the new director · leadership will provide in elevating the birmingham museum of art to even...
TRANSCRIPT
THE MAGAZINE OF THE BIRMINGHAM MUSEUM OF ART FALL / WINTER // 2017
Medium
The NewDirector
DR. GRAHAM C. BOETTCHER
CONTENTS
4 SPECIAL FEATURE
The New Director
6 EXHIBITIONS
AfterLife
11 ACQUISITIONS
Between Worlds
Vive Le France
12 PROGRAMS + EVENTS
Ongoing Programs
Chapter 03
Chenoweth Lecture
Weldon Lecture
14 NEWS + GIVING
Gift for Gail
Art on the Rocks
Shop World Over the Holidays
Volunteer Spotlight
Summer Wedgwood Intern
Meet the Manager of Youth and Family Programs
In Memoriam
Education Gallery Dedication
Year End Giving
Support Groups
Corporate Partner Spotlight
Contributions
HOURS
Tuesday–Saturday, 10am–5pm
First Friday of each month, 10am–9pm
Sunday, Noon–5pm
Closed Mondays and all major holidays
TELEPHONES
Main Office, 205.254.2565
Public Programs, 205.254.2571
Museum Tours, 205.254.2964
Membership, 205.254.2389
Development, 205.297.8214
Oscar’s at the Museum
Tuesday–Friday, 11am–2pm;
205.328.7850; [email protected];
Members receive a 10% discount
Facilities Rental
Jestina Howard, Special Events:
205.254.2681; [email protected]
Clarence B. Hanson, Jr. Library
By appointment: [email protected]
The Museum Store
Open Museum hours;
Members receive a 10% discount;
205.254.2777; [email protected];
www.birminghammuseumstore.org
James Outland – Chairman of the Board
Graham C. Boettcher – The R. Hugh Daniel Director
Laura Monroe – Editor
James Williams – Designer
Sean Pathasema – Photographer
Membership inquiries to: [email protected]
Editorial inquiries to: [email protected]
BOARD OF TRUSTEES
Mr. James K. Outland, Museum Board Chairman; Ms. Myla E. Calhoun, Secretary;
Mr. Braxton Goodrich, Endowment Chair; Mr. Joel B. Piassick, Treasurer & Finance Chair;
Mrs. Maye Head Frei, Governance Chair; The Honorable. Houston Brown;
Mr. Mark L. Drew; Dr. George T. French; Mr. John O. Hudson III;
Mrs. Joyce Crawford Mitchell; Mr. G. Ruffner Page, Jr.; Mr. Sanjay Singh;
Mrs. Nan Skier; Mrs. Kelly Styslinger; Mr. Larry D. Thornton; Mrs. Patricia Wallwork
Chairmen Emeriti: Mr. Thomas N. Carruthers, Jr.; Mrs. Margaret Livingston
MEDIUM // FALL · WINTER // 2017
Dear Member, By now you have likely heard the news of the
appointment of Dr. Graham C. Boettcher as the
R. Hugh Daniel Director of the Birmingham Museum of Art. As a member of the Director’s
Search Committee and as Chairman of the Board of Trustees, I have the utmost confidence
that our thorough search yielded the best possible leader for the BMA.
Following Gail Andrews’ retirement announcement in March of this year, the Board of Trustees
assembled a group of key stakeholders to form a Director’s Search Committee. After a com-
prehensive interview process involving a large number of qualified candidates, the Director’s
Search Committee unanimously agreed upon Graham as the most outstanding candidate for
the position. The Board of Trustees then voted on, approved the recommendation, and appoint-
ed Dr. Graham Boettcher as the Birmingham Museum of Art’s seventh director.
Over the last decade of his service to the Birmingham Museum of Art, Graham has proven him-
self as a distinguished scholar of art history, a dedicated steward of our collection, and a high-
ly-regarded community leader who is committed to realizing the mission and vision of our prized
institution. In his curatorial work, he has strived to make art more accessible, and has demon-
strated his ability to build relationships and develop patronage for the Museum. During the
interview process, he especially impressed the committee with his ideas regarding improved
infrastructure and cultural relevance for the Museum. We look forward to the possibilities his
leadership will provide in elevating the Birmingham Museum of Art to even greater heights. You
will learn more about his plans for the BMA in the article that follows.
Thank you for your membership and continued dedication to the Birmingham Museum of Art.
JAMES K. OUTLAND
Chairman of the Board of Trustees
Birmingham Museum of Art
The Birmingham Museum of
Art publishes the membership
magazine, Medium, quarterly.
Accredited by the American
Alliance of Museums. A portion
of the general operating
budget is supported by the
City of Birmingham and a
grant from the Alabama State
Council on the Arts and the
National Endowment for the
Arts.
The mission of the Birmingham
Museum of Art is to spark the
creativity, imagination, and
liveliness of Birmingham by
connecting all its citizens to
the experience, meaning, and
joy of art.
Chairman of the Board of Trustees James Outland and R. Hugh Daniel Director Graham C. Boettcher, Ph.D.
2 3
SPECIAL FEATURE
AN INTERVIEW WITH R. HUGH DANIEL DIRECTOR GRAHAM C. BOETTCHER, PH.D.
Dr. Graham C. Boettcher became the seventh R. Hugh Daniel Director
of the Birmingham Museum of Art on September 20, 2017. Graham’s
tenure at the Museum began in 2006 as the Henry Luce Foundation
Curatorial Fellow in American Art. Upon completion of his fellowship
in 2008, he was hired in the newly created position of Curator of
American Art, which was endowed that same year. After six years as
the William Cary Hulsey Curator of American Art, Graham rose to Chief
Curator and, in February 2016, he was promoted to The James Milton
and Sallie R. Johnson Deputy Director.
Graham was born and raised in Bellingham, Washington. He re-
ceived a B.A. and Ph.D. from Yale University, and an M.A. from the
University of Washington. He was previously a curatorial fellow at the
Yale University Art Gallery, and held research fellowships at the Amon
Carter Museum of American Art, and the Terra Foundation Summer
Residency in Giverny, France.
Graham has curated many popular exhibitions for the BMA including
Look of Love (2012) and Norman Rockwell’s America (2012). He
was a 2014 Fellow at the Center for Curatorial Leadership, and was
a trustee of the Association of Art Museum Curators from 2010 to
2017. He has been published in numerous articles and publications,
and has lectured extensively on American art throughout the country
and internationally.
Over the past 11 years, Graham has cultivated a legion of friends and
supporters through his entertaining and accessible approach to art his-
tory, and the reach of his personal Facebook page rivals that of major
media outlets.
Having worked at the Birmingham Museum of Art for 11 years
now, you already have a comprehensive understanding of the
collection and operations. What’s your first order of business as
Director?
My first order of business may not be glamorous but it’s very necessary,
and that is to address some immediate issues within our aging facility
to make sure that our visitors are walking into a welcoming, inspiring
environment. This is a building that has served us incredibly well, but
it’s been 25 years since its last expansion and renovation. There are
simple improvements we will make to ensure that the Museum really
sparkles for our visitors, from the galleries to the bathrooms. In terms
of art storage, we’re bursting at the seams. I can’t really complain that
our donors are too generous—this is a great problem to have—but now
is the time to address storage considerations so we can continue to
accommodate our growing collection. I’d like to increase our paintings
storage by 20% and look at new high-density storage solutions to
maximize our capacity.
As you assume leadership of the BMA, what do you see as its
greatest strengths and challenges?
Our greatest strength is our collection, which at nearly 29,000 ob-
jects from across time and around the world, can be celebrated as the
best in the Southeast and among the most significant in the country.
Among the many challenges we face is demonstrating the relevance
of this outstanding collection to an ever-changing and increasingly di-
verse community who can choose from a host of leisure-time activ-
ities. In order to retain our current audience and attract new visitors,
we have to show how the BMA is relevant in people’s lives today. We
have to show that an art museum can be a place where ideas can be
explored, ideas that matter in the 21st century. Sometimes, something
that was created in the distant past can be a catalyst for a conversa-
tion or an exploration of a subject that affects our lives today. We want
the works in our galleries to resonate with our visitors in the present
day, and that means giving people multiple ways with which to access
and engage with art.
What role should technology play in today’s art museum?
Art museum visitors are more accustomed than ever to accessing in-
formation via digital platforms. We must dedicate ourselves to a mind-
set that permits us to experiment and try new and different approaches
to interpretation that embrace technology. To that end, we have in-
vested heavily in our smartguide, accessible from any smartphone or
computer, to give our visitors a multi-layered experience with art that
includes interviews with artists, commentary by the curators, and rich
information among many other things. It is a highly versatile and end-
lessly adaptable way of presenting information. I am committed to the
continued development of such initiatives and our visitors will be see-
ing more of that kind of engagement in our galleries.
Though you are from Washington state, you’ve embraced
Birmingham as your home. What makes this place special?
Easy answer: the people. The people of Birmingham are among
the kindest, most welcoming folks I’ve ever encountered anywhere.
Working to serve a community that has embraced me makes my job a
pleasure, and makes me proud to call Birmingham my home.
The New Director
Right: R. Hugh Daniel Director Graham C. Boettcher, Ph.D. presenting his vision for the Birmingham Museum of Art to the staff on October 2, 2017
4 5
Afterlife Asian Art from the Weldon Collection
NOVEMBER 04 · 2017 THROUGH JANUARY 28 · 2018 PIZITZ GALLERY
Afterlife: Asian Art from the Weldon Collection journeys across Asia
to explore the fascinating role of art in this life and the next. Inspired
by the bequest of Henry and June (“Jimmy”) Weldon, this exhibi-
tion includes a wide variety of sculpture and ceramics that reflect
ancient fashion trends, entertainments, status symbols and religions
throughout the ages. Over 80 works span thousands of years of his-
tory from China, Japan, India, and Southeast Asia.
Many of the tomb artifacts represented in this exhibition were made
of clay. The oldest ceramic traditions in the world originate in China,
and recent excavated shards from southern China date back some
20,000 years. Over the following centuries, a variety of technologies
and styles evolved. Green-glazed earthenware from the Han dynasty
(206 B.C.E.–220 C.E), three-colored glazed stoneware of the Tang
dynasty (618–906), and porcelain from the 6th century are but a
few of the many wares developed.
