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Under the Dome, McKissick Museum Newsletter McKissick Museum

4-1994 Under the Dome - April 1994 McKissick Museum--University of South Carolina

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This Newsletter is brought to you by the McKissick Museum at Scholar Commons. It has been accepted for inclusion in Under the Dome, McKissick Museum Newsletter by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA VOLUME 4 APRIL 1994 ISSUE 2

Earthenware vase by Vernon Owens and experimental Albany slip and Clair de Lune glaze by Pamela Owens in 1993 at Jugtown Pottery, Moore County, North Carolina. New Ways for Old Jugs June 26 through October 23,1994 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA Francis Coradal-Cugat

Until recently very little was known United States where he was active as a de­ about the artist who designed the haunting signer and artist. Although he spent a num­ dust jacket for F. Scott Fitzgerald's The Great ber of years in New York, he worked for a Gatsby. In fact, this person, Francis Coradal­ long time in Hollywood as an art director Cugat, was better known as the brother of for films including Douglas Fairbanks' Don celebrated band leader Xavier Cugat. Quixote. Coradal-Cugat was born in Spain, raised in The recent discovery of over three hun­ Cuba, and at some point, immigrated to the dred watercolors, drawings and paintings prompted McKissick to organize an exhibi­ tion of his works. Guest researcher Erica Hennig has been working with art historian Dr. Charles Mack on providing some of the answers to the questions that surround this enigmatic artist. Some of Cugat's artistic estate has also recently entered the collec­ EXHIBITIONS tions of the University, long a center for F. Scott Fitzgerald studies. The famous dust jacket design was ar­ rived at by the artist after considerable thought and a number of sketches. Many of these preliminary pieces are exhibited with paintings borrowed from a number of pri­ ...... vate collections in the United States. To­ gether they reveal an artist who was always experimenting with then contemporary art styles and theories. His works provide the viewer with the sense of a man who was al­ ways viewing his surroundings with a new eye. At McKissick &om Mav 1 to June 26, this exhibition will be accompanied by a lec­ ture presentation.

McKissick's Exhibitions Travel the States

As many of you are well aware, a num­ Five Centuries of Drawings and Watercolors. ber of the exhibits you see at McKissick are You may recall this exhibit of 72 works developed into traveling exhibitions for which was on view at McKissick from June other museums throughout the country. 14 to November 15, 1992. This exhibition One recent exhibit has just begun touring, was the outcome of a three-year collabora­ while another has just ended. tive effort between the Museum and art his­ You surely remember last summer's torian/ guest curator Dr. Charles Randall showing of lowcountry paintings, From Deep Mack to locate, select, and research draw­ Roots to New Ground: The Gullah Landscapes ings and watercolors found within Univer­ of Jonathan Green. That exhibit opened in sity collections and those of university fac­ late November at the Afro-American Cul­ ulty and staff. After it closed at McKissick, tural Center in Charlotte, North Carolina, to Paper Pleasures was on view at the following a very appreciative audience and ran museums: the Fine Arts Museum of the Above: through February 28th. Its next stop is the South in Mobile, Alabama; the University of Francis Coradal-Cugal. Norton Gallery and School of Art in West Arkansas at Little Rock Art Gallery in Little Preliminary design for dust jacket of The Great Gatsby. Palm Beach, Florida, where it opens April Rock, Arkansas; the Asheville Art Museum Private Collection. 9th. The exhibit will then travel to the fol­ in Asheville, North Carolina; and the Mem­ lowing venues: the California Afro-Ameri­ phis State University Art Gallery in Mem­ can Museum in Los Angeles, California; phis, Tennessee. the Greenville County Museum of Art in It is always exciting to plan, prepare, Greenville, South Carolina; the Philharmonic and send an exhibition on to new places. Center for the Arts in Naples, Florida; the We send it off with hopes that we have Gibbes Museum of Art in Charleston, South thought of everything it needs for its safety. Carolina; and the Longwood Center for the We hope it is well received wherever it goes Visual Arts at Longwood College in and we look forward to seeing it again one Farmdale, Virginia. day. When we do, it is with great pride for Another exhibition which has just com­ its success. Then we begin organizing the pleted its travel schedule is Paper Pleasures: next one.

