Daisy Craddock to Speak at Georgia Museum of Art

One of the Daisy Craddock paintings on display at the Georgia Museum of Art

A native of Memphis, Daisy Craddock received her training in Tennessee and here at the University of Georgia, where she received a master of fine arts degree in painting. She then moved to New York City and became involved in conservation, later establishing her own practice specializing in postwar and modern art.

Her work has taken two distinct, though not unrelated, directions. One is an ongoing series of square pieces of paper drenched with color. Craddock utilizes pastel and oil stick to craft finely tuned color studies — a sort of mash-up between Josef Albers and Mark Rothko. She has recently conceived these works as a series of diptychs, with one panel representing the outside of fruits of vegetables and the other their insides, simultaneously abstract and realist. They present the world literally but so reframed through manipulating scale that the viewer is delocalized—just what are we looking at? 

A similar sense of the familiar and the unknown pervades Craddock’s landscapes, two of which are on view in the Georgia Museum of Art’s M. Smith Griffith Grand Hall and one of which (a recent gift) is upstairs, in the museum’s permanent collection galleries. Humans are absent, but the works are not lonely. Salmon-colored passages suggest winding paths, leading us into meditation with nature. The paintings are nostalgic, invoking all the sensory memories of summer days, but they are not sentimental. The landscape is also not an arcadia, but rather an intimate portrait of the artist’s favorite subject: trees.

Her seemingly impulsive brushwork provides a sense of vitality. Many of her early landscapes were painted with bits of sponge at a time when so-called “neo-expressionism” was in vogue in the marketplace and critical circles. The tools create a brushy, breezy quickness, which belies the artist’s slow and deliberate approach to creating. The oft-hectic brushwork further disguises her inherently minimalist compositions. This is the tree reduced to its most essential form.

Comparisons of her work to impressionism are easy and often made. The artist cites color-field theory and Bay Area abstraction as more prominent influences in her masses of color and pared-down forms. The foreground, midground and background merge and separate variously, creating movement and depth within the composition while invoking the proverbial debate between the forest and the trees.

Craddock’s works are on view through October 15, 2018, and the artist will speak at the museum at 3 p.m. on Friday, August 31. Her lecture is titled, “Paintings from the Early Eighties, in Context” and will touch upon her early influences as a young MFA candidate as well as her experiences living and working in New York City. You can learn more about Craddock and her work on her website.

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Joseph Litts

Former Assistant to the Director

Newcomb Pottery exhibition ends with curator lecture

Spread throughout multiple galleries of the Georgia Museum of Art are a variety of hand-crafted and beautifully decorated objects that range from pottery and metalwork to bookbinding and textiles. These objects all have one special thing in common.

They all originate from the Newcomb Pottery, where women were not only able to create these objects to sell and to support themselves financially, but also to make great contributions to American art.

The Newcomb Pottery was a social and artistic experiment from 1895 until 1940 at the H. Sophie Newcomb Memorial College (now part of Tulane University) in New Orleans. The program allowed women to support themselves financially while they trained to become artists.

In addition to producing highly coveted, iconic art, the program helped facilitate the betterment of women as well as the New Orleans community through art education.  

The current exhibition, "Women, Art and Social Change: The Newcomb Pottery Enterprise," is part of a national tour organized by Tulane and the Smithsonian Institution Traveling Exhibition Service. The exhibition, which is the largest comprehensive showing of the pottery in 25 years, will travel to nine different cities through 2016.

And although the exhibition will close at the Georgia Museum of Art after Sunday (Aug. 31), there is still opportunity to see it and learn about it. The museum will host the lecture “Newcomb’s Designers: A Conscious Revolution” by Sally Main, senior curator at the Newcomb Art Gallery at Tulane University, this Thursday at 5:30 p.m., followed by a reception.

Main will speak about the societal and artistic impact of this revolutionary social experiment. The event is the perfect opportunity to experience this unique exhibition before it continues on its tour.

 

Yet Another Crazy Thursday

Polly Knipp Hill in her college years

This April has been full of jam-packed Thursdays at GMOA, and this one is no exception. We have three things going on this p.m.

From 5 to 8 p.m., we encourage you to come over for Drawing in the Galleries. Bring your sketchbooks and colored pencils and really get to know the art in depth.