China, Ming dynasty (1368-1644), Guanyin, wood, straw, stucco, gilding and pigment; The Weldon Collection T.2014.211
Exhibitions
6 7
EXHIBITIONS
The Weldons were primarily interested in ceramics from the Han through the Song
dynasties (206 B.C.E.–1279). They collected dozens of low-fired tomb figures
and a number of 11th to 12th-century porcelains, mostly from the Qingbai kilns in
Jiangxi province.
On the left, Guanyin of the Southern Seas, the Buddhist Deity of Mercy, sits on a
lotus throne in a grotto surrounded by clouds and mist. With palm trees, worshippers,
and waves below, the full moon shines above. The faces of the figures have been
left unglazed in contrast to the soft, sea-foam green colored glaze that covers the
rest of the elaborate setting.
Many of the objects represented in the Weldon Collection were originally created
to accompany the spirit. According to Chinese cultural belief, the dead should have
all the luxuries and comforts they enjoyed in life. In earliest times, these offerings
consisted of food and drink, and perhaps a piece of jewelry or a vessel. The burials
of kings, however, could include hundreds of sacrificed people, horses and other an-
imals, as well as chariots, elaborate sets of ritual bronzes, and musical instruments.
Over time, humans and animals were replaced with clay or wooden replicas. These
tomb figures were intended to serve, amuse, and help the spirit of the deceased in
the afterlife.
In addition to tomb artifacts, the Weldons collected Buddhist sculptures from
Tibet, Nepal, China and Japan. Representations of the Buddha and his follow-
ers first began to appear in India in the 1st century. These sculptures helped
guide people through their meditations, thoughts and prayers. As this imagery
spread, artworks came to reflect local styles and politics.
The Japanese Amida Buddha pictured here is remarkably tall and thin, giv-
ing it an ethereal, other-worldly appearance. It was originally lacquered.
Amida Buddha presides over the Western Paradise in the Pure Land sect of
Buddhism. He was very popular in the Fujiwara period, when many people be-
lieved the end of time was approaching and wished to be reborn in his paradise.
By contrast, the Buddha created in Gandara in modern Pakistan/Afghanistan
is more rounded in form. His toga-like robe with its heavy drapery also illus-
trates the influence of Greek trends. Gandhara was a great crossroads at the
far western end of the Silk Road, an ancient series of trade routes. Alexander
the Great conquered this area in 330 B.C.E. and introduced classical western
traditions that remained influential for centuries to come.
Excerpted from the exhibition gallery guide
Henry and June “Jimmy” Weldon
Henry and June “Jimmy” Weldon were passionate
collectors. From 17th and 18th-century Dutch and
Flemish art to English ceramics and Asian art, they
loved learning and finding fascinating pieces to add
to their collections. The Weldons collected together
for almost 50 years and were committed to sharing
their works of art with others.
In 2012, Jimmy Weldon gifted their entire collec-
tion of Asian ceramics, paintings, and sculpture to
the Birmingham Museum of Art. This gift of over
450 objects enriches and transforms the Museum’s
collection of Asian art. Major works spanning thou-
sands of years of history from China, Japan, India,
and Southeast Asia help tell the story of Asian civili-
zations for generations to come.
Afterlife has been made possible by grants from the
Alabama State Council on the Arts and the National
Endowment for the Arts, the City of Birmingham,
and the J. & H. Weldon Foundation, Inc.China, Zhejiang province, Ming dynasty (1368–1644), Yongle period (1403–1424), Guanyin of the Southern Seas, glazed stoneware, Longquan ware; The Weldon Collection T.2014.206
China, Tang dynasty (618–906), Dancers, painted earthenware; The Weldon Collection T.2014.29 and T.2014.60
China, Eastern Han dynasty (25–220), Military Watchtower, glazed earthen-ware; The Weldon Collection T.2014.1
Japan, Fujiwara period (898–1185), Amida Buddha, wood; The Weldon Collection T.2014.347
Gandhara, Pakistan/Afghanistan, 3rd century, Buddha, schist; The Weldon Collection T.2014.340
Tomb artifacts are often our best sources of knowledge
about what people might have worn or the types of
homes in which they lived. On the left, this watchtower
details the architecture of the Han dynasty (206 B.C.E–
C.E. 220), including a tile roof, balconies with windows
and railings, and a moat filled with turtles, frogs, geese,
and fish. Crossbowmen watch at the top of this piece,
which may have been created for the tomb of a warrior.
8 9
Vive la France!By Chief Curator and The Marguerite Jones Harbert and John M. Harbert III Curator of Decorative Arts Anne Forschler-Tarrasch, Ph.D.
The BMA has recently added this stunning pair of
candlesticks to its permanent collection. Made in
1872, the candlesticks reflect the 19th-century in-
terest in past cultures and styles and the unique way
in which stylistic elements came together during
this period to create an eclectic array of objects that
were a testament to new consumer tastes and pat-
terns of consumption.
These candlesticks were made in the Neo-Byzantine
style, one of many revival styles of the period, which
itself was comprised of elements drawn from an-
cient Greek and Roman art combined with Egyptian
and Islamic motifs. Made of gilt bronze, the color-
ful mosaic enamel decoration on the candlesticks
was created using the cloisonné technique, which
originated in the ancient Near East and was used
in ancient Egypt and the Byzantine Empire before
spreading to China in the 13th and 14th centuries.
The candlesticks prominently display the names of
the manufacturer, designer, and chaser, an unusual
feature that no doubt indicates the importance of
the collaboration required to create such high qual-
ity and innovative examples of 19th-century indus-
trial art. Examples of this pair of candlesticks were
featured at both the London International Exhibition
of 1871 and the Philadelphia Centennial Exhibition
of 1876.
AcquisitionsBetween WorldsBy Senior Curator and Curator of the Arts of Africa and the Americas Emily G. Hanna, Ph.D.
This work, Between Worlds, is made by Teri Greeves, a contemporary artist and beader.
She is Kiowa, a Native American tribe (now based in Oklahoma) which once lived on the
Great Plains and migrated with the bison. The object is inspired by a traditional Kiowa
parfleche, a type of container made from rawhide—deerskin that has not been tanned
and is stiff. Some parfleches are flat, rectangular containers, like folded envelopes; the
Kiowa traditional form is cylindrical. Hers is made of two hides—the interior is rawhide,
giving the container its shape, and the exterior is soft, tanned deer-hide, onto which she
has sewn the beads.
Greeves learned beadwork from her mother, and made this work in her memory after she
passed away. She adorned her parfleche with beaded images from Kiowa mythology and
symbols relating to the history of Kiowa artists, and to her own ancestors. The beaded
imagery is divided into three registers—the top represents the heavens and the realm of
the sun. The middle is the earthly realm, and the bottom register represents the world of
the ancestors.
A woman dangles by a rope, neither in heaven nor fully on earth. Greeves is referring to
the Kiowa myth of a woman who married the sun. She missed her people and lowered
herself and their son from the heavens by a rope. She did not survive the journey, but she
left her son, who was half human and half divine, to lead the Kiowa people. The beaded
trees and constellations refer to traditional calendar-keeping methods among the Kiowa.
The lower register depicts images of Greeves’ own ancestors. Her mother’s hands are
represented in sterling silver, as well as beaded ants, which are symbols of the ancestors.
Building a Museum Collection
From the earliest years of its existence, the Museum has had an important collection of
traditional Native American art. Objects such as Pueblo pottery, Navajo blankets, beaded
regalia, and sculpted masks reflect not only the vision, creativity, and artistic skill of the
artists, but are cultural objects, embodying Native American life-ways, knowledge, and
history.
The Museum is now focusing on building an outstanding collection of contemporary
Native American art. In addition to the new piece by Teri Greeves, the collection includes
work by Jaune Quick-To-See Smith, Fritz Scholder, Annie Pootoogook, Merritt Johnson,
Rick Bartow, Marianne Nicolson, Zoe Urness, and others. Media include painting, drawing,
prints, photography, ceramics, textiles, and glass. These works reflect a range of contem-
porary Native experiences and identities, but are often connected in interesting ways to
older objects, traditions, and histories.
Local patrons have generously lent from their collections of contemporary Pueblo ce-
ramics, Navajo pictorial weavings, Inuit sculpture, glass sculpture, paintings, and prints.
Patron support of artist visits, programs, acquisitions, and curatorial research and travel
have been crucial to the growth of the collection, and a recent bequest from the estate of
Dr. Clyde Oyster provides funds to support new acquisitions. Watch for a new exhibition in
the summer of 2018, when the Museum will install the kinetic glass sculpture, Waterline,
by Kwakwaka’ wakw artist Marianne Nicolson of Vancouver Island.
Pair of Candlesticks, France, 1872, gilt bronze and cloisonné enam-el, Bronze caster: Ferdinand Barbedienne, France, 1810–1892; Decorator: Louis-Constant Sévin, France, 1821–1888; Chaser: Désiré Attarge, France, about 1820–1878; Museum purchase with funds provided by Mr. and Mrs. Chester Huck, Ernest Lanzillotta in memory of Mariannina Lanzillotta, and Mrs. Robert I. Ingalls Sr., by ex-change 2017.37.1-.2
Teri Greeves, American, born 1970, "Between Worlds" Beaded Parfleche Vessel, 2016, brain-tanned deer hide, deer rawhide, pig-ment paint, cactus juice, Czech cut beads, antique glass beads, seed beads, glass drop beads, Swarovski montees, moss agate, faceted spinel, and hand-cut stamped oxidized sterling silver; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Martha Pezrow AFI.105.2016
10 11
ONGOING PROGRAMS
ART AFTER 5
First Fridays · 5–9pm · Free
Join us on every first Friday as we unwind
from the week with art, music, making, and
mixing. Each month, we’ll feature a new blend
of art and entertainment, including mini studio
art classes, guest musicians, tapas tastings,
local mixologists, and art history hacks with
the experts.
ART AND CONVERSATION
First Thursdays · 10:30am
$10 for Museum Members
$15 for Non-Members
This program is for people who want to learn
more about art in an informative and interac-
tive setting. These programs in 2018, with the
exception of May and July, are held on the
first Thursday of each month, January through
October. Coffee and light refreshments are
available. Lectures are led by curators or guest
speakers, and attendees are encouraged to
ask questions, share thoughts and ideas, and
actively participate in the learning process.
