This July, GMOA presents “Summer Film Series: Avant-Garde Short Films of the 20th Century.” The series features an Avant-Garde short film every Wednesday night in room S151 of the Lamar Dodd School of Art.
The film series began on Wednesday, June 30 with “The Cabinet of Dr. Caligari,” directed by Robert Weine, and continued on July 7 with seven short films: "Manhatta" by Paul Strand and Charles Sheeler "Symphonie Diagonale" by Viking Eggeling "H2O" by Ralph Steiner; "Emak Bakia" by Man Ray "Ghosts Before Breakfast" by Hans Richter "The Life and Death of 9413, a Hollywood Extra" by Slavko Vorkapich and Robert Florey and "Lot in Sodom" by James Sibley Watson and Melville Webber.
The rest of the schedule follows:
Wednesday, July 14
“The Man with a Movie Camera” Directed by Dziga Vertov and presented by Dr. Janice Simon, Josiah Meigs Distinguished Associate Professor in Art, Lamar Dodd School of Art. (Russia, 1929; 80 minutes)
Wednesday, July 21
"The Seventh Seal"/"Det sjunde inseglet" Directed by Ingmar Bergman and presented by Dr. Janice Simon, Josiah Meigs Distinguished Associate Professor in Art. Swedish and Latin with English subtitles. (1957, 96 minutes)
Don’t miss out and be sure to join us Wednesdays at 7 p.m. in room S151 to finish up the Summer Film Series!
Gulf Aid Art: Artists in Action, a fundraising exhibition in response to the oil spill, took place in June at the Jonathan Ferrara Gallery in New Orleans. The exhibition, organized by gallery owner Jonathan Ferrara and artist Dan Tague, showcased works by well-known Louisiana artists. Online sales will continue through July 28. All proceeds will be donated to Gulf Aid, a non-profit corporation that was created in response to the oil spill.
For the exhibition, artists created limited edition, 10-series prints. The only requirement for the prints was that they had to “respond / reactto the current crisis affecting their home, health, happiness and economic futures.” The prices of the works range from $100 to $500 and could raise as much as $80,000.
Gulf Aid Art: Artists in Action was inspired by the recent Gulf Aid concert headlined by Lenny Kravitz and Preservation Hall Jazz Band, and now visual artists are helping in the effort. Artists must “speak up, comment criticize and make [their] voices heard,” Ferrara said.
This isn’t the first time Ferrara and Tague have stepped up during a time of natural disaster. After Hurricane Katrina, Ferrara organized New Orleans Artists In Exile, a traveling exhibition with works by artists affected by Katrina. Tague created a limited edition print called “United For Haiti” after the earthquake and raised over $7,500 for the Clinton Bush Haiti Fund.
What do George Lucas and Steven Spielberg have in common? Suspenseful movies, multiple prestigious awards and apparently, a taste for Norman Rockwell paintings.
Last week, the Smithsonian American Art Museum opened an exhibition featuring 57 major works by Rockwell from the private collections of Lucas and Spielberg. “Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg” is set to run until Jan. 2, 2011.
The mutual interest in Rockwell’s art shared by Lucas and Spielberg may be more than just coincidence. Perhaps the two famous filmmakers closely identify with Rockwell’s work because of the artist’s own interest in the industry that made Lucas and Spielberg household names. The exhibition is the first to explore in depth the connections between the artist’s depictions of American life and the movie-making industry.
Throughout his life, Rockwell took notice of the glamour of Hollywood and its effects on the American lifestyle. During the 1930s and 1940s, Rockwell became further immersed in the culture of the filmmaking industry through his frequent trips to Los Angeles and even designed movie posters for several studios.
This exposure to the movie-making process may have influenced the way he created his paintings: Rockwell truly “staged” his images. He held auditions for his “cast,” and paid particular attention to costumes, props and lighted sets. He even once commented, “If I hadn’t become a painter, I would have liked to have been a movie director.”
But the connections between Rockwell’s art and the movies extend beyond the artist’s staging process. Rockwell’s paintings are also narratives describing American culture and small-town values.
“Norman Rockwell is an artist and a storyteller who captured universal truths about Americans that tell us a lot about who we are as a people,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “Like Rockwell, both George Lucas and Steven Spielberg embrace the idea that ordinary people can become unlikely heroes,” she continued.
The exhibition will also include a 12-minute film, coproduced by the museum and filmmaker Laurent Bouzereau and featuring interviews with George Lucas and Steven Spielberg. For more information, clickhere.