At 5:30 p.m., in the George-Ann and Boone Knox II Gallery, guest curator and artist Enee Abelman will speak on her exhibition "Polly Knipp Hill: Marking a Life Through Etching." Hill began working as an artist in the 1920s and garnered increased recognition in the decades that followed. Although she initially focused on European architecture, in her mature period her broad body of work grew to encompass poignant, amusing and slightly satirical genre scenes that reflected American culture. This retrospective exhibition of Hill’s life and career is organized iconographically according to the categories into which the artist herself divided her print oeuvre: Paris; America with "street and countryside scenes"; Florida; Arcadia (or reminiscences of her childhood); children’s games; and mountain culture. The groupings also reflect the chronology of her etching career. Abelman has many tales to tell of her dumpster diving and struggles to reconstruct Hill's autobiography and chronology.

Finally, at 7 p.m., we're screening "The September Issue" as our closing film in the series "Dress the Part: Fashion in Movies and Magazines," which goes along with the exhibition "Pattern and Palette in Print: Gentry Magazine and a New Generation of Trendsetters." With unprecedented access, the documentary tells the story of legendary Vogue editor-in-chief Anna Wintour and her larger-than-life team of editors creating the issue and ruling the world of fashion. Watch the trailer below:

Tonight at GMOA

Thursday nights are especially busy this April at the museum. We have either two or three events going on every Thursday for the rest of the month, and it's all free.

Tonight at 7 p.m., we have the beginning of our three-film series "Dress the Part: Fashion in Movies and Magazines," with "Bill Cunningham: New York," a documentary about the wonderful New York Times Style section photographer who creates collages of what people are wearing now (like this week's, which focused on spring)

Preceding the film, at 5:30 p.m., we have two lectures on the exhibition "A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery."

Trinita Kennedy, associate curator at the Frist Center for the Visual Arts, in Nashville, Tenn., will speak on the above-pictured painting, the "Madonna of the Fireplace." Kennedy helped organize the exhibition with the BJUMG, contributing to its catalogue, but she's discovered even more about this painting since then and will present her findings. Our other speaker is John Nolan, from BJUMG, who will talk on the history of Northern Renaissance collecting at university art museums, in which his institution was a leader. Want to learn more? Read this Red & Black article on the lectures.

Remember, parking in the surface lots surrounding the museum is free after 5 p.m., even on weekdays.

Lecture Tonight

Looking for something to do this late afternoon/early evening? Interested in a potential preview of an upcoming GMOA exhibition? Check out Dr. Asen Kirin's lecture "Exuberance of Meaning: The Art Patronage of Catherine the Great," which he will give as part of the Visual Culture Colloquium (VCC) Lectures at the Lamar Dodd School of Art, in room S150 of the Dodd, at 5 p.m. today (Thursday, Sept. 8). A description follows:

The lecture introduces an exhibition project the work on which has already commenced. This exhibition intends to make a contribution to the current knowledge of patronage in eighteenth-century Russia and to our understanding of the perception of Byzantine culture in the era of neo-Classicism. The plan of the curator is to accomplish this goal with a relatively limited number of objects—loans from a small number of museums in the U.S.A.

The exhibition will illustrate the complex dynamic between the collection of historical art and the commissioning of new works of art during the reign of Catherine the Great (1762-96). The focus of the exhibition is on the particular manner in which Catherine applied not only her knowledge of ancient and medieval glyptic art but also her collection of carved gems to new works of art that she commissioned. This was a deliberate continuation of the centuries-old tradition of placing pagan, Greek, and Roman carved stones onto sacred Christian liturgical and devotional objects. The empress not only shared the Enlightenment sentiment that carved gems were essential material vestiges from the past, but she was also fully cognizant of the cultural meanings associated with the practice of collecting cameos. Accordingly, she addressed these cultural meanings in her art patronage.

The title “Exuberance of Meaning” refers to a crucial characteristic that distinguishes Catherine the Great’s endeavors in the arts. Her innumerable projects—whether a new city, a church, a liturgical vessel, or a dinner set—were conceived in a manner allowing for multiple yet complementary interpretations covering a wide spectrum of meanings. Some of these meanings and references remained relevant only within a Russian context, thus forming unique aspects of this country’s neo-Classicism. This multiplicity of meaning is the direct outcome of the empress’s wish to assert her empire’s status as a key participant in the Project of the Enlightenment whose aim was to reform society and advance knowledge. The empress believed that accomplishing this goal in Russia necessitated not only knowledge of classical mythology, literature, and art, but also of Russia’s heritage of Byzantine theology, political ideology, as well as history. Catherine strove to add a neo-Classical stratum to Russia’s material culture and with it to expand the system of cultural references in her empire. The most ambitious trait of her ideological creativity consists of constructing an environment in which a learned audience would understand works of art, architecture, and literature through proficiency in the “languages” of both classical and medieval culture.