ARTBREAKS
Third Tuesdays · Noon · Free
On the third Tuesday of each month, Museum
curators lead visitors on a thirty minute explo-
ration of art in the galleries. Through a series of
close-looking techniques and questioning, this
free experience helps build the visitor’s inter-
pretive skills across the comprehensive-range
of art periods and canons represented by the
BMA’s collections. Stay for lunch at Oscar’s
and they will throw in a free dessert!
SLOW ART SUNDAYS
Sundays · 2pm · Free
Slow food, slow living, slow… art? Unlock the
secrets of works in the Museum’s collection
by cultivating the art of looking slowly. Our do-
cents ask and answer questions to help guide
your slow art experience and foster conversa-
tion. Leave the Museum feeling inspired—not
tired!
VISUALLY IMPAIRED PROGRAM
Second Saturdays · 10am · Free
In this program for adults with visual impair-
ments and their companions, specially trained
docents present the Museum’s collection by
means of verbal descriptions, three-dimension-
al tactile models based on original works of
art, and sculpture. The experience may be en-
hanced by related music and/or art-making to
provide multi-sensory access to the visual arts.
Advance reservations are required; space
is limited. VIP tours are also available for
school-age or adult groups. To reserve your
spot or learn more about group tours, call
205.254.2964.
The Visually Impaired Program is supported in
part by a grant from The EyeSight Foundation
of Alabama.
ART-MAKING PROGRAMS
BART’S ARTVENTURE ART BAR
Open During Regular Museum Hours
Bart’s ArtVenture · Free
Please join us in Bart’s ArtVenture for a fami-
ly-friendly, free drop-in artmaking activity This
drop-in Art Cart program for kids and families
features a different theme from our galleries
and art activity each month. Each art making
activity that is facilitated by Teen BMA and
ArtVenture staff!
BIG LITTLE ARTISTS
Third Fridays · 10:30–11:30am
Free, no registration necessary.
Have a budding little artist on your hands? Get
creative with your child in this adult / child im-
mersive exploration and art-making class. Look
closely and learn about a piece of art and the
story behind it in our galleries. Then be inspired
for your own interactive art-making activity.
This class is for ages 2–5 with an adult care-
giver. Locations vary, see signs at entrances.
DROP-IN DRAWING
Third Sundays · 2–4pm
Free, no registration necessary
Looking for a last-minute art fix? Here’s an
open invitation to explore your creative sen-
sibilities in a relaxed setting with inspiration a
pro. Make your own drawing in the galleries
under the guidance of teaching artist Jamison
Harper. You provide the creativity. We’ll provide
the art supplies. Locations vary, see signs at
entrances
STUDIO SCHOOL
Studio School offers a wide range of art class-
es for adults and children, including sculpture,
pottery, drawing, printmaking, crafts, and more.
Using the Museum’s collection as inspiration,
take time to explore your own creativity, learn
new techniques, and develop your artistic skills.
All classes are taught by talented professional
artists. Whether you are interested in crafting
with friends during a two-hour class or tak-
ing an in-depth, semester-long course, Studio
School has something to offer you. To see
more information and to register, go to artsbma.
org/studio-school.
Studio School is presented by The Comer
Foundation
TO LEARN MORE ABOUT OUR ONGOING PROGRAMS AND WHAT WE HAVE PLANNED FOR EACH EVENT,
PLEASE VISIT OUR ONLINE CALENDAR AT ARTSBMA .ORG/EVENTS .
Programs + Events
Chapter 03: Wilmer Wilson IVNovember 16 · 6PM · Free
Join us on November 16 for an artist talk by Wilmer Wilson IV whose work Black Mask is currently on view in Third
Space/ Shifting Conversations About Contemporary Art.
Wilmer Wilson IV is critically recognized for material and performative investigations into
the social marginalization of the black body as an ephemeral object of labor, desire, and
revulsion. Wilson gathers materials from the margins of urban society, such as discard-
ed lottery tickets and event flyers stapled to poles, to create alternative forms of repre-
sentation that challenge societal values of ephemeral things and people identified with
them. Wilson is the recipient of The Pew Center for Arts & Heritage Fellowship and The
American Academy in Rome Fellowship. His work has been presented at the National
Portrait Gallery, Washington, DC; Museum of Fine Arts Boston, Boston, MA; Barnes
Foundation, Philadelphia, PA; Crystal Bridges Museum of American Art, Bentonville,
AR; the American University Museum, Washington, DC; Birmingham Museum of Art,
Birmingham, AL; and In Flanders Fields Museum, Ieper, Belgium.
Chapters is a six-part series of artists talks, conversations, and performances that will take place over the course of
the Third Space exhibition.
Chenoweth LectureNovember 2 · 6PM · Free
Join us for a special lec-
ture, Taking It Personally:
An Art Critic’s Life, fea-
turing Holland Cotter,
the renowned co-chief
art critic of The New
York Times and 2009
Pulitzer Prize winner.
The Chenoweth lectures are endowed by Dr. Arthur I.
Chenoweth as a memorial to his brother and parents.
The purpose of the lectures is to encourage interna-
tional understanding through the presentation of a vari-
ety of subjects by specialists in their fields.
Weldon LectureDecember 6 · 6PM · Free
In conjunction with our
new exhibition, Afterlife:
Asian Art from the
Weldon Collection, the
BMA is proud to have
guest speaker Elizabeth
Hammer, Senior
Specialist Head of Sales
at Christie’s Auction House, visit us for a special lec-
ture where she will discuss the art market for Chinese
traditional paintings. Join us after the lecture for a re-
ception and a chance to see the exhibition in person.
Third Space is presented by PNC. Additional support
provided by the Alabama State Council on the Arts and
the National Endowment for the Arts, City of Birmingham,
Community Foundation of Greater Birmingham, Protective
Life Foundation, Vulcan Materials Company Foundation,
Robert R. Meyer Foundation, Luke 6:38 Foundation,
Susan Mott Webb Charitable Trust, The Gladys Krieble
Delmas Foundation, Robert Rauschenberg Foundation,
Alabama Tourism Department, Alabama Humanities Foundation, the state affiliate of the National
Endowment for the Humanities, The Lydia Eustis Rogers Fund,
and Friends of Third Space.
Wilmer Wilson IV, Born 1989 Richmond, VA, Lives and works in Philadelphia, PA, Black Mask, 2012, Digital video, 6 mins; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by Lydia Cheney and Jim Sokol; Judge and Mrs. Ralph Cook, C. Rene’ Myers, Brandon and Michelle Hewitt, and Rebecca and Jack Drake AFI.13.2013
Wilmer Wilson IV, courtesy CONNERSMITH
12 13
News + Giving
Gift for Gail
After more than 40 years of service to the
Birmingham Museum of Art, Gail C. Andrews
has retired as the R. Hugh Daniel Director. It is
hard to quantify her myriad contributions to the
BMA and our community. When asked what
she is most proud of, Gail invariably reflects
on the creation of inclusive programming that
fosters audience diversity and represents the
broader community, and adding $20 million to
the Museum’s endowment, ensuring the stabili-
ty of the Museum for future generations.
The BMA’s Board of Directors has launched
a campaign to establish The Gail C. Andrews
Fund for Public Programs. This designated
fund, to be invested in the BMA’s endowment,
combines two of Gail’s most significant priorities: growing the endowment while providing funding
each year to produce engaging, diverse public programs. These programs serve the entire communi-
ty and offer something for everyone. From family festivals to lectures by world-renowned artists and
scholars, to music and dance performances and speakers panels, the BMA strives to offer opportu-
nities for the whole community to discover the joy and meaning of art.
The establishment of this fund will ensure these vital programs continue during periods of economic
uncertainty. Each year, The Gail C. Andrews Fund for Public Programs will be named as a presenter
of a high-impact, mission-centered program in the spirit of Gail’s legacy, as well as be recognized on
other programs that are funded throughout the year as appropriate.
Please consider making a Gift for Gail to honor her career of service to the Birmingham Museum
of Art and our community.
To make your gift or pledge, please contact: Kate Cleveland, Director of Development at 205.297.8214 or [email protected].
You may also visit www.artsbma.org/giftforgail.
Pledges may be paid over a period of up to 5 years. In addition to cash and stock contributions, gifts
may include securities, estate or other planned gifts including IRA distributions and life insurance
beneficiary designations.
Art On The Rocks RecapBy Art On The Rocks Intern Jordan Lessley
In August, we wrapped up another success-
ful season of Art On The Rocks presented
by Dale’s Seasoning. This summer, guests
experienced exciting performances, explored
the galleries, and snapped photos in the
photo booths. They solved a murder mystery
hosted by Theatre Downtown, enjoyed art-
fully-crafted cocktails by New Amsterdam
Vodka, and celebrated the beauty of life with
intricate henna tattoos from The Gypsy Leaf
and Whimmmsy in the Bromberg’s and TAG
Heuer Lounge.
Guests enjoyed pop-up performances by
Aastha’s Bollywood Dance, local breakdanc-
er Jordan Brown, and AROVA Contemporary
Ballet, as well as music by Opera Birmingham,
Red Mountain Theatre’s Dreamgirls, and
William MacGavin, a local didgeridoo artist
and musician. Beats
were provided all
night in the cafe by
Birmingham DJs Gina
T, Love Deluxe, and
Sexpanther. Following
each Art On The
Rocks event, the
Redmont Hotel kept
the party going with
After Rocks, the offi-
cial after party, featur-
ing drink specials and
music at their down-
town rooftop bar.
In June, The Green
Seed hyped up the crowd on the Schaeffer
Eye Center Stage with their positive, viscer-
al vibes, and The Burning Peppermints got
guests headbanging to their West Coast
surf-inspired, garage rock jams. Southern
rockers The Underhill Family Orchestra and
Los Colognes took the stage in June and
July, making feet stomp, hands clap, and
hips shake. Face painting, blind contour
drawings, five-minute portraits by LG Waldo,
and a cake contest hosted by The Cakerie
quickly became new Art On The Rocks fa-
vorites. David Nuttall of Arti Maps, sensory
illusionist Jeanette Andrews, and Sidewalk
Film Festival brought art to life through visual
performances each summer.
Thank you to all the guests, performers,
sponsors, and volunteers for playing a part in
the success of the 2017 Art On The Rocks
season.
Shop the World Over the Holidays!
Avoid the crowds and find art-inspired gifts
for everyone on your list. The Museum store
carries hundreds of items by local and inter-
national artists including jewelry, accessories,
and decor.