Photos from The Collectors Present: "The Art of the Steal" have been posted to Flickr! The event was held last Thursday, July 1, and was a success! Guests arrived at Ciné and had dinner catered by The National. Bill Eiland spoke about the context of "The Art of the Steal" and discussed what it means to the museum world. Attendees then moved into the theatre to watch the film.
Hey, blog readers! We’d like to take this chance to thank you for keeping up with the GMOA blog and wanted to let you know that, with only 10 posts to go, we are steadily approaching our 1000th blog post.
Born in Copenhagen, Denmark, in1901, Peter Sekaer immigrated to the United States in 1918. Once he reached New York, he started a successful printing business. He produced posters, advertisements and window displays. In 1929, he enrolled in the Art Students League to study painting. By 1934, he left painting and began working as a photographer. He secured several contracts for various governmental agencies that were created as part of President Roosevelt’s New Deal Program. In 1945, Sekaer started his own commercial photography business, shooting advertisements and human-interest stories for magazines.
Currently, Signs of Life, an exhibition of his work, is on view at the High Museum. This exhibition is the first in-depth presentation of Sekaer’s vivid photographic record of America during the Depression—an era during which he spent much of his time traveling across the country on freight trains. In order to capture and depict a genuine reflection of the average American person’s life during such harsh times, he worked very closely with American families, photographing them in their homes and at work. In some cases, he would attach notes to his photographs documenting the names and ages of all members in a family along with their hourly wages and occupations. As an artist and anthropologist, he was concerned with documenting the artifacts of American culture. Notably, his photographs remained objective while still committed to the subjects' concerns.
His photographs are represented in collections of major museums in the United States and Denmark. However, with more than seventy rare vintage prints by Sakaer—many of which have never been on public view—the High Museum holds the largest collection of his works in all of American museums.
Signs of Life: Photographs by Peter Sekaer will be on view at the High until Janury 9th, 2011.
Back in 2002, the Georgia Museum of Art joined with museums in communities throughout the United States to celebrate "freedom" as a way to mark the one-year anniversary of September 11.
Freedom, a display of works from the museum's permanent collection, was on view from August 24 to September 22 in the Lamar Dodd Gallery in 2002. The exhibition focused on the freedoms to assemble, to create, to worship, to inquire, to express ideas, and freedom from fear. It was also a collaboration between me and our two other curators at the time, Ashley Callahan (decorative arts) and Romita Ray (prints & drawings).
Georgia Public Broadcasting Radio came to the museum and did a story on 8/30/02 on Freedom. The audio (which we only previously had on cassette but, thanks to Lynn Boland, now in a digital format) has (a much younger) yours truly interviewed a couple of times, and is embedded and playable below:
The two paintings above -- Art Rosenbaum's McIntosh County Shouters (Oil on canvas; GMOA 1996.84) [Art is also interviewed in the piece...] and Ferdinand Warren's Night Ball Game (1946; oil on canvas; GMOA 1947.174), respectively -- are mentioned in the radio story. The display also included, and the radio blurb mentions, a marble portrait bust of Abraham Lincoln by Randolph Rogers, based upon his large-scale public sculpture in Philadelphia.
The Johns Creek Arts Center (JCAC), the Johns Creek Chamber of Commerce and the City of Johns Creek, Ga. will present its fourth annual Arts on the Creek Juried Exhibition on Friday, September 3. A call for artists has been issued for the exhibition.
All artists, ages 18 and older, are eligible for entry in the exhibition. Accepted media include painting, drawing, print making, mixed media collage and photography. The award for best in show is $1,000. Entry forms are accepted until August 6. Call 770.623.8448 for more information.
JCAC, located in North Fulton County, formerly known as the Ocee Arts Center, was established as a non-profit corporation in 1996. Its mission is “to inspire artistic development for youth and adults by embracing community and corporate relationships that stimulate creative growth and opportunity.” JCAC works to provide cultural arts education by hosting classes, camps, workshops and exhibitions.
For the Mason Murer Fine Art gallery of Atlanta, exhibiting the work of MFA students is tradition. Placing the work of a student in the museum’s primary display is not. But owner Mark Karelson seems to believe that the work of SCAD graduate Stephen Hayes is worth a break from tradition. This summer, visitors to the gallery will be greeted by Hayes’ installation “Cash Crop