Dr. Kirin has worked with the museum before, perhaps most notably on the exhibition "Sacred Art, Secular Context," which examined Byzantine works of art from the collection of Dumbarton Oaks, Washington, D.C.

"The Art of Disegno" gallery talk

If you missed the wonderful talk by Randy Coleman and Giuliano Ceseri in the galleries of the exhibition "The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art," which was held July 12, 2011, you're in luck. Pierre Daura Curator Lynn Boland filmed the whole talk, and we've been uploading it to Vimeo. Unfortunately, we have a 500 MB limit per week, so it's broken into three parts, and we have two of the three uploaded so far and embedded below. Check back with us next week for the exciting conclusion.

Georgia Museum of Art "The Art of Disegno" gallery talk, part 1 of 3 from Georgia Museum of Art on Vimeo.

Georgia Museum of Art "The Art of Disegno" gallery talk, part 2 of 3 from Georgia Museum of Art on Vimeo.

"The Art of Disegno" is up through Aug. 7 at GMOA, so if you haven't seen it yet (or if you'd like to see it again), you still have time.

Gallery Talk tonight

In case you missed seeing it elsewhere, there's a wonderful gallery talk scheduled for 5:30 p.m. tonight at GMOA. Robert Randolf Coleman, of Notre Dame, and collector Giuliano Ceseri will speak about GMOA's exhibition "The Art of Disegno." Randy served as co-curator of the exhibition, which was last on display at the Snite Museum of Art on Notre Dame's campus, and co-wrote the accompanying hardcover exhibition catalogue. Ceseri owns many of the works in the exhibition (16th- to 18th-century Italian prints and drawings), which are on long-term loan to the museum. In addition to collecting works of this era and many others, he is also a self-taught expert on period frames, many of which appear on the works in the exhibition. The museum's galleries are not normally open to the public on Tuesdays, but tonight is an exception, and we hope you'll join us.

This Thursday: Lecture and Book Signing with Peter Wood

This Thursday, Feb. 24, Duke University historian Peter H. Wood will present a lecture at GMOA in the M. Smith Griffith Auditorium. His lecture and a book signing will take place from 5 to 6 p.m.

One of Winslow Homer’s most striking paintings, a wartime image of an enslaved black woman in Georgia (above), disappeared for a century after its completion in 1866. The revealing original title, “Near Andersonville,” was not discovered until 1987.

In his lecture, Dr. Wood will delve deeply into this picture for the first time, expanding our view of this great American artist and challenging American culture’s lingering reluctance to confront its own painful past.

Dr. Wood has written extensively on Homer and on black Americans in the colonial South. He taught history at Duke from 1975 to 2008 and recently received the Asher Distinguished Teaching award, given annually by the American Historical Association.

Click here to read more about Dr. Wood, and visit this site for more information about his book “Near Andersonville: Winslow Homer’s Civil War.”

The lecture is organized by the UGA Department of History and co-sponsored by GMOA. Free and open to the public.

Lamar Dodd School of Art Lecture: Nick Cave

Performance artist Nick Cave will speak at the Lamar Dodd School of Art tomorrow (Tuesday, September 21) at 5:30 p.m. in room S151. This event is part of the Visiting Artist and Scholar Lecture series. Cave is a professor and chair of the Fashion Department of the Art Institute of Chicago; he earned his BFA in 1982 from the Kansas City Art Institute and his MFA in 1989 at Cranbrook Academy of Art.

He is most famous for his Soundsuits. These elaborately decorated sculptures can be displayed as art objects in a museum or worn by dancers to create sound and movement within their performances. His works incorporate a variety of materials such as metal toys, fabric, and other found objects, even dyed human hair.



Cave’s work is represented by the Jack Shainman Gallery, and he has exhibited at Studio La Citta in Verona, Italy, the Halsey Institute of Contemporary Art at the College of Charleston, the Nerman Museum of Contemporary Art in Kansas City and the Yerba Buena Center for the Arts in San Francisco.

Recently, Cave’s Soundsuits were featured in an eight-page spread in Vogue’s September 2010 issue.