Join us at the Museum Store each Tuesday
during the month of December to enjoy our
special guest artisans. While shopping, vis-
itors can experience different creative pro-
cesses first-hand and have the opportunity to
purchase these one-of-a-kind items.
ADDITIONAL SPONSORSPRESENTING SPONSOR LOUNGE SPONSORS STAGE SPONSOR
14 15
NEWS + GIVING
Meet the Manager of Youth and Family ProgramsWILLOW SCOTT
By PR Intern Elizabeth Sturgeon
We are excited to welcome Willow Scott as the
new Manager of Youth and Family Programs. Born
and raised in the Magic City, She has worked with
numerous art initiatives, organizations, and events
around Birmingham. Her expertise in family pro-
gramming is a wonderful addition to the Museum’s
growing Education Department.
Where have you worked before coming to the
BMA?
I have had extensive art teaching and managerial
experience at various organizations in Birmingham.
I was a teaching artist and festival coordinator for
Magic City Art Connection for over 10 years. To
supplement the downtime between festivals, I was
the master artist for Paint Nite Birmingham, offering weekly painting
events in local restaurants and bars. I served as the Artist-in-Residence
for Urban Ministry, a United Methodist-based organization specializing
in community outreach.
When did you first become interested in art?
I have been interested in creating since childhood. I really started to
hone my art skills in high school with my teacher, Mrs. Bratton. She ex-
posed us to various forms of artmaking that really piqued my interests.
What are you most excited about in your new position?
I am most excited about establishing partnerships and having the sup-
port of the Museum to explore my artmaking ideas. I want to touch the
lives of as many families and children as possible, exposing them to
processes and methods of making art. I love watching children’s cre-
ativity being sparked and watching them go!
Can you tell us more about
your experience with cre-
ating programs for children
and families?
During my years at Magic City
Art Connection, I developed
and implemented several work-
shops for children. During the
last year of my tenure there,
I was able to coordinate the
Imagination Festival with over
1,000 kids, 41 Birmingham
public schools, and 21 teaching
artists.
Do you have any big plans for new programs?
I’d like to revamp our Art Mobile and outreach initiatives. Using the Art
Mobile, I want to bring fine art to local festivals and schools.
What is a favorite program you have created or worked with
before?
In the past, working with recycled materials has worked well for me. A
favorite for kids is making collaged, wearable art. I use recycled mate-
rials to show them that you can make use of materials from your home
or neighborhood.
Join us in welcoming Willow to the BMA and stay tuned for announce-
ments about upcoming youth and family programs, including monthly
interactive art activities at the Museum.
Summer Wedgwood InternBy PR Intern Elizabeth Sturgeon
Traveling from Essex, located an hour north-
east of London, 18-year-old William Leisk
arrived in Birmingham this summer to study
the Museum’s Wedgwood collection during
an eight week-long internship.
Leisk had previously met Anne Forschler-
Tarrasch, Chief Curator and Curator of
Decorative Arts, in London at the 2016
Wedgwood International Seminar, a gather-
ing of Wedgwood collectors, scholars and
ceramic enthusiasts. As one of the youngest
conference attendees, Leisk’s fascination
with Wedgwood left an impression.
“Anne took an interest in how much I knew
about Wedgwood and my passion for it,”
Leisk said. “One day, in a taxi, she offered me
the opportunity to do an internship here.”
Leisk spent months raising money for his trip
across the pond. Forschler-Tarrasch reached
out to AL.com, and the media outlet pub-
lished an article in November about Leisk, his
fascination with Wedgwood, and his growing
personal collection. The article promoted
a GoFundMe page that he created to raise
money for the trip, and he received donations
from many who were interested in his story
and excited about his opportunity at the BMA,
including Museum employees.
“I met William last summer and was so im-
pressed by his passion for Wedgwood, at
such a young age,” Forschler-Tarrasch said.
Volunteer SpotlightMARY HELEN CROWE
By Manager of Volunteer and Visitor Services Lindsey Hammel
When Mary Helen Crowe was a graduate
student at North Carolina State studying
Toxicology, she would ride her bicycle to the
North Carolina Museum of Art for a break
from the lab. Her love of art began there and
continued to provide a welcome respite from
her job as a pharmacist. Years later after she
moved to Birmingham, she began volunteer-
ing at the BMA in 1996 for The First Emperor,
an exhibition of Xi’an of Qin terra-cotta war-
riors from ancient China, which was orga-
nized by the Museum and traveled nationally.
The exhibition drew 125,000 visitors, so vol-
unteers were very busy collecting tickets and
handing out audio guides.
In 2008, Mary Helen became a BMA docent
after she was encouraged to by a friend and
fellow docent who knew she would love
it. Nine years later, she still enjoys learning
about art and art history at docent lectures
by Museum curators, staff, and art historians.
She has also made many friends through the
program and loves that the BMA brings to-
gether a unique group of people who are fun
and interesting.
Mary Helen has found ways to marry her
love of art and medical science through the
docent program. One of her favorite tours
to give is the Visually
Impaired Program tour.
Docents are specially
trained to lead this tour for
visually impaired visitors by
using verbal descriptions
and allowing them to touch
tactile representations
of artworks. She also en-
joys giving tours to medical students in the
Art in Medicine class from the University of
Alabama at Birmingham. This class visits the
Museum every year to practice looking close-
ly at artwork, as research has shown it can
improve clinical observation skills.
In November 2016, Mary Helen continued
to challenge herself as a docent by attend-
ing Museum Hack Boot Camp along with
Angela May and Lindsey Hammel from the
BMA Education Department. Museum Hack
has gained national attention for leading un-
conventional tours in major museums around
the country and holds trainings for museum
professionals on their techniques. During
the rigorous three-day boot camp held at the
American Museum of Natural History and
the Metropolitan Museum of Art, Mary Helen
learned to lead tours with engaging story-
telling, fun gallery games and activities, and
other hacks to help visitors connect with art
objects. She especially enjoyed that Museum
Hack helped her learn to push the viewer to
perceive art in the moment, think about their
own reaction to it, and make a connection,
instead of just considering its historical con-
text. One of her favorite aspects of Museum
Hack Boot Camp was meeting the other par-
ticipants who were various museum staff and
consultants from Washington D.C., Canada,
Colombia, and Holland, among other places.
The BMA has invited Museum Hack to lead
a docent training in September and Mary
Helen is excited to work with them to create
hacks specifically for the BMA.
The Museum is lucky to have docents like
Mary Helen who not only volunteer their time,
but also enjoy challenging themselves and
working to create meaningful experiences
for our visitors. Thank you, Mary Helen!
“I think that a lot of people, including BMA
staff members, were intrigued by William and
were caught up in his enthusiasm. Many peo-
ple wanted to help him achieve his goal.”
In addition to selling items from his person-
al collection, Leisk received a grant from his
school to come to the Museum and further
explore his interest.
Leisk’s fascination with Wedgwood began
as a child when his mother took him to mu-
seums, auctions, and antique fairs. Unsure of
what exactly sparked his fascination with the
pottery created by Josiah Wedgwood, Leisk
believes the colors, history, and production
process caught his attention.
When he began obtaining pieces of
Wedgwood for a personal collection, he fo-
cused on buying cheaper pieces of more
modern work that he could find for one or
two pounds each. However, as he became
more knowledgeable, Leisk began selling the
modern pieces and buying older, more ex-
pensive pieces of Wedgwood. His collection
once included between 300 and 400 piec-
es, but Leisk now holds about 100 pieces,
a smaller quantity of 18th and 19th century
pottery.
During his internship, Leisk spent most of
his time in the BMA conservation lab study-
ing the objects, researching their history, and
comparing them to the pieces found in oth-
er museums. He became interested in the
connections between Wedgwood, the United
States, and the American interest in English
pottery, and gained a better understanding of
careers in the museum field.
16 17
NEWS + GIVING
Year End Giving
Help us prepare for
an exciting new year
of exhibitions and
programs by making
your 2017 year-end
gift to the BMA!
Your 100% tax-de-
ductible gift helps keep the Museum FREE and helps
fund hundreds of FREE programs and exhibitions for our
entire community throughout the year.
Consider giving in honor or memory of a friend or family
member. For each tribute gift, we will send a card to the
honoree or their family to notify them of your generosity!
To Donate:
Please send us your year-end gift using the envelope pro-
vided or visit artsbma.org to give online.
In MemoriamSPENCER SHOULTS
By Head Preparator Priscilla Tapio
We sadly mark the passing of our dear friend and col-
league Spencer Shoults, who died from cancer on July
8 at the age of 39. His confident, positive, “can do” spirit
was part of the lifeblood of the BMA prep team for nearly
five years and he is deeply missed. We are fortunate to
have worked beside him and enjoyed the blessing of his
kind and playful nature. Spencer had an endless curiosity
about the world and shared his many interests and explo-
rations with us. He observed life with an artist’s sensitivity
and thoughtfulness, delighting in its beauty and mystery.
Spencer was a graduate of the University of Montevallo,
earning a BFA degree in photography and printmak-
ing. He continued to create and exhibit his art after col-
lege. Spencer loved music and was an accomplished,
practicing musician. He was a longtime member of two
Montevallo bands that formed during his years there—
Teen Getaway and Nowhere Squares. Prior to joining the
BMA staff as a preparator, Spencer was the technical di-
rector at Birmingham Children’s Theater.
Spencer felt it was his good fortune to be working at the
BMA in a job he found fun, challenging, and personally
rewarding. We’ll continue to remember the vital role he
played in the many exhibitions and projects he was a part
of. We will never forget the spirit of goodwill he extended
to each of us. We miss our dear friend.
Education Gallery Dedication By Development Events Manager Rebecca Schaller
The Birmingham Museum of Art was pleased to dedicate the Education
gallery space in honor of Sharon and Grady Burrow on Wednesday, July
19, 2017. The act of naming this gallery reaches far beyond the walls of
the Museum, as year after year the BMA’s Education programming and
exhibitions impact young, budding artists from throughout the community,
who are eager to learn and grow in their craft.
One of the Burrow family values is educating future generations, recog-
nizing that “it takes a village.” This purpose, coupled with Sharon’s passion
for art, makes the dedication of the Sharon and Grady Burrow Education
Gallery an important legacy for the family. The Burrows take immense
joy in being involved with and contributing to their community. They look
forward to sharing this gift and their love of art with their children, grand-
children, great-grandchildren, and the greater Birmingham community for
many years to come.
