mrs. S. Perry Given, Stephen, Kelly Lewis (Rushin), Mrs. James A. Livingston, George Rose H. Steiner, Mr. and Mrs. James T. Stephens, Bill and Mia Oostinga Cather: Mr. Patrick Cather Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Gambrill Lynn, Mr. Henry S. Lynn, Jr., Mrs. C. Caldwell Marks, Kimeran Stevens, Lewis and Carol Stewart, Ms. Kate C. Mary C. Clem: Mr. Joseph D. Clem Alli and her family Mr. and Mrs. John Markus, Marion and Edgar Marx, Marx Stockham, Denis and Julia Stork, Evelyn and Gene Stutts, Dr. and Mrs. Charles H. Colvin: Mr. and Mrs. John B. Elliott III Ann Blalock Lee: Mr. Willis J. Meriwether III Brothers, Bill Mason, Bob Scharfenstein and Bryan Lee and Kelly Styslinger, Mr. and Mrs. Lee J. Styslinger, Jr., Kate Crawford: Mrs. James A. Livingston Helen Oliver Little: Mr. and Mrs. S. Perry Given, Stephen, Underwood, Susan Matlock / Michael Calvert, Mrs. Alan R. Dr. and Mrs. Roger Suttle, Mr. and Mrs. C. Logan Taylor lll, Dr. Mary Boyd Crosier: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Matthews, Judy and Gerson May, Emily and Willard McCall, and Mrs. Kenneth P. Taylor, Mr. and Mrs. David L. Tharpe, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family Jr., Dr. Charles “Scotty” McCallum, Mrs. Lynette A. McCary, Alice and Carl Thigpen, Anna M. and Douglass J. Thompson, Alli and her family Mrs. James A. Livingston: Ellen and Hobart McWhorter, The Doug McCraw, Mr. and Mrs. Thomas S. McGahey, Emmy Mr. and Mrs. George C. Thompson, Larry D. Thornton, Dr. Kendall Elizabeth Crumbaugh: Mr. and Mrs. S. Perry Given, Cadmean Circle and Travis McGowin, Mr. Johnny McIntosh, Mr. and Mrs. Jack W. Trigg, Jr., Mr. and Mrs. Temple Tutwiler III, Mr. and Stephen, Carolyn, and Mary Keller Greene, Catherine Mac and Maya Logue: Ted and Robin Metz Emmett E. McLean, Mr. and Mrs. George McMillan, Dr. Mrs. Ingram D. Tynes, Connie and Marshall Urist, Mr. Samuel Luckie, Queen Alli and her family Caroline Goodwyn Luckie: Mr. and Mrs. S. Perry Given, Heather McPherson, Louise and Frank McPhillips, Jim and E. Urmey, The Honorable J. Scott Vowell and Dr. Cameron Dr. and Mrs. John C. Foster: Mr. and Mrs. S. Perry Given Stephen, Carolyn, and Mary Keller Greene, Catherine Robin Meador-Woodruff, Dr. Suzanne M. Michalek, Mr. and McDonald Vowell, Mr. and Mrs. Robin A. Wade, Jr., Patricia Lucy Elizabeth Gardner: Mr. and Mrs. S. Perry Given, Stephen, Luckie, Queen Alli and her family Mrs. Charles D. Miller, Mrs. Patricia A. Millhouse, Ms. Dottie and Troy Wallwork, Julie and Jeff Ward, Mr. and Mrs. William Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Annie Lee Buce Mathews: Robert and Barbara Buce Mitchell, Joyce Crawford Mitchell and John Mitchell, Ms. J. Ward, Charles L. and Mary L. Watkins, Lucy Trabue Alli and her family Margaret Bell McCalley: Mr. and Mrs. S. Perry Given, Stephen, Margaret Monaghan, Mr. and Mrs. Joseph F. Morad, Dr. and Watson, Ms. Angie S. Webb, Holly and Prince Whatley, Anna Catherine Gillespy: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Mrs. Robert Morris, Mr. Brad Morton, Mr. and Mrs. Sam W. Frances and George Wheelock, Mr. and Mrs. Heustis P. Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family Murphy, Mr. and Mrs. Mark L. Myatt, Susan and Alex Nading, Whiteside, Jr., Ms. Maralyn D. Wilson, Dr. Donald A. Wood, Alli and her family Mr. and Mrs. William L. McDavid: Mr. and Mrs. John B. Elliott III Ms. Tanya Najwa, Dorothy and Al Naughton, Kate and Laura and David Woodruff, Kay and Jim Wooten, Mrs. Peter Ellen Elizabeth deBerniere Given: Mr. and Mrs. S. Perry Given, Katherine Beall Michaux: Mr. and Mrs. S. Perry Given, Stephen, Claude Nielsen, Jean and John Oliver, Ms. Ann F. Omura, T. Worthen, Sally V. Worthen, Leo and Rhetta Wright, Mr. and Stephen, Carolyn, and Mary Keller Greene, Catherine Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Dr. Emily F. Omura, Mrs. Shirley K. Osband, Elizabeth and Mrs. Marion Wynn, Mr. Alan K. Zeigler Luckie, Queen Alli and her family Alli and her family James Outland, Penny and Ruffner Page, Buddy Palmer, Mr. Mary Selden Andrews: Mr. and Mrs. S. Perry Given, Stephen, Margaret Allyn Pratt Given: Mr. and Mrs. S. Perry Given, Alice Lee Naughton: Mr. and Mrs. S. Perry Given, Stephen, and Mrs. Sam Pathasema, Katherine and Donny Patton, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Stephen, Carolyn, and Mary Keller Greene, Catherine Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Mrs. Elise M. Penfield, Martha Pezrow, Karen and Joel Alli and her family Luckie, Queen Alli and her family Alli and her family Piassick, Ms. Pauline Pinto, Diana and Gray Plosser, PNC Elinor Clay Anthony: Mr. and Mrs. S. Perry Given, Stephen, Mr. Harold Goings: Ms. Martha Hiden, Millie and Billy Hulsey, The Oostinga Family: Robert A. Cather Foundation, Paula Purse Pointer, Margaret and Kip Porter, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Dr. and Mrs. Roger Smith, John and Elizabeth Steiner, Mr. Pat Palmer: Dr. and Mrs. Robert A. Scott Mrs. William Powell, Jr., John and Nancy Poynor, Dr. and Alli and her family and Mrs. Fred Turner, Jr. Becky Patterson: Margaret and Bruce Alexander Mrs. William T. Price, Ms. Angela F. Pruitt, Kathie and Mrs. Dickie Boykin Arn: Mr. and Mrs. John B. Elliott III Mr. and Mrs. Harold Goings: Mr. and Mrs. S. Perry Given, Mike Anne Genevieve Pickering: Mr. and Mrs. S. Perry Given, Pringle Ramsey, Mr. and Mrs. R. Bryan Ratliff, Mr. and Mrs. Sally Baker: Leyden and Lucy Comer and Gillian Goodrich, Ginger and Jimmy Stewart Stephen, Carolyn, and Mary Keller Greene, Catherine William T. Ratliff III, Mrs. Hallie H. Rawls, Carolyn McDavid Mr. and Mrs. William Bates: Mr. and Mrs. S. Perry Given Mary Keller Greene: Mr. and Mrs. S. Perry Given Luckie, Queen Alli and her family Ray, Red Diamond Coffee and Tea, Red Mountain Garden Terry Beckham: Sylvia Goldberg, Mr. and Mrs. Thomas R. Deanny Hardy & Steeple Arts: Leyden and Lucy Comer Mr. and Mrs. Don Plosser: Mr. and Mrs. S. Perry Given Club, Ms. Sonja Rieger, Mr. and Mrs. T. Alan Ritchie, Jr., Dr. McLeod Catherine Brevard Harmon: Mr. and Mrs. S. Perry Given, Nancy and John Poynor: Mr. and Mrs. Wilmer S. Poynor III Janice W. Roberts, Dr. Lindsay S. Robison and Mr. J. Harold Blach: Dr. and Mrs. David A. Skier Stephen, Carolyn, and Mary Keller Greene, Catherine Caroline Sanders Reed: Mr. and Mrs. S. Perry Given, Stephen, Andrew Robison, Dr. Carol Rosenstiel and Ms. Fran Hogg, Dr. Graham C. Boettcher: Ms. Joyce Benington, Mr. Patrick Luckie, Queen Alli and her family Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Mr. Mark Rosse and Mrs. Kaye McWane, Margaret and Cather, John Durr and Marilyn Elmore Fund, Mountain Hazel Lena Hayes: Dr. and Mrs. David A. Skier Alli and her family Francis Rushton, Mr. and Mrs. William J. Rushton lll, Mr. Brook Baptist Church, St. Luke Episcopal Church, The William C. “Billy” Hulsey: Mr. William W. Goodrich Mrs. Elberta G. Reid: Mr. Charles Scribner and Mrs. William H. Satterfield, Ms. Melissa A. Schoel, Mr. Honorable J. Scott Vowell and Dr. Cameron McDonald Camille Elizabeth Jernigan: Mr. and Mrs. S. Perry Given, Mrs. Florence Richey: Mr. Patrick Cather