John Wilmerding Lecture

On Thursday, September 23, at 5:30 p.m., curator John Wilmerding will give the 2010 Shouky Shaheen Lecture at the University of Georgia Lamar Dodd School of Art (LDSOA). He will speak about his current project, an overview of Robert Indiana, American pop artist.

"Love" by Robert Indiana

Wilmerding has a collection of American paintings and drawings from the mid-to-late 19th century. He comes from a family of collectors—his great-grandparents built a collection of works that eventually went to the Metropolitan Museum of Art.

Wilmerding is a former visiting curator at the Met and deputy director of the National Gallery of Art in Washington, D.C., and is president of the board of trustees at the latter. As a curator, he has organized exhibitions on American art, including “American Light: The Luminist Movement, 1870–1875” at the National Gallery in 1980. Wilmerding is also a trustee of other museums, including the Guggenheim Museum and the Wyeth Foundation for American Art.

“As an art scholar, curator and collector, his work and the work of his ancestors has transformed American visual culture,” said Asen Kirin, associate director of LDSOA.

The Shouky Shaheen Lecture brings distinguished artists and scholars annually to the art school and is made possible by Doris Shaheen as a gift to her husband. The lecture is in room S151 of LDSOA on the East Campus of the University of Georgia and is free and open to the public.

Update on Dalí exhibition

“Salvador Dalí: The Late Work” is currently on view at the High Museum of Art in Atlanta. Click here to read our blog post about the exhibition.

Lynn Boland, GMOA’s Pierre Daura Curator of European Art, will be giving a lecture as part of the exhibition. He will discuss the Surrealist movement and its underlying theories along with an overview of Dalí’s art and his relationship with other Surrealists.

His lecture, “The Supreme Pleasure of Being Salvador Dalí: Hand-painted Dreams and Surrealism Nightmares,” will take place on November 4 at 7 p.m. in the Rich Theater in Atlanta. The lecture is free but seating is limited. Contact the Woodruff Arts Center Box Office at 404.733.5000 for tickets (limited to two per person).

Art Around Athens

At 5 p.m. today at the Lamar Dodd School of Art in room S150, Katherine Smith will deliver the next Visual Culture Colloquium (VCC) lecture, "Learning from Robert Venturi and Denise Scott Brown, or Representing 'The Forgotten Symbolism of Architectural Form.'"

In 1972 Robert Venturi and Denise Scott Brown, with Steven Izenour, published Learning from Las Vegas, a seminal study of architectural symbolism, specifically in the context of the contemporary suburban landscape. This publication embraces numerous representational strategies and methodological approaches, drawing widely from social discourse and visual culture, and the architects acknowledge significant influences, including those from contemporary art.

The influence of Pop art on Venturi and Scott Brown’s architecture has been a primary focus of my research, but my current project explores the reverse, looking at the ways that Venturi and Scott Brown’s architecture has paralleled and informed the works of select contemporary artists, including Claes Oldenburg and Dan Graham.

Katherine Smith is a graduate of the University of Georgia (A.B., art history, 1994) and an Assistant Professor of Art History at Agnes Scott College, where her approach to teaching draws directly on the interdisciplinary nature of her research, which focuses on thinking across media. Her scholarship addresses intersections in American art and architecture from the 1960s to the present. Her recent publications include essays in "Relearning from Las Vegas" (The University of Minnesota Press, 2008) and in Archives of American Art Journal (summer 2009).

At the same time, Ciné Barcafé is hosting a free opening reception for the exhibition "Ectoplasmic Residue," which features Ghostbusters-inspired works from Ghostbusters-inspired artists Mike Groves, Keith Rein and Joe Havasy.

Just a little bit later, from 5:30 to 8:30 p.m., as you can see by clicking on the scanned postcard above, there's a reception at Aurum Studios, Ltd., for an exhibition of paintings by former GMOA director Bill Paul. It's a busy Thursday evening, and we'll have more events for you tomorrow.

Lamar Dodd School of Art Lecture: Dr. Susan Sidlauskas

Image: John Singer Sargent. Mr. and Mrs. Isaac Newton Phelps Stokes. 1897

Dr. Susan Sidlauskas, professor of art history at Rutgers University, will present a lecture on John Singer Sargent titled “Sargent's Bodies and the Unmaking of History” on Thursday, April 8, at 5 p.m. in lecture hall S150 of the Lamar Dodd School of Art. Sidlauskas will discuss Sargent’s portraits and how, through his gestural and transformative painting practices, his forms often approach pure abstraction. Sidlauskas argues that Sargent’s approach to portraiture, which is described as an “unmaking, or dismantling of recognizable form,” could produce significant shifts in the meaning and purpose of representation.