The Museum provides numerous opportunities both during and beyond
the school day for children to interact with its collection, learn more about
the world, and discover self-expression through the arts. Additionally, by
collaborating regularly with various social service organizations, the BMA
and our community partners illustrate the power of art in creating mean-
ingful change in the community. The walls of this gallery have shown, and
will continue to showcase, the culmination of these many impactful expe-
riences for youth and adults.
18 19
Support Groups
PHOTO FINISH:AN ACQUISITION EVENT HONORING THE LEGACY OF THE PHOTOGRAPHY GUILD
By Curatorial Support Group Manager Bethany McClellan
The Collectors Circle for Contemporary Art and Friends of American Art
enjoyed a fun evening of great art, good wine, and delightful bites for the
2nd Annual Photo Finish Event. The combined groups voted to acquire an
important work by Peter Sekaer (American, born Denmark, 1901–1950),
taken in Birmingham in 1938.
After the voting, a significant number of patrons came forward and
pledged funds to keep the second work, Study for a self-portrait (1504),
2015, by Paul Mpagi Sepuya (born 1982), a Los Angeles photographer.
Sepuya’s innovative collage-like portraits are created by using mirrors to
collapse the studio space in a single plane.
As a challenge, current Collectors Circle member and former Photography
Guild President John Hagefstration offered to donate an outstanding
Peter Sekaer photograph titled Phrenologist’s Window (1936) if enough
funds were raised to acquire the Sepuya. As a result, we are thrilled to
announce the acquisition of three photographs to the BMA’s permanent
collection. Hats off to our loyal donors and thank you for your continued
support!
NEWS + GIVING
EUROPEAN ART SOCIETY AND COLLECTORS CIRCLE FOR CONTEMPORARY ART TRIP TO GERMANY
This summer, members of the Collectors Circle and European Art
Society experienced the best of Old Masters and Contemporary art at
major museums and special exhibitions throughout Germany, including
Berlin, Kassel, and Münster. Here is a combined recap from the unique
perspectives of one member from each group:
By EAS Member and Docent Lisa Devivo
During our trip to Berlin, we had the opportunity to view, and to be
awed by, a good selection of traditional masterworks out of the vast
and truly dazzling array to be found in the city’s museums.
Museum Island was fascinating: a cluster of art treasuries, which to-
gether seemed to hold masterpieces from every century and every na-
tion in history. With delight we saw antiquities unearthed by German
archaeologists: the Egyptian bust of Queen Nefertiti, the magnificent,
46-foot-tall Babylonian Ishtar Gate, covered with strutting lions and
bulls in bas-relief.
We saw Byzantine works and Baroque, massive sculptures; Tilman
Riemenschneider’s exquisite carved wooden figures; canvases
by Romantic Caspar David Friedrich; and even some by French
Impressionists.
At Berlin’s Gemäldegalerie (Painting Gallery), a comprehensive assem-
blage of European paintings from the 13th-18th centuries, our docent
was the museum’s curator of early Dutch, Flemish, and German art.
(Such access to experts who are outstanding authorities in their fields
helps make travel with the BMA’s support groups so worthwhile.) The
curator led us in artistic exploration of paintings, and more, as with the
social-historical perspective we gained in an examination of a Hans
Holbein portrait of a young merchant.
As well as basking in the work of such masters as Jan van Eyck, Hugo
van der Goes, Albrecht Dürer, Rembrandt, Rubens, and Vermeer, we
saw glorious works by Raphael, Botticelli, Caravaggio, and many others.
We enjoyed much pleasing architecture: Museum Island’s Baroque and
Neoclassical beauty, the high Rococo style of nearby palace Sanssouci,
and the grandeur of Schloss Wilhelmshöhe in Kassel.
Kassel, some 200 miles from Berlin, had its own splendid Old Masters’
Painting Gallery, with a strength in 17th-century Flemish and Dutch
paintings. Rembrandt, Frans Hals, Rubens, Anthony van Dyck—an em-
barrassment of riches.
It was altogether a delightful and unforgettable trip!
By CC Member and Docent Connie Urist
Berlin, Germany—the perfect place to visit with the combined members
of the European Art Society and the Collector’s Circle of Contemporary
Art. For the last 70+ years, Germany has faced the challenge of re-
building—a challenge that has been met with a thoughtful (sometimes
controversial) combination of rebuilding “the old” with contemporary
thought and structure. Such circumstances made architecture an im-
portant topic for all.
The tour began in East Berlin at the Memorial to the Murdered Jews
of Europe (Peter Eisenman), followed by a tour and dinner at the
Reichstag with its striking dome and structure by Sir
Norman Foster. Visits to sites featuring contemporary art
included: The Boros Collection (contemporary art housed
in a bunker built by the Nazis as a civilian air-raid shel-
ter), Hamburger Bahnhof (Berlin’s main contemporary
museum featuring works by the likes of Joseph Beuys,
Cy Twombly, and Adrian Piper), KOW (a space featuring
socially oriented videos and installations), Kunst Werke
Institute for Contemporary Art, Sprüth Magers Gallery
showing Thomas Ruff and Analea Saban, and a visit to
the apartment of Payam Sharifi of Slavs and Tatars to
hear about his move to Berlin, upcoming work, and his
visit to the BMA for Art Papers Live in September 2014.
The group then moved to Kassel to see Documenta 14,
a colossal exhibition held every five years. Based on
the theme “Learning from Athens,” the largest work was
Parthenon of Books in the central Friedrichsplatz. With
only one day to explore, we saw many impressive sites,
but only covered a small portion of the show. It was a
wonderful surprise to see the BMA’s own painting Saint
Anthony Abbot Tempted by Gold as part of a contempo-
rary installation at the Neue Gallerie. The final stop was to
see the Münster Sculpture Projects—a show held every
10 years in a charming rural college town. The day fea-
tured a walking tour through the busy marketplace and
quiet greenways followed by a bus ride to see works by
Jeremy Deller (Speak To The Earth, It Will Tell you), Nicole
Eisenman (Sketch For a Fountain), Pierre Huyghe (After A
Life Ahead), and much more.
20 21
NEWS + GIVING
COLLECTORS CIRCLE RURAL STUDIO DAY TRIPBy Collectors Circle Member Tina Ruggieri
Located roughly 47 miles south of Tuscaloosa is the small town
of Newbern, Alabama, population 180, and the home of Auburn
University’s Rural Studio. The visionary, Samuel Mockbee, founded
the undergraduate program in the School of Architecture in 1993.
Mockbee’s vision was two-fold: create a program where architecture
students could participate in a more hands-on, comprehensive, edu-
cational environment, while addressing the social responsibility of cre-
ating good design in one of Alabama’s poorest counties. Dedicated
students work tirelessly with the local community to determine specific
opportunities, fundraise for their projects, and design and build creative
and functional, commercial and residential spaces. Over the last 24
years, approximately 800 Rural Studio students have designed and
built around 170 projects throughout Hale County.
On the morning of May 13, 2017, the BMA’s Collectors Circle for
Contemporary Art loaded up the bus for what was to be a short, yet
inspiring visit. Upon our arrival we were greeted by Xavier Vendrell, act-
ing director of the Rural Studio. Our first stop was the Rural Studio
farm, home base for faculty and students. We toured the Morrisette
House, Dogtrots, Supershed and Pods, the living quarters for the stu-
dents—their kitchen and food storehouse—a perfect example of form
meeting function. We then visited Rural Studio’s 20K model homes.
We toured three floor plans and discussed their materials and goals for
developing affordable housing in this rural community.
Next stop was the Newbern Library, located in a historic bank build-
ing, and redesigned in 2013. The students wanted to create a space
that would work as both a resource and social center for the commu-
nity, providing computer and internet access. The simple, white brick
exterior, with its metal awning and minimally designed courtyard made
the perfect gathering spot in downtown Newbern. A few group mem-
bers spotted an important artistic landmark just behind the library:
William Christenberry’s iconic green barn, a must stop while visiting
Newbern.
We then crossed the street to tour the Newbern Fire Station, a
two-story structure made from massive wooden beams, translucent
polycarbonate panels, and galvanized aluminum. Next door was the
town hall, a location to hold elections and town meetings. Before these
two facilities, Newbern had not seen a public space built in over 110
years. An incredible lunch of fried catfish came at just the right time,
giving our group energy for the second half of our visit. Then, we were
off to tour Lions Park and Playscape. This park was designed for the
community and its children, housing the Lions Park Scout Hut, a base-
ball field, and skateboard and play areas made from recycled metal
barrels and rubber.
In the short period of our visit to Rural Studio projects, it was impossi-
ble to see all that has been accomplished over the last quarter century.
However, we wanted to squeeze in a few more stops. We hopped back
on the bus and headed to the Greensboro Boys and Girls Club. Built in
2012, the blue metal clad building provided the community a perfect
indoor and outdoor space for afterschool programs and events. While
in Greensboro, we were tempted to swing by the Pie Lab at 1317
Main Street. After grabbing a few slices of pie and some ice cream
cones, we were ready to make the hour and forty-five minute trip back
to Birmingham.
FRIENDS OF AMERICAN ART TRIP TO RICHMOND AND CHARLOTTESVILLE, VABy Curatorial Support Group Manager Bethany McClellan
The Friends welcomed summer in the Old Dominion, where they en-
joyed a full week of museum and historic site tours, a private collec-
tion visit, and plenty of local cuisine. The group stayed at Richmond’s
opulent Jefferson Hotel, its rich past reflected in its Tiffany stained-
glass dome and dazzling blend of architectural styles. The Jefferson is
also home to Lemaire, one of Richmond’s finest restaurants, where the
Friends enjoyed a welcome dinner in an elegant private dining room ap-
pointed with a major painting by Elizabeth Jane Gardner, the American
wife and student of French artist William-Adolphe Bouguereau.
They learned first-hand the history of one of Richmond’s finest private
collections of American art from Mrs. Jane Joel Knox (and husband
Joe), who was named Collector of the Year in 2005 by the Virginia
Museum of Fine Arts. The VMFA ranks as one of the largest and top
comprehensive art museums in the United States, and a highlight of
the trip was touring the new James W. and Frances G. McGlothlin
Wing, devoted to the couple’s outstanding gift of 73 American master-
works spanning the Hudson River School to Modernism.