2 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA O/Earth and Cotton set to open on August 14

EXHIBITIONS

For the native southerner, cotton culti­ vation has been a way of life for generations. Now, in an exhibition organized by McKissick Museum, for the first time the public will be able to sense the relationship between man and his environment in this agricultural pursuit. It looks at cotton liter­ ally from the ground up. Of Earth and Cotton the portraits during the summer months. Clockwise from top: combines photographic images taken in the Brookner and guest curator Susan Edwards, Clar1

CRAFT REVIVAL PROJECT

What's happening more and more, as I lisher responsible for commissioning and visit different archives, is that pieces of the publishing the first quilt history book. puzzle mapping out the contours of early Doubleday's Country Life Press first printed 20th century craft revivalist activity in the Quilts: Their Story and How to Make Them by Southeast are beginning to come together. Marie D. Webster in 1915, reprinted the book To give you an idea of what I mean, let me within the year, and reissued it again in 1926 share with you some of the pieces I found at and 1928. Hence, it seems the Doubledays Hampton University which have brought into exerted considerable influence on the revival focus the ways this institution served as a hub of basketmaking and quiltmaking in the early or clearing house of sorts for the networks decades of the 20th century. of individuals involved with promoting The second connection - one which craftmaking, particularly among racial and/ or needs to be further explored - is that be­ ethnic groups in the Southeast - African tween the revival of Chetimachan Americans, Native Americans, and Acadians. basketmaking and the revival of Acadian Somewhat by default, it turns out that weaving by two women, both of whom Hampton University is the home of one of lived on A very Island, Louisiana. A 1905 the largest and most complete collections of survey, '''The Revival of Handicrafts in early 20th century Chetimachan Indian bas­ America,." conducted by Dr. Max West for kets, all made by Clara Douden of southern the U.S. Department of Commerce and La­ Louisiana. It was a collection of baskets bor, credited Mrs. Sara A very Leeds of commissioned by Mary M. Bradford of A very Island, Louisiana, with the revival of A very Island, Louisiana, to be exhibited by weaving among the Acadian women of the State of Louisiana at the St. Louis Expo­ southern Louisiana. sition in 1904. Mrs. Leeds had helped the women to Above: When in 1905, for some reason, Ms. sell their woven products through the Chris­ 13th Annual Penn Center Bradford had to give up her Indian work to tian Women's Exchange in New Orleans. Heritage Days Celebration November 11-13,1993; her sister, she sought to place the collection She also took five Acadian women to the Parade was on Nov. 13. with either the Smithsonian or the American World's Columbia Exposition at Chicago Photographer: Jane Museum of Natural History. When this tact where "they reproduced an Acadian interior Przybysz failed, she contacted Mrs. Frank Nelson with their spinning wheels and looms and Doubleday of New York, and enlisted her showed the methods and products of their help in placing the baskets. Mrs. Doubleday industry as part of the Louisiana exhibit." Ex­ subsequently persuaded the New York Chap­ hibits of Acadian craft at the New Orleans ter of the Sequoya League to purchase the col­ Cotton Exposition in 1885-1886, at the Buffalo, lection and donate it to Hampton "in the hope Atlanta, and Minneapolis Industrial Exposi­ that it may be of interest and a source of inspi­ tions also were arranged by Mrs. Leeds. ration to the Indian girl students." In a letter Mrs. Mary M. Bradford had Now there are a couple of interesting written to Mrs. Doubleday in 1905, she sug­ connections here. First, there's the fact that gested the possibility of organizing an ex­ Mrs. Doubleday was the wife of the pub- hibit of Chetimachan baskets at the Chris- 4 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA tian Women's Exchange, probably the one in Sarah White, "North Carolinian Friend" New Orleans. Did Mrs. Bradford and Mrs. who retired to Greensboro, where she re­ Leeds both have connections with the Chris­ sided at 1044 West Market Street. Had Miss tian Women's Exchange? Both organized ex­ Weir been from North Carolina as well? hibits of craft on behalf of the State of Louisi­ Did she study weaving with individuals or ana. Did they ever work together on such at a settlement school the summer of 19OO? exhibits? How did they get involved with ac­ How had she learned? And was the North tivities on behalf of the state government? Carolina connection between Miss Weir and An article entitled "The Acadians of Miss White merely a coincidence? Louisiana," which appeared in the May 1907 In the mid-1940s, Miss Louise Olivier, issue of Southern Workman, a publication and the founder of the Acadian Handicraft public relations arm of Hampton Institute, Project in Southern Louisiana, spent a sum­ further complicated the picture with yet an­ mer at a weaving workshop at Penland, other bit of information pertaining to the North Carolina. Penland was a crafts school revival of Acadian handicraft. This essay Miss Lucy Morgan had developed in the identified Miss Patte Gorham Weeks of New 1920s in connection with Fireside Industries Iberia, Louisiana with finding a market for of the Appalachian Industrial School, an Acadian women's weaving. Were Miss Episcopal missionary venture. Did Miss Weeks and Mrs. Leeds aware of one Olivier know of Mrs. Leeds' or Miss Weeks' another's efforts? Or were they perhaps ap­ earlier efforts to revive Acadian weaving? CRAFT proaching the revival of craft among How did she learn of Penland? And how REvIvAL Acadian women in different ways? The ar­ was it that, from at least 1900 through the ticle about the work of Miss Weeks listed mid-1940s, North Carolina was the place PROJECT Evangeline Portieres, "memory" or "friend­ women interested in reviving craft traveled ship" portieres, and even automobile blan­ to learn about handweaving? Did the differ­ kets among the items Acadian women made ent generations of women involved with re­ for sale. Did Mrs. Leeds encourage the viving craft conceive of their activities in dif­ women with whom she worked to weave ferent and I or similar ways? such nontraditional items? These are just some of the people, insti­ Continuing on the subject of weaving, tutions, and places which recently have the December 1900 issue of Southern Work­ come into focus as important markers on the man announced that Miss Weir, who was in map of crafts revivalist activity in the South­ charge of the sewing and dressmaking de­ east in the early part of the 20th century. partment, had introduced basketry and Determining more precisely how they're re­ handweaving into Hampton's manual train­ lated - socially, politically, and ideologi­ ing program. To prepare herself to teach cally - is the challenge the Crafts Revival these industries, she spent most of the previ­ Project will take up in the second year of re­ ous summer in the North Carolina moun­ search. As Jane's Journey becomes increas­ tains "learning the hand weaving of the ingly conceptual, I hope you'll continue to mountain whites." From 1905-1926, the come along and enjoy the ride - the pot weaving at Hampton was taught by a Miss holes along with the peaks.