Sidlauskas specializes in art and theory of the 19th and 20th centuries. Her studies also include intersections between art and architecture, interiority in representation, gender studies and contemporary art. This talk is part of the series of lectures sponsored by the Association of Graduate Art Students.

GMOA in the News

If you missed Nash Boney's lecture yesterday, Lee Shearer has a nice article in the Athens Banner-Herald this morning that recaps some of it.

Over in the Living section of the ABH, Julie Phillips mentions the museum's big painting "La Confidence," by Elizabeth Jane Gardner, in an article on R.E.M.'s 30th anniversary, which falls on Monday. The painting is featured prominently in the video for "Low," which we're embedding below.

GMOA in the News

The Athens Banner-Herald has today's Nash Boney lecture in its Best Bets today, and we agree!

We hope to see a lot of you at 4 p.m. today in Room 116 of the Visual Arts Building on Jackson Street, which has easy parking next door in the North Campus Deck. Dr. Boney stopped by our offices yesterday and provided us all with a lot of entertainment, so, while this is a Blue Card event for students, it shouldn't be dry in the slightest. Click on the flier above to see it bigger.

GMOA in the News/Don't Forget

The Athens Banner-Herald ran a brief piece on Nash Boney's lecture, which is coming up on Wednesday.

And don't forget to mark your calendars for that lecture, at which Boney will give a slideshow tour of the visual history of the University of Georgia. If you've ever picked up any of his books, you know how very entertaining he is, and we're greatly looking forward to the event, which will be this Wednesday, March 31, at 4 p.m. in room 116 of the Visual Arts Building on Jackson Street. You can park in the North Campus deck (down the block) or downtown. The lecture should last about 45 minutes, and on the way to it you'll see the exhibition "University of Georgia Turns 225," which is in the galleries to the left when you come in the front doors of the building.

Don't forget!

The Seventh Annual Willson Center/GMOA Lecture is taking place this afternoon (Wednesday, March 3) at 4 p.m. in room 314 of Sanford Hall on the UGA Campus.

Nina Hellerstein, professor of French and head of the department of Romance languages at the University of Georgia, will present “Franco-Mexican Artist Jean Charlot (1898-1979), His French Connections and His Mexican-Inspired Murals on the UGA Campus.”

Jean Charlot was born in Paris of French, Spanish and Mexican Indian descent. He studied informally at the École des Beaux Arts in Paris and eventually moved to Mexico, where he became one of Diego Rivera’s assistants. Rivera and the other members of the Syndicate of Revolutionary Painters, Sculptors and Engravers of Mexico dedicated themselves to producing public art for the lower or popular class of society.

In the early 1920s, Charlot was among the artists who assisted Rivera in painting frescos on the walls of the Ministry of Public Education in Mexico City. His contributions to the project included nine decorative shields and three murals of Mexican folk scenes: “Cargadores” (Burden Bearers), “Lavanderas” (Washerwomen), and “Danza de los Listones” (Dance of the Ribbons).

Other influences on Charlot’s work include Indian folk-religious activities he observed during a trip to Chalma and Mayan artifacts he came in contact with while he was staff artist of the Carnegie Institution expedition to Chichén-Itzá on the Yucatán peninsula.

The years from 1941 to 1944, when Charlot was invited by Lamar Dodd to be the artist-in-residence at the University of Georgia, are of particular relevance to Hellerstein’s lecture. Charlot instructed art students at the university while working on murals in the area. The murals painted by Charlot on campus can be seen beneath the portico on the front of the Fine Arts Building and in Brooks Hall, next door to where the lecture will take place.

The lecture is 100% free and open to the public, and you can either park downtown and walk across North Campus or in the North Campus or Tate Center parking decks. We hope to see lots of you at this wonderful lecture organized by our department of education alongside the Willson Center for Humanities and Arts.

Art Around Athens

If you're not making it to "A Soulful Celebration" tonight, and we certainly hope you are, here are some other events going on around Athens this evening...