The travelers also experienced historical American art and material cul-
ture in its original context—with curator-led tours of house museums
including the Maymont Mansion, a sprawling Victorian country estate
of the Gilded Age, and the 1812 John Wickham House, a spectacular
example of 19th century Federal architecture and interior decorative
painting. A full day was devoted to the work of Thomas Jefferson, be-
ginning with a visit to the University of Virginia to learn more about
Jefferson’s unique vision of higher education, which brought together
students, faculty, and academic resources into a cohesive Academic
Village. The group was treated to an in-depth curator-led tour of
Monticello with special access to upper floors and stunning views of
the property from the Dome Room.
The trip culminated with a tour of the beautiful and historic Hollywood
Cemetery. Situated along the scenic James River, this 135-acre garden
cemetery is the final resting place of U.S. Presidents James Monroe
and John Tyler, writer Ellen Glasgow, Confederate President Jefferson
Davis, and Generals George Pickett and J.E.B. Stuart. The Friends en-
joyed a farewell dinner at Julep’s New Southern Cuisine, celebrating
not only their time spent in Virginia but also the tenure of Dr. Graham
Boettcher, the inaugural William Cary Hulsey Curator of American Art.
The BMA’s new Curator of American Art, Dr. Katelyn Crawford, will co-
lead a weekend trip to Dallas with Curator of European Art Dr. Robert
Schindler this fall.
22 23
Corporate SpotlightANGIE GODWIN MCEWEN, BUTLER SNOW LAW FIRMBy Director of Development Kate Cleveland
Butler Snow has a longtime commitment to
Birmingham, the community, and the arts in
our city and went through a significant expan-
sion here in 2014. The firm is a valued corporate
partner that has broadened our outreach pro-
grams, and helps art come alive for our visitors.
Why is it important to support the arts and the
community?
Yes, we have grown steadily in Birmingham over the
years, and in 2014 added 19 attorneys to our office
here, bringing a depth of experience that strength-
ened the firm and brought economic vitality to the
city. Our team here greatly strengthened many of
the firm’s existing practices—adding additional depth
and breadth for clients throughout the region.
One of the hallmarks of Butler Snow is our commitment to the community and dedication to the arts. We
are very proud of our partnership with the Birmingham Museum of Art, which continues to make a great
impact on the city and region. Having a healthy arts culture helps build robust communities, and we sup-
port the Museum’s mission of providing unparalleled cultural and educational experiences.
Butler Snow has thrived in Birmingham, across the country and now internationally, too. Tell us
more about your growth in the city and globally.
Birmingham is one of our key strategic growth markets, and we continue to build on the major expansion
we launched in 2014. It is a successful metropolitan city, rich in tradition with a flourishing business envi-
ronment and excellent quality of life. We have also grown in other key markets, and now have more than
330 attorneys representing national and international clients from 22 U.S. offices, London, and Singapore.
We take pride in providing excellent client service in Birmingham and all the communities we serve. The
firm has stayed true to its principles throughout its history and during this period of growth, and we are
very proud to have been recognized as one of the nation’s top law firms for client service.
What’s next for Butler Snow?
We will continue to strengthen our presence in Birmingham and our other key markets to meet the needs
of our clients. Those include Nashville, Memphis, Atlanta, Denver, New Orleans, and Ridgeland, Mississippi.
Internationally, we will continue to bolster our offices in London and Singapore, and will continue to ex-
plore further opportunities in Asia.
In each of these thriving cities, we are committed to the community and supporting the arts. As we grow
in these markets, we will continue to cultivate our relationships as good corporate neighbors dedicated to
improving the cities we serve.
If you could meet any artist, living or dead, who would it be? What would you ask them?
If I could meet any artist, I would want to meet Benjamin Walls. The crispness and viewpoint of his photog-
raphy is absolutely amazing—his images simply jump off the page and come to life. When I was in college,
one of my courses required me to complete a semester-long project in an area outside my major, so I took
that as an opportunity to compose and present a show of some of my original photographs. Based on that
experience, I have at least some appreciation for how difficult it is to capture in a single image everything
that’s in your mind’s eye when you’re looking through the camera lens.
So my question for Benjamin would be, “How do you know when you’ve captured the image that is ’the
one’ that will translate well and speak to your audience?”
OUR CURRENT CORPORATE
PARTNERS
FOUNDER’S CIRCLE $50,000
Alabama Power Company
SUSTAINER’S CIRCLE $25,000 - $49,999
Barber Companies
Blue Cross and Blue Shield of Alabama
Maynard, Cooper & Gale PC
Medical Properties Trust, Inc.
Protective Life Corporation
Red Diamond, Inc.
Vulcan Materials Company
CHAIRMAN’S CIRCLE $10,000 - $24,999
Bradley Arant Boult Cummings LLP
Butler Snow LLP
HealthSouth Corporation
Jemison Investment Co., Inc.
New Capital Partners, Inc.
Regions Bank
Stewart Perry Construction
Vulcan Value Partners
DIRECTOR’S CIRCLE $5,000 - $9,999
Altec Industries, Inc.
Johnson Development, LLC
Ram Tool and Supply Company
Thompson Tractor Inc.
CURATORS’ CIRCLE $2,500 - $4,999
Arlington Properties, Inc.
Cobbs Allen
Dunn Investment Company
First Commercial Bank
Marx Brothers, Inc.
White Arnold & Dowd PC
BENEFACTOR’S CIRCLE $1,000 - $2,499
Brookmont Realty Group LLC
Christie’s
Coca-Cola Bottling Company United, Inc.
Four Corners Custom Framing Gallery
Hughes and Scalise, P.C.
Kassouf & Co., P.C.
Levy’s Fine Jewelry
Motion Industries, Inc.
National Cement Company of Alabama, Inc.
O’Neal Industries
Pizitz Management Group
Precision Grinding, Inc.
RealtySouth
Standard Furniture
Williams Blackstock Architects
ContributionsGIFT DATE RANGE FOR THIS EDITION OF THE MAGAZINE IS 04.01.17 THROUGH 06.30.17
We truly appreciate every donation the Museum receives each year. Given the generous volume of gifts, we will begin annually recognizing all gifts for the
previous fiscal year in the spring magazine, along with our annual report. The next magazine will contain all gifts given from 07.01.16–06.30.17. We appreciate
your understanding and support of the BMA. All tributes and memorials will continue to be notified at the time of the gift.
IN HONOR OF
Wassan Al-Khudhairi: The Women’s Network
Ms. Gail Andrews: AMW Incorporated; Mrs. James A. Livingston; Mr. and Mrs. James K. Outland
Dr. Graham C. Boettcher: Mr. Patrick Cather; Mr. Jan Jander; Red Mountain Garden Club; Mr. and Mrs. Mark J. Tarr
Mr. and Mrs. William A. Bowron, Jr.: Dr. and Mrs. John R. Smith
Mr. and Mrs. Mark L. Drew: Dr. and Mrs. John R. Smith
John Fields: BMA Docent Council
Arlene and Milton Goldstein: David Abram Skier & Nan Goodman Skier Family Foundation
Millie and Billy Hulsey: Garland and Lathrop Smith
Grayson Hydinger: Dr. and Mrs. James Kamplain
Salter Hydinger: Dr. and Mrs. James Kamplain
Mrs. James A. Livingston: Mr. James Taylor McElroy
Mr. Henry S. Lynn, Jr.: Mr. James Taylor McElroy; Mr. Patrick Cather
John Mitchell and Joyce Mitchell: BMA Docent Council
Florence Richey: Mr. Patrick Cather
Dr. and Mrs. David A. Skier: Dr. Graham C. Boettcher
Jim Sokol and Lydia Cheney: BMA Docent Council
Mrs. Carolyn S. Wade: BMA Docent Council
Mr. James Williams: Mr. Patrick Cather
IN MEMORY OF
Bo Brown: Mr. Patrick Cather
Jim Burnham: Dr. and Mrs. James Kamplain; Mr. Jeffrey S. Milkins; Dr. and Mrs. Ellis Rubin; Bob Scharfenstein and Dr. Bill Mason
Rebecca Bowers Cooper: Mrs. Catherine Cabaniss; Stuart Cohen and Cason Benton; Mr. and Mrs. Murray Dixon; Mr. and Mrs. Evans Dunn, Jr.; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Ms. Anne S. Heroy; Mr. and Mrs. A. Henry Gaede, Jr.; William L. and Carey T. Hinds; The Lanier Family; Mrs. James A. Livingston; The McIntosh Family; Ms. Kathy B. Polk; Mrs. Margaret G. Ragland; Redmont Garden Club; Mrs. Peter G. Smith; Sumner and Jeff Starling; Mrs. Mary S. Steiner; Mrs. Mary S. Winfree;
Mr. Creighton E. Johnson: Ms. Nancy Houston; Dr. and Mrs. James Kamplain
Ann Bairnsfather Lambert: Dr. Graham C. Boettcher; Mrs. Doris White
David W. Mitchell: Mr. Patrick Cather
Dr. Jeannine O’Grody: Mr. Roy Curtis Green, Jr.; Patty McDonald; Mrs. Virginia H. Scruggs
Helen Parrish: Mr. and Mrs. Darryl Bell
Mrs. Dorothy M. Stewart: Mr. Patrick Cather
Georgia Whitten Strevy: Dr. Ann Phillips
Betty Jean Ward: Mrs. Sue Ann Watkins
Mr. Peter T. Worthen: Mrs. William W. Featheringill
Rev. David Cady Wright: Mr. Patrick Cather
ACQUISITIONS
Dr. and Mrs. C. Bruce Alexander; Dwight & Lucille Beeson Fund; Mr. Roy Curtis Green, Jr.; Dr. Emily F. Omura; Mr. and Mrs. G. Ruffner Page, Jr.; Dr. and Mrs. David A. Skier; The Wedgwood Society of Washington, D.C.; Mr. Alan K. Zeigler
AFRICA AND THE AMERICAS
Clyde W. Oyster Estate Fund; Ms. Martha Pezrow
ANNUAL FUND
Mr. and Mrs. Rodney F. Burrow; Mr. and Mrs. Michael Clements; Ms. Elizabeth King; Mr. and Mrs. Eugene Lewis; Mrs. Virginia H. Scruggs; Mr. and Mrs. H. Stuart Starrett; Mrs. Sue Ann Watkins
ART FUND INC.