Left: 13th Annual Penn Center Heritage Days Celebration November 11-13. 1993; Parade was on Nov. 13. Photographer: Jane Przybysz

5 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA New Ways for Old Jugs June 26 through October 23, 1994

cKissick Museum is pleased to Raleigh, North Carolina, who were ~ announce a significant exhibi­ passionately involved with the Arts FEATURE tion, New Ways for Old Jugs: Tradition and Crafts Movement. Struck by the and Innovation at the Jugtown Pottery, form and color of a lead-glazed exploring the history of the Jugtown earthenware plate from a Seagrove Pottery of North Carolina. Resulting area pottery, they were inspired to from extensive research conducted begin a marketing campaign for the by McKissick Museum, working in local wares, through a tea shop cooperation with the Folklife Section which Juliana Busbee established in of the North Carolina Arts Council, New York City in 1917. this exhibition, which will be shown As their clientele grew and the at McKissick June 26-0ctober 23, demand for more diversity in­ 1994, will trace the sources of the creased, the Busbees soon realized Jugtown aesthetic, examine its im­ the need to establish a new pottery pact on local potteries, and trace its through which they could synthesize legacy among contemporary potter­ the variety of form, size, and color ies in surrounding areas. found in outside pottery influences The Jugtown Pottery was with those of the local tradition. This founded in 1921 by Jacques and Juliana Busbee, an artist couple from