36 News + Giving | 37 Amy Rogers: Ellen and Herbert McWhorter Erdreich, Jr., Sylvia Goldberg, Dr. and Mrs. William T. Price, Keel, Teri and Pat Lavette, Sally and Hours Telephones Kelly Rushin and Jim Lewis: Dr. and Mrs. David A. Skier Dr. John E. Schloder, Mr. and Mrs. John S. Steiner, Mr. Alan Will Legg, the Louisiana-Pacific Walker Evans Sanders: Mr. and Mrs. S. Perry Given, Stephen, K. Zeigler Corporation Legal Department, Mr. Tuesday–Saturday, 10am–5pm Main Office, 205.254.2565 Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Jim Wooten: Mrs. Jane F. Wooten George G. Lynn, Heather and Phillip Sunday, Noon–5pm Alli and her family Kay Wooten: Mrs. Jane F. Wooten McWane, Ms. Carol Nickell; Mr. and Closed Mondays and select holidays Public Programs, 205.254.2571 Dr. Robert Schindler: Mr. and Mrs. Melford T. Cleveland Antoinette Dunn Wyatt: Mr. and Mrs. S. Perry Given, Stephen, Mrs. Harlan I. Prater IV, Mr. and Mrs. Anne Kinsman Simmons: Mr. and Mrs. S. Perry Given, Stephen, Carolyn, and Mary Keller Greene, Catherine Luckie, Queen James L. Priester, Diane and Jim Oscar’s at the Museum Museum Tours, 205.254.2964 Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Alli and her family Richardson, Mr. and Mrs. Gregory Tuesday–Friday, 11am–2pm Alli and her family Vistica, Mr. James Weatherholtz Members receive a 10% discount Membership, 205.254.2389 Dora and Sanjay Singh: Mr. and Mrs. Timothy Callahan In Memory Of Mr. Pringle Ramsey: Ms. Martha Pezrow 205.328.7850; [email protected] Dr. and Mrs. David A. Skier: Antiquarian Society of Birmingham Nelson Abercrombie, Jr.: Mr. Patrick Cather Topsy Smith Rigney: Betty and Tom Development, 205.297.8214 Alabama Mrs. Evelyn Allen: The Phillip Abroms Family, Mr. Jesse M. Barton Emily Symington Slayton: Mr. and Mrs. S. Perry Given, Stephen, Bates III, Ms. Joyce Benington, Mr. Frank Fleming, Mrs. Lorol Roden Bowron Rediker Rucker: Clarence B. Hanson, Jr. Library Facilities Rental Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Reta Guttman, Dr. and Mrs. James C. Johnson, Ms. Ellen R. John Michael Rediker and Diana By appointment: [email protected] Jestina Howard, Special Events Alli and her family Kallman, Dr. and Mrs. Jim Kamplain, Michelle and Herbert Rediker Slaughter 205.254.2681; [email protected] Mrs. Peter Smith: Mr. and Mrs. Michael Jefcoat Luria, Mrs. Patricia A. Millhouse, Mrs. Shirley K. Osband, Spencer Shoults: Dr. and Mrs. James Mr. Jim Sokol: Mary Ruth and Fred Ingram Mr. and Mrs. Howard E. Palmes, Robert Raiford and Zane Kamplain, Ms. Martha Pezrow, Dr. The Museum Store Mr. and Mrs. Clifford M. Spencer: Mr. and Mrs. John B. Elliott III Rhoades, Harriet Schaffer and Karl Schaffer, Ms. Marianne Donald A. Wood Open Museum hours Mary Evelyn Sprain: Mr. and Mrs. S. Perry Given, Stephen, Schoel, Mrs. Marilyn S. Smith, Jim Sokol and Lydia Cheney, Evans Simpson: Kappie and Evans Dunn, Members receive a 10% discount; Carolyn, and Mary Keller Greene, Catherine Luckie, The Cathy and Steve Wright Jr., Mr. and Mrs. William C. Hulsey, 205.254.2777; [email protected] Sperling Family Charitable Foundation, Queen Alli and her Ruby S. and John P. Ansley: Ms. Sallie S. Aman Mr. and Mrs. Robin Wade, Jr., Mr. and www.birminghammuseumstore.org family Dr. Frederick Baekeland: Dr. and Mrs. David A. Skier Mrs. Cullom Walker, Jr. David Stearns: Mr. and Mrs. David Stearns Beth Blair: New Horizons (UAB), Richard Tubb Interiors, Dr. Mr. Henry E. Simpson: Mr. and Mrs. Walton Leigh Stivender: Mr. and Mrs. S. Perry Given, Stephen, and Mrs. David A. Skier James E. Aisner Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Dr. Peter Bunting: Mr. Patrick Cather, Mrs. James A. Livingston Mr. James E. Simpson: Mr. and Mrs. Alli and her family Jim Burnham: Ms. Martha Pezrow James E. Aisner Mr. Jeffrey I. Stone and Dr. Linda J. Stone: Mr. and Mrs. S. Melford T. Cleveland: Ms. Karen Kelly Renee Sims: BMA Wednesday Docents, Perry Given Rebecca Bowers Cooper: Dr. and Mrs. John Eagan, Sr. Ms. Martha Pezrow, The Focus Board of Trustees Mildred Eugenia Stutts: Mr. and Mrs. S. Perry Given, Stephen, Bettye B. Hirsch: Dr. and Mrs. David A. Skier Group Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Joyce Holcomb: Mr. Amasa G. Smith, Jr. Elizabeth Dunlap Smith: Mrs. Betty Glass, Mr. James K. Outland, Museum Board Chairman; Ms. Myla E. Calhoun, Secretary; Alli and her family John H. Josey: Dr. and Mrs. David A. Skier Ms. Anne Hartline, Jane and Paul Mr. Braxton Goodrich, Endowment Chair; Mr. Joel B. Piassick, Treasurer & Anne and Roger Suttle: Elise Leonard Doss Virginia Stockham Ladd: Mrs. William W. Featheringill Van Wyke Finance Chair; Mrs. Maye Head Frei, Governance Chair; The Honorable Houston Margaret Elizabeth Tapscott: Mr. and Mrs. S. Perry Given, Ann Bairnsfather Lambert: Mr. and Mrs. Robert Eskew, Mr. and Mrs. Helen Hassler Snow: Monica and Brown; Mr. Mark L. Drew; Dr. George T. French; Mr. John O. Hudson III; Mrs. Joyce Stephen, Carolyn, and Mary Keller Greene, Catherine Mrs. Charles Waites, Kathi and Danny Wallace, Mr. and Mrs. Mike Cochran, Mr. and Mrs. John Crawford Mitchell; Mr. G. Ruffner Page, Jr.; Mr. Sanjay Singh; Mrs. Nan Skier; Luckie, Queen Alli and her family Michael C. Wells, Mr. and Mrs. Carlos Womble B. Elliott III, Dr. and Mrs. James Mrs. Kelly Styslinger; Mrs. Patricia Wallwork Mr. and Mrs. George Thompson: Mr. and Mrs. S. Perry Given Stuart Lindquist: Dr. and Mrs. David A. Skier Kamplain, Mrs. Patricia A. Millhouse, Catherine Claire Turner: Mr. and Mrs. S. Perry Given, Stephen, Wilson Alexander Long: Mr. Patrick Cather Mrs. Marilyn S. Smith Chairmen Emeriti: Mr. Thomas N. Carruthers, Jr.; Mrs. Margaret Livingston Carolyn, and Mary Keller Greene, Catherine Luckie, Queen John Massey: Dr. and Mrs. James C. Johnson Mr. Fritz Woehle: Mr. and Mrs. Michael Alli and her family Ms. Marilyn Merkle: Ms. Amy Connally Balliet, Sr., Mr. and Mrs. Frank H. Kathryn Alline Vogtle: Mr. and Mrs. S. Perry Given, Stephen, Shelia Chunn Morton: Mr. Brad Morton Bromberg, Jr., Mr. and Mrs. Francis Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Max Nomberg: Dr. and Mrs. David A. Skier Crockard, Jr., Mrs. Elberta G. Reid, Mr. Alli and her family Dr. Jeannine O’Grody: Mr. Richard T. Darden, Mr. and Mrs. Paul Guy Reynolds, Mr. Amasa G. Smith, Anne Douglass Williams: Mr. and Mrs. S. Perry Given, Stephen, Greenwood Jr. Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Wim Oostinga: Mr. Patrick Cather Accredited by the American Alliance of Museums. A Alli and her family Mr. Rollin Osgood: Margaret G. Livingston portion of the general operating budget is supported by Kathleen Claire Wilson: Mr. and Mrs. S. Perry Given, Stephen, Judith J. Proctor: Baker Donelson Bearman Caldwell & the City of Birmingham and a grant from the Alabama Carolyn, and Mary Keller Greene, Catherine Luckie, Queen Berkowitz, PC, Kimberly and Nelson Bean, Ms. Mickie State Council on the Arts and the National Endowment Alli and her family Coggin, Mr. and Mrs. John E. Cuttino, DRI, Inc., Susan and for the Arts. Dr. Donald A. Wood: Ms. Joyce Benington, Mr. and Mrs. Stanley John Dulin, Susanne and Robert Esdale, Michael and Karen

38 News + Giving | 39 PRESORT STD. BIRMINGHAM MUSEUM OF ART U.S. POSTAGE 2000 Rev. Abraham Woods, Jr. Blvd. PAID PERMIT NO. 02160 Birmingham, Alabama 35203 BIRMINGHAM, AL

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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.

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