At 3:30 p.m. in room 100 of the Lamar Dodd School of Art, Frances Van Keuren will deliver the next Visual Culture Colloquim (VCC) lecture, "Drawings of Figures in Ancient Costumes by Thomas Hope (1769-1831): Their Sources in Engravings from Books in Hope's Library."

From 5 to 6 p.m., in room S150 of the Dodd, UGA Costa Rica is sponsoring a presentation by art professors Scott Belville and Kinsey Branham and local artist Mary Engel on the Maymester 2010 Costa Rica study abroad art program. The program offers five courses in studio art and, as the Web site says:

Students will experience and reflect upon the nature and culture of Costa Rica through study, direct observation and interaction with its people, natural and built environment, and institutions of culture. As a result of their experiences and reflections, the students will create a process-portfolio of works of art, journal entries, sketches, and exhibition that demonstrates the ways their art and ways of thinking have been informed by their international study experience.

Finally, at 7 p.m. at Ciné, the Georgia Review presents a poetry reading featuring Keith Ratzlaff, whose book "Dubious Angels" is an ekphrastic work comprised of poems written in response to Paul Klee paintings.

Ratzlaff won the 1996 Anhinga Prize for "Poetry for Man under a Pear Tree." His other books include "Across the Known World" (Loess Hills Press, 1997) and two more volumes from Anhinga Press: "Dubious Angels: Poems after... Paul Klee" (2005), based on the artist’s late drawings and paintings; and "Then, a Thousand Crows" (2009). Copies of Ratzlaff’s works will be available at the reading, courtesy of Judy Long’s Byhalia Books. Of the generously illustrated "Dubious Angels," Georgia Review editor Stephen Corey has written, “Keith Ratzlaff’s long-established and distinctive voice—gentle, playful, yet snap-your-head-back incisive and moving—is both present in and altered by his deep confrontation with Paul Klee’s complex simple renderings of offbeat angels. To have these poems side by side with the artworks is a visceral pleasure and a boon to both artists.” Ratzlaff’s poems and reviews have appeared in Poetry Northwest, which gave him its Theodore Roethke Award, and in many other journals, including the Georgia Review, McSweeney’s, New England Review, and North American Review. Also, his poems and essays have been included in such anthologies as "The Best American Poetry 2009," "The Pushcart Prize XXXI" (2007), "A Cappella: Mennonite Voices in Poetry" (2003), and "In the Middle of the Middle West: Literary Nonfiction from the Heartland" (2003). Keith Ratzlaff is professor of English at Central College in Pella, Iowa.

GMOA in the News

UGA News Service is publicizing our latest release, about the lecture the museum's department of education has organized for the end of March, in conjunction with the 225th anniversary exhibition:

Georgia Museum of Art sponsors presentation by Nash Boney

Writer: Amanda Lee, 706/542-4662, alee1116@uga.edu
Contact: Hillary Brown, 706/542-4662, hazbrown@uga.edu
Feb 22, 2010

Athens, Ga. – In association with the Georgia Museum of Art’s exhibition “University of Georgia Turns 225,” Nash Boney, professor emeritus of history, will give a lecture and slide presentation. Titled “Two and a Quarter Centuries and Counting: A Visual Run Through the History of the University of Georgia,” the presentation will be on Wednesday, March 31 at 4 p.m. in the Visual Arts Building. It is free and open to the public.

The exhibition will be on view March 19 to April 30. It includes works of art by Lamar Dodd, George Cooke, Charles Frederick Naegele and Howard Thomas as well as works by current art students and art professors. The exhibition also will include objects that reflect the history and the current state of the university and its campus life.

Boney was born in Richmond, Va., and earned his undergraduate degree in science at Hampden-Sydney College. After graduation, he served in the U. S. Army during the Korean War and was stationed in Germany as part of the Counter Intelligence Corps. It was there that he discovered his passion for history. On returning to the U.S., he used the G.I. Bill to earn his Ph.D. in history at the University of Virginia.

Boney began his association with the University of Georgia in 1968 and became a full professor in 1972. He retired in 1994 but continues to share his extensive knowledge in lectures like this one.

He has written many books, including "The University of Georgia Trivia Book" and "A Pictorial History of the University of Georgia," which was first released in 1985 for the university’s bicentennial. He also was commissioned by President Jimmy Carter to write "A History of Georgia."

GMOA in the News

The Franklin College of Arts and Sciences is plugging the upcoming Willson Center/GMOA Lecture on its site here.