6 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA

they did, hiring young men, such as Ben Owen, from local pottery fami­ lies and introducing them to the ori­ ental wares of the Han, Tang and Sung dynasties. The oriental qualities of powerful form, monochromatic glazes and lack of elaborate surface decoration were readily comprehen­ sible to these local craftsmen and thus a Opposite page left: new ceramic tradition was born. Chinese·blue Han Jugtown went on to achieve wide stoneware vase by Ben Owen at Jugtown Pottery renown, and is credited as an impor­ circa mid·2Oth century, tant faction in the continuity of this Moore County, North Carolina. The inspiration local pottery tradition. Certainly the for this and many other pieces of Jugtown pottery influences of Jugtown on the family was Chinese and Korean potters in the Moore County area are ceramics which Jacques Busbee, director of Jugtown undeniable, even today. As an example Pottery, discovered in of cultural interventio~ Jugtown has museums like the Metropolitan Museum of much to teach us about the interaction Art. Busbee and potter Ben of outside agency and local tradition. Owen made several trips to museums to sketch oriental New Ways for Old Jugs: Tradition and ceramics in order to Innovation at the Jugtawn Pottery draws museum audiences. Oral history inter­ develop similar forms at Jugtown. Photograph by upon extensive documentary and oral views with key figures involved with Gordon Brown, courtesy of history resources many of which have Jugtown throughout its long and color­ Country Roads Foundation. not previously been made available to ful history have been conducted and Opposite page right: will be utilized in both the exhibition Earthenware vase by Vemon Owens and and the catalog. Documentary re­ experimental Albany slip sources including news clippings, and Clair de Lune glaze by Pamela Owens in 1993 at magazine articles, unpublished Jugtown Pottery, Moore County, North Carolina. speeches, and memorabilia from Pam and Vernon Owens both private and public collections are the current owners of the Jugtown Pottery. Photo provide a detailed and fascinating by Gordon Brown, courtesy record of the history of Jugtown. of Vernon and Pamela Unlike previous exhibits of Owens, Jugtown Pottery. Jugtown pottery, McKissick's exhibi­ This page left: Salt-glaze stoneware tion will expand the frameworks in storage jar with carved ·sine which the pottery is addressed to wave" pattem and iron slip detailing by J. H. Owens consider such things as the place of circa 1919, Moore County, Jugtown in the larger craft revival North Carolina. Owens made several decorated movement in the South and the nature storage jars like this of the relatiOnship of elite outsiders to example in the early 1920s for Juliana Busbee to sell at local traditional artisans which has the Village Store, a tearoom typified the Jugtown pottery's history. she opened in Greenwich Village, New York, to The exhibit will be driven by the pot­ market Moore County tery for which Jugtown is so well handicrafts. Photograph by Gordon Brown, courtesy of known but equally by contextual mate­ Vernon and Pamela Owens, rials and environments such as the Jugtown Pottery. famous Village Store run by Juliana This page above: Jacques Busbee with potters Charlie Busbee in the 1920s, and an accurate Teaque (left) and Ben model of the Jugtown physical plant, Owen (right) in front of the groundhog kiln at Jugtown and large photomurals of images Pottery circa mid 1920s. taken by noted photographer, Photographer unknown, courtesy of Country Roads Charles Tompkins. Foundation.

7 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA Coming to the Museum this Summer In conjunction with New Ways for Old buy, buy! The Jugtown shop will be a Jugs: Tradition and Innovation at the Jugtown unique offering to the South Carolina and Pottery, McKissick Museum will be opening Columbia market, so you won't want to a special museum store featuring North miss the opportunity to pick up something Carolina traditional ceramics from the for yourself or a friend. The shop will only Seagrove area and other related items. This be open for this special exhibition, from June is a first for the Museum, so come and buy, 26 through October 23,1994.

An Encore for The Elegant Egg On March 11 and 12, the Museum lessly to create a wonderful event. With sprang to life with the work of over 125 art­ substantial corporate support from First ists for The Elegant Egg. It was an event not Union National Bank of South Carolina, to be missed in Columbia! From the sold­ Pulliam-Morris Interiors, Colonial Life and DEVEWPMEN1S out luncheon, with lecture by Southern Accident Insurance Co., SCANA, The State, Accent's Katherine Pearson on March 11, to WTCB /BI06.7 PM, and Nelson, Mullins, Riley the festive gala and silent auction, with 400+ and Scarborough, the Museum was able to guests on March 12, it was truly a splendid add over $10,000 to the endowment from The weekend. The Elegant Egg, chaired by Elegant Egg. Thanks to all who supported Carol and John Benfield with Carol and Don The Elegant Egg and please mark your calen­ Saunders as co-chairs, was the product of dars for May 1995 for next year's event! more than 40 volunteers who worked tire-

Folklife Director Goes North! The head of McKissick's folklife and oral history program, Douglas DeNatale has left to become director of traditional arts with the New England Arts Council. Since his arrival at McKissick in 1989, Doug was responsible for supervising a number of im­ portant research projects including the one that supported the current exhibition Jubila­ tion! He ably guided the folklife office through a number of changes and was an active participant on regional councils and workshops. Under his direction the Museum's participation in the state's annual Folk Heritage awards and the South Caro­ lina State Fair performances of local musi­ cians did much to support the traditional arts of our state.