Mr. James Taylor McElroy; Dr. and Mrs. John W. Poynor; Dr. Sanjay and Mrs. Dora E. Singh; Red Mountain Garden Club
ART ON THE ROCKS
Birmingham Budweiser; Bromberg’s; Dale’s Sauces, Inc.; 20 Midtown; The Redmont Hotel; Schaeffer Eye Center
BART’S ARTVENTURE
Jimmie and Emil Hess Fund; Susan Mott Webb Charitable Trust
BEAUX ARTS KREWE
Mr. Patrick Cather
CONSERVATION
Dr. Graham C. Boettcher; Mr. Patrick Cather; Dr. and Mrs. James Kamplain; Bob Scharfenstein and Dr. Bill Mason; Mrs. Doris White; Ms. Caroline Wingate
DIRECTOR’S DISCRETIONARY FUND
AMW Incorporated; Mr. Patrick Cather
DOCENT SCHOOL BUS FUND
BMA Docent Council; Dr. and Mrs. James Kamplain; Ms. Adrienne Marshall; Ms. Faye D. Wright
EDUCATION AND PROGRAMS
Cathead Vodka (Art After Five); City of Hoover
EXHIBITIONS
Mrs. Peter G. Smith (Dutch reinstallation); Henry Luce Foundation, Inc. (The Original Makers); The J. and H. Weldon Foundation, Inc. (Afterlife)
GAIL C. ANDREWS FUND FOR PUBLIC PROGRAMS
Mrs. James A. Livingston; Mr. and Mrs. James K. Outland
GENERAL OPERATING
Ms. Sallie S. Aman; Mrs. James K. Baker; Mr. and Mrs. Darryl Bell; Mr. and Mrs. Charles A. Boswell, Jr.; Mrs. Catherine Cabaniss; Mr. Patrick Cather; Dr. Stuart Cohen and Dr. Cason Benton; Mr. and Mrs. Murray Dixon; Mr. and Mrs. Evans Dunn, Jr.; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Mrs. William W. Featheringill; Mr. and Mrs. A. Henry Gaede, Jr.; Mrs. Bruce M. Greene; Mrs. Sandra Z. Harris; Ms. Anne S. Heroy; William L. and Carey T. Hinds; Ms. Nancy Houston; Mr. Mat M. Johnson; Mr. and Mrs. J. G. Lanier, Jr.; Mrs. James A. Livingston; Mr. and Mrs. Richard Mayne; Mr. M. Perry McIntosh; Dr. and Mrs. Joe R. Norman; Odyssey Early Schools, Inc. of Inverness and Trace Crossings; Mr. and Mrs. G. Ruffner Page, Jr.; Mr. and Mrs. George G. Petty; Dr. Ann Phillips; PNC Foundation; Ms. Kathy B. Polk; Mrs. Margaret G. Ragland; Red Moutain Garden Club; Regions Financial Corporation Foundation; Dr. and Mrs. A. David Russakoff; Mrs. Peter G. Smith; Mr. and Mrs. L. Vastine Stabler, Jr.; Mr. and Mrs. M. J. Starling III; Mrs. Mary S. Steiner; Mr. and Mrs. Mark J. Tarr; The Daniel Foundation of Alabama; The Women’s Network; Mr. and Mrs. Joseph C. P. Turner; Mrs. Mary S. Winfree
MUSEUM BALL FUND
Mr. and Mrs. D. Scott Adams; Alabama Power Company; Alabama Power Foundation, Inc.; Richard and Tracey Bielen; Chris and Mary Boehm; Bradley Arant Boult Cummings LLP; Mr. and Mrs. Frank H. Bromberg, Jr.; Maggie and Will Brooke; Judge Houston L. Brown and Betty W. Brown; Molly and John Carter; Mr. and Mrs. John F. Chapman; Coca-Cola Bottling Company UNITED, Inc.; Frank Crockard - General Machinery Company; Mr. and Mrs. Charles W. Daniel; Deshazo; Mr. and Mrs.
NEWS + GIVING
24 25
Ms. George Thompson; Mr. and Mrs. J. Donald Thornburgh; Mr. and Mrs. Joseph C. P. Turner; Mr. Cleophos Vann and Mrs. Juanita J. Vann; Mr. and Mrs. Alexander de Haven Vare; Mr. and Mrs. Robin A. Wade, III; Mr. and Mrs. Robert S. Wadhams; Ms. Nancy C. Walburn; Dr. and Mrs. Raymond G. Watts; Mr. and Mrs. H. Thomas Wells; Mr. and Mrs. James H. White III; Dr. and Mrs. Richard Whitney; Drs. Deborah and Brian Wiatrak; Dr. and Mrs. Thomas A. S. Wilson; Mr. Keith A. Wolfe and Mr. Kevin Hughes; Dr. and Mrs. W. Murray Yarbrough
SUPPORT GROUPS
ASIAN ART SOCIETY
Dr. Richard B. Marchase and Ms. Gail C. Andrews; Dr. Donald A. Wood
COLLECTOR’S CIRCLE
Mrs. June E. Bulow; Mr. Patrick Cather; Mrs. Helene S. Elkus; Mr. Jan Jander; Ms. Maryella Leggat; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Mr. and Mrs. James K. Outland; Mr. and Mrs. Dennis Pantazis; Ms. Katherine Pearson; Mr. Jared Ragland; Mr. James D. Sokol and Ms. Lydia Cheney; Mr. and Mrs. L. Vastine Stabler, Jr.
EMERGING COLLECTORS
Mr. and Mrs. William D. Dobbins IV; Mr. and Mrs. Arthur K. Foster III; Mr. and Mrs. Turner Inscoe; Mr. and Mrs. D. Bradford Kidd; Mr. and Mrs. David E. Roth
EUROPEAN ART SOCIETY
Mrs. Bette Anne Bargeron; Mrs. Camille Butrus; Mr. Patrick Cather; Mrs. Forsyth S. Donald; Mrs. William W. Featheringill; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Patty McDonald; Mrs. Peter G. Smith; Mr. and Mrs. Donald Sweeney, Jr.; Mr. and Mrs. James R. Wooten
FRIENDS OF AMERICAN ART
Mrs. Pam Ausley; Mrs. Bette Anne Bargeron; Mrs. Mary Lynda Crockett; Mr. and Mrs. Charles W. Daniel; Mr. and Mrs. Paul Elkourie; Mrs. Ronald Goldberg; Mr. and Mrs. James F. Hughey, Jr.; Mr. and Mrs. J. B. Johnston, Jr.; Mr. and Mrs. John S. Lancaster; Dr. Julius E. Linn and Dr. F J. Tombrello; Dr. Richard B. Marchase and Ms. Gail C. Andrews; Mr. and Mrs. Willard McCall, Jr.; Dr. Emily F. Omura; Mr. Cary Saurage; Mr. and Mrs. Eugene P. Stutts; Mr. and Mrs. James R. Wooten
INDIAN CULTURAL SOCIETY
Dr. Maziar and Mrs. Rachel Rasulnia; Dr. Ashish and Mrs. Purvi Shah; Dr. Parvez Sultan and Dr. Farah Sultan
Jim Dixon; Beverly and Stanley Erdreich; First Commercial Bank; Drs. Rita and Munish Goyal; Mr. and Mrs. Edward L. Hardin, Jr.; Mr. and Mrs. Roger A. Hartline; David B. Hezlep; Highland Associates; Mrs. Caroline Ireland; Mrs. Dorothy W. Jeffries; Mr. and Mrs. Thomas F. Jernigan, Jr.; Mr. And Mrs. Jonathan Kimerling; Maynard, Cooper & Gale PC; Patty McDonald and Jeffrey Klinner; Milo’s Tea Company, Inc.; Joyce Crawford Mitchell; Leslie and John Moore; National Bank of Commerce; O’Neal Industries; Dr. and Mrs. Walter Gay Pittman; PricewaterhouseCoopers LLP; Protective Life Corporation; Mr. and Mrs. J. Taylor Pursell, Jr.; RealtySouth; Regions Bank; Steven Reider and Terri Denard; Stephanie and Gordie Robinson; Bill and Marcie Rodrigues; Mr. and Mrs. Allen D. Rushton; Mr. and Mrs. William H. Satterfield; Dr. Bisahka Sen and Mr. Sanjeev Chaudhuri; ServisFirst Bank; Silvertron One Properties LLC; Dr. Sanjay and Mrs. Dora E. Singh; Dr. and Mrs. John R. Smith; Mr. and Mrs. Lathrup W. Smith, Jr.; Virginia and David Smith; The Featheringill Foundation; Alice and Carl Thigpen; Mr. and Mrs. C. Reynolds Thompson III; Larry D. Thornton; Mr. and Mrs. Ingram D. Tynes; UAB Educational Foundation; UAB Health System; Judge and Mrs. Scott Vowell; Dr. and Mrs. Ray Watts
RURAL STUDIOS COMMISSION
Giattina Aycock Architecture Studio Inc.
THIRD SPACE
Mr. Doug McCraw; Vulcan Materials Company
WHITCOMB WEDGWOOD CONSERVATION FUND
Mr. Jeffrey S. Milkins; Dr. and Mrs. Ellis Rubin
MEMBERS
SUSTAINER’S CIRCLE
Mr. and Mrs. James K. Outland
CHAIRMAN’S CIRCLE
Mr. John E. Hagefstration, Jr.; Mr. and Mrs. William C. Hulsey; Mr. and Mrs. Elton B. Stephens, Jr.; Mr. and Mrs. James T. Stephens
DIRECTOR’S CIRCLE
Dr. and Mrs. J. Claude Bennett; Mrs. Dorothy Ireland Fletcher; Dr. Julius E. Linn and Dr. F J. Tombrello; Mr. Merrill H. Stewart
CURATORS’ CIRCLE
Mr. and Mrs. James Milton Johnson; Mr. Bob Scharfenstein and Mr. Bryan Underwood
BENEFACTOR
Mr. and Mrs. William A. Bowron, Jr.; Dr. Nancy E. Dunlap and Mr. John D. Johns; Mr. and Mrs. Harold
Goings; Mr. Dick Jemison; Mr. and Mrs. Orson L. Johnson; Mrs. Terri D. Lyon; Mr. and Mrs. Edgar B. Marx, Jr.; Mr. and Mrs. Willard McCall, Jr.; Mrs. Mary S. Steiner; Mr. and Mrs. Eugene P. Stutts; Mr. and Mrs. James R. Wooten
PATRON
Mr. and Mrs. Charles S. Caldwell III; Mr. and Mrs. John L. Cobb; Mrs. Michael W. Davis, Sr.; Mrs. Helene S. Elkus; Ms. Rachel S. Ferguson; Mr. and Ms. Ronald C. Helveston; Mr. Solomon P. Kimerling; Mr. and Mrs. Travis McGowin III; Mrs. Patricia Millhouse; Dr. and Mrs. Robert E. Morris; Ms. Ann F. Omura; Ms. Angela F. Pruitt; Mr. and Mrs. Ed Rogers; Mr. and Mrs. Lathrop W. Smith, Jr.; Mr. and Mrs. Murray W. Smith; Mr. and Mrs. Lewis Stewart, Jr.; Dr. Kevin Sublett; Mr. and Mrs. Donald Sweeney, Jr.