Above: Collaborative Venture Wins Recognition! Doug DeNatale with Pat Stribling and Lynn At the 1993 annual meeting of the cluded 72 works on paper from private col­ Robertson Southeastern College Art Conference lections of faculty at the University, was ac­ (SECAC), held in Chapel Hill, North Caro­ companied by an extensive catalogue writ­ lina this past October, McKissick Museum ten by Dr. Mack with some of the and Dr. Charles Randall Mack were hon­ background research having been accom­ ored with the Award for the Outstanding plished through the active involvement of Exhibition and Catalogue of Historical Ma­ students in museum studies classes. The terials for the Paper Pleasures: Five Centuries SECAC Awards Committee noted that lithe of Drawings and Watercolors. Dr. Mack, pro­ award acknowledged not only the excel­ fessor in the University of South Carolina's lence of the particular exhibition and its Art Department, curated the exhibition for catalogue but emphasized the importance of McKissick Museum. The exhibit, which in- such interactive university ventures."

8 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA Volunteers Round Out the McKissick Team Docents are an indispensable and valu­ able part of McKissick Museum's operation. They give guided tours to the public and school groups, work at the front desk wel­ coming visitors to the Museum, assist the curators in research and collections, and help with special events and projects. They freely share their time and many talents with the staff and visitors of McKissick. The 1994 officers of the Docent Advisory Council are: Ida Belle Barker, president; Muriel Lesselbaum, vice president; Marg­ aret Rylatt, secretary and; Jeanie Castle, so­ cial chairman. The advisory council meets nizes docents who have completed 500 EDUCATIONAL monthly and coordinates docent activities. hours of service to McKissick was awarded SERVICES On February 14 the annual Docent­ to Dorothy Ackerman. Her name was in­ Staff Valentine Appreciation Luncheon was scribed on the award plaque which hangs in held. The following docents received the Museum. Dorothy works in the Folklife McKissick Museum Memberships for 100 area at McKissick. hours of service to the Museum in 1993: Do­ We welcome anyone who is interested rothy Ackerman, Jeanie Castle, John Down­ to join the McKissick docent core. Training ing, Frank Hill, Anne Klingenhagen, Rudi is ongoing and a wide variety of placements Laub, Mary Lucas, and Warren Smith. The are available. For more information please Mildred Cahan Memorial Award that recog- contact Elise Flowers, docent coordinator.

McKissick Mornings Don't forget McKissick when planning and archaeology. Fees include all materials, summer activities for young people! healthy snacks, a McKissick sports tumbler, McKissick Mornings sessions begin June 13 and field trip expenses (reduced fees for and run through the last week of July. Top­ McKissick Museum members). Call now for ics this summer include cultural history, en­ more information! vironmental science, hands-on art discovery,

Summer Teacher Institute While children are exploring McKissick developing fieldwork and research skills, this summer, 25 teachers from around the classroom discovery of family folklore, state will be learning more about folklife teaching writing through folklife, traditional and education. Thanks to funds from the music and craft in South Carolina, using South Carolina Humanities Council and the folklife to challenge cultural stereotypes and Rural Cultural Coordinating Council, mediate conflict, and using communities as McKissick will host a two-week intensive classroom resources. Above: institute for educators focusing on using Stipends provided for educators ac­ McKissick Executive Director Lynn Robertson (right) folklife in the classroom from July 11 cepted to the institute include all textbooks, stands with a beaming through 22. McKissick encourages teachers, speakers, activity materials, field trips, and Dorothy Ackerman during the media specialists, and district coordinators lodging. Teachers will receive recertifica­ Mildred Cahan Memorial to apply for spaces in the institute, which tion credits for successfully completing the Award presentation. will involve lectures by national specialists, institute. Graduate credit is available hands-on workshops, focused discussions, through the department of anthropology, brainstonning sessions and field trips to cul­ but is not covered by the stipend. For more tural sites. Topics include defining and ap­ information, contact the educational services preciating local and regional folk traditions, department at 777-7251. MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA

Join Us ... at the Top of the Horseshoe

Not all of McKissick's annual budget is Under the Dome, distributed exclusively MEMBERSHIP generated from University funds. there­ to Museum members, a discount on fore, we depend on the generosity of mem­ Museum publications and a McKissick bers like you to help us continue to preserve Membership car decal. A Family the rich heritage of the University and our member receives all of the above and State, and to maintain the quality exhibi­ discounts on children's programs. tions and public programming our patrons • Patrons receive all of the above and an have come to expect. invitation to an annual patrons-only As a Museum "insider," you are invited festive event, research privileges in to private exhibition previews and kept McKissick's art, history, and museum abreast of Museum events through our studies library and a complimentary membership magazine, Under the Dome. exhibition catalog or other publication You also receive discounts on our award­ of the Museum's choice. winning public programs and museum pub­ • Sponsors receive all of the above and lications. participation in scheduled Behind-the­ Year-round, McKissick Museum offers Scenes tours as well as a complimen­ its members exciting cultural and education tary subscription to a selected art or opportunities. Gala evening auctions, lec­ history journal. tures from some of the country's leading au­ • All of the above and sponsorship or thorities in history, art, and folklife, and co-sponsorship of a selected educa­ hands-on discovery programming designed tional program or Museum event, two especially for children are just a few events complimentary tickets to the Museum's that you won't want to miss. Members may annual gala fund raiser, information on also enjoy guided day trips as well as ex­ rental privileges of the Museum facili­ tended national and international adven­ ties for suitable events are the benefits tures. available for Museum Benefactors. As a way of saying thank you for your • Director's Circle Members receives all support we have added some additional of the above, sponsorship or co-spon­ benefits to the membership categories which sorship of a selected exhibition and will appear on our new membership bro­ prominent recognition in the Museum chures. lobby. • Full-time Students and Individual We look forward to seeing you at The members receive personal invitations Top of the Horseshoe and hope that you will to members-only receptions, previews, consider increasing your personal member­ and other Museum events; advance ship level and receiving these additional notice of Museum trips, classes and benefits when it is time for you to renew other programs; free subscription to your McKissick Membership.

10 t !!!.ll' • MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA

May

1 through June 26 Coradal-Cugat

through July 17 America's Living Folk Traditions

8 4:00-6:00 p.m. Public Lecture and Reception, Cugat Exhibition

June

13 -17 McKissick Mornings: Colonial Cultures of Carolina Session I, First through Third Grades

20 - 24 McKissick Mornings: Environmental Explorers CALENDAR Session TI, First through Third Grades

25 1:00-5:00 p.m. Jugtown Pottery Symposium with reception to follow

27 - July 1 McKissick Mornings: Art Discovery Session III, Third through Fifth Grades

July~ ____

4 Museum closed for Fourth of July Holiday

11-15 McKissick Mornings: Environmental Explorers for Girls Session lV, First through Third Grades

11-22 Summer Teachers Institute

18-22 McKissick Mornings: Art Discovery TI Session V, First through Third Grades

25-29 McKissick Mornings: Junior Archaeologists Session VI, Third through Fifth Grades

August

14 through November 20 Of Earth and Cotton

11 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA

Address: Talks and Tours: McKissick Museum, The University of Docent-conducted exhibition tours are South Carolina, Columbia, SC 29208 available. To schedule a tour, please call the Community Services Department at least two weeks in advance. Gallery talks and Telephone: lectures are free. (803) 777-7251 - all offices; recorded gen­ eral information and answering machine during non-public hours. Members Program: FAX: (803) 777-2829. Membership revenues and special fund raising activities provide essential support for Museum programs. Members receive Admission: advance announcements about exhibitions, Free. Public entrance via the historic programs, travel opportunities and special Horseshoe of the University of South Caro­ events, as well as discounts on publications. lina, facing Sumter Street. Access for dis­ For more information, please contact the abled visitors is the side entrance of the Membership Coordinator. building via the little Horseshoe at the inter­ GENERAL section of Pendleton & Bull Streets. Volunteers: INFORMATION The Community Services Department Hours: coordinates docent training and programs. Monday-Friday, 9:00 a.m. - 4:00 p.m.; Volunteers are needed for education and Saturday & Sunday, 1:00 - 5:00 p.m. Closed other support activities. Please direct in­ all major holidays. quires to the Volunteer Coordinator.

Parking: Contributions: The Museum is within walking distance Gifts or bequests to the Museum, of metered street parking. Metered parking whether works of art or money, are essential is also available in the lower level of the to the development of programs and collec­ Pendleton Street Garage, located at the cor­ tions. Contributions are tax deductible ner of Pendleton and Pickens Streets. within IRS guidelines.

Non Profit Organization U.S. POSTAGE PAID McKISSICK MUSEUM Permit #766 THE UNIVERSITY OF SOUTH CAROUNA Columbia, SC COLUMBIA, SOUTH CAROUNA 29208