FELLOW
Mr. and Mrs. James Allison; Mr. and Mrs. Danny Armstrong; Dr. R. Jayne Perkins Brown and Mr. David Brown; Mr. and Mrs. Bruce J. Burdette; Mr. and Mrs. Grady Burrow; Mr. and Mrs. William N. Clark, Sr.; Druscilla A. Defalque; Dr. and Mrs. Gerard J. Ferris; Mr. and Mrs. Conrad M. Fowler, Jr.; Mr. and Mrs. Henry I. Frohsin; Dr. and Mrs. Michael J. Geer; Mr. and Mrs. James Gewin; Mr. and Mrs. William Hansford; Mr. and Mrs. Richard T. Harley, Jr.; Dr. and Mrs. Lawrence S. Hawley; Mr. and Mrs. James F. Hughey, Jr.; Mr. and Mrs. Chervis Isom; Dr. and Mrs. Jerry W. Jackson; Ronald M. Jones; Mr. and Mrs. Bob Kruse; Mr. and Mrs. William A. Lalor; Mr. and Mrs. William Matthews V; Mr. and Mrs. Thomas S. McGahey; Dr. and Mrs. Cecil Morgan; Mr. Brad Morton; Mr. and Mrs. Robert R. Pless; Ms. Nancy C. Price; Mrs. Jayne Randolph; Dr. Carol Rosenstiel and Ms. Fran Hogg; Mr. and Mrs. David E. Roth; Mr. and Mrs. H. Brant Sanders; Mrs. Virginia H. Scruggs; Rev. and Mrs. Gates Shaw; Ms. Tisha Sklenar; Anna M. and Douglass J. Thompson; Mr. and Mrs. Russell H. Vandevelde; Dr. and Mrs. Bob Wendorf
CONTRIBUTOR
Mrs. Pam Ausley; Dr. Steven N. Austad and Dr. J. V. Kiklevich; Mrs. James K. Baker; Mr. and Mrs. William C. Barclift III; Mrs. Bette Anne Bargeron; Ms. Edith D. Barnes; Mr. and Mrs. Robert S. Barnes; Mr. and Mrs. Jim Basinger; Mrs. Alice Marie Bastar; Dr. and Mrs. Neal R. Berte; Mr. and Mrs. Victor Bey; Mr. and Mrs. Duncan Blair; Mrs. Patricia Blinn; Dr. and Mrs. Joseph R. Bloomer; Ms. Joanne Dunn Blyde; Ms. Elise Bodenheimer; Mrs. Adelaide Booth; Mr. and Mrs. Charles A. Boswell, Jr.; Mr. and Mrs. James A. Bradford; Mrs. Rebecca L. Bradley; Mr. Robert Brady; Dr. Loretta G. Brown; Dr. and Mrs. Charles E. Bugg; Mr. and Mrs. John Butcher; Mrs. Betty Burtram and Ms. Shanna Cencula; Mrs. Rebecca H. Campbell; Mr. and Mrs. David L. Carder; Mr. and Mrs. John D. Carney III; Mr. and Mrs. Paul Carter; Mr. and Mrs. Brian Cash; Mr. and Mrs. Marcus Cassimus; Dr. Stephen L. Chew and Ms. Daisy Wong; Mr. and Mrs. Rory J. Chrane; Dr. and Mrs. John G. Classé;
Ms. Janis P. Clements; Mr. and Mrs. Richard Cohn; Dr. and Mrs. Edward V. Colvin; Ms. Rochelle Crow; Dr. and Mrs. James G. Davis; Mr. and Mrs. Alan Deer; Dr. and Mrs. William Timothy Denton; Mr. W. B. Dumas; Mr. and Mrs. Hugh C. Dye; Mr. and Mrs. James W. Emison; Ms. Kaydee Erdreich-Breman and Ms. Sybil Breman; Mr. and Mrs. Mark Evans; Ms. Tarrika Everett; Mr. and Mrs. David L. Fair; Ms. Mary Farrar; Mr. and Mrs. Christopher Fennell; Mrs. James O. Finney, Jr.; Ms. Jean Finochio; Mr. and Mrs. C.T. Fitzpatrick; Mrs. Margaret L. Fleenor; Mr. and Mrs. John Floyd; Mr. and Mrs. Paul Friedman, Jr.; Mr. and Mrs. A. Henry Gaede, Jr.; Mrs. Barbara D. Garner; Mr. Edward J. Goldberg; Mrs. Betty A. Goldstein; Mr. Charles Goodrich; Mrs. Betty Jo Gorman; Mr. and Mrs. James C. Gray III; Mr. and Mrs. J. Trent Green; Ms. Cassandra Griffen and Ms. Oneika D. Brooks; Dr. and Mrs. James C. Grotting; Mr. and Mrs. Hubert H. Hagen; Mr. and Mrs. William P. Hannigan, Jr.; Dr. and Mrs. Griff R. Harsh III; Mr. Samuel D. Herring; Mr. and Mrs. Richard D. Holland; Dr. and Mrs. Leland Hull, Jr.; Ms. Karen Phillips Irons; Ms. Stacia A. Jacks; Mr. Ben Ivey Jackson; Mrs. Virginia E. Jackson; Mr. and Mrs. Bruce Johnson; Ms. Kyle L. Johnson; Mr. Mat M. Johnson; Mrs. Elizabeth W. Jones; Mr. and Mrs. William F. Jones III; Mr. Edward Journey; Mr. and Mrs. Brian D. Judd; Dr. and Mrs. Gerald D. Karcher, Jr.; Mr. and Mrs. David P. Kassouf; Mr. and Mrs. Lawrence Katz; Mr. and Mrs. Larry Knedlik; Ms. Marci Kreisberg; Mr. Victor L. Kutz II; Mr. James G. Lambert; Mr. Jerome H. Lapidus; Mr. and Mrs. Wayne Law; Mr. Leland Lindsey and Mrs. Elizabeth Meriwether-Lindsey; Mr. and Mrs. John Logue; Mr. Peter Loo; Mr. and Mrs. Linn Lower; Mr. and Mrs. Dan Lyles; Bruce and Jacqueline MacClary; Mr. and Mrs. Chris Mayer; Mr. and Mrs. Richard Mayne; Mr. and Mrs. J. B. Mazer; Mr. Robin McDonald and Ms. Deborah A. Bennett; Dr. and Mrs. David S. McKee, Jr.; Mr. and Mrs. Grady Moore; Ms. Jean B. Morris; Mr. Stanley Moss; Dr. and Mrs. Alexander M. Nading, Jr.; Mr. Don A. Newton; Dr. and Mrs. Joe R. Norman; Ms. Sandra J. O’Neal and Ms. Carolyn L. Sherer; Mr. Robert S. Parker; Ms. Mary T. Pate; Ms. Valerie D. Peake; Mr. and Mrs. Tony Petelos; Dr. and Mrs. William B. Pittman; Mr. T. S. Plutchak and Ms. Lynn Fortney; Mr. and Mrs. Philip Poole; William Brett Pouncey; Mr. and Mrs. Ralph W. Quinn III; Mr. and Mrs. Robert D. Reich, Jr.; Mr. Steven Reider and Ms. Terri Denard; Dr. and Mrs. Donald Reiff; Mr. and Mrs. Thomas Atkinson Roberts; Ms. Kitty J. Robinson; Cantor Jessica Roskin; Mr. and Mrs. E. Allan Rowe; Mr. and Mrs. Stephen Rowe; Dr. Loring W. Rue III; Mr. and Mrs. Sam Rumore, Jr.; Dr. and Mrs. A. David Russakoff; Mr. and Mrs. Goodloe Rutland; Ms. Gailya Graves Sargent; Dr. and Mrs. Howard Schiele; Mr. Walter J. Sears III; Mrs. Deborah Shevin; Mr. and Mrs. Albert H. Simmons; Mrs. Alease Sims; Ms. Leonette W. Slay and Mr. Michael O’Donnell; Dr. Donna J. Slovensky; Mr. and Mrs. Kevin H. Smith; Ms. Shandra J. Smith; Mr. and Mrs. H. Stuart Starrett; Ms. Rose H. Steiner; Mr. and Mrs. David Stewart; Mr. and Mrs. Stephen W. Still; Mr. Ralph Q. Summerford; Mr. and Mrs. William Sylvester; Mr. and
CONTRIBUTIONSCONTINUED
NEWS + GIVING
Still on View
UNDER THE BIG TOP: AMERICAN ART AT THE CIRCUSCloses November 5 · 2017 · Bohorfoush Gallery
Esther Bruton, American, 1896–1992), Top of the Tent, 1930, drypoint; Anonymous gift 00.77
HOMAGE TO THE SQUARE: TEN WORKS BY JOSEPH ALBERSCloses November 5 · 2017 · Bohorfoush Gallery
Josef Albers, American, born Germany, 1888–1976), Full, 1962, screenprint; Gift of Ms. Silvia Pizitz 1985.303.6 © 2017 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Third Space /shifting conversations about contemporary artPRESENTED BY
ON VIEW THROUGH JANUARY 2019 · JEMISON GALLERIES
Opulence in Disguise: The Netherlands’ Golden AgeFEATHERINGILL GALLERY
Last Chance
26 27
BIRMINGHAM MUSEUM OF ART2000 Rev. Abraham Woods, Jr. Blvd.Birmingham, Alabama 35203
PRESORT STD.U.S. POSTAGE
PAIDPERMIT NO. 02160
BIRMINGHAM, AL
/artsbma @bhammuseumartsbma .org/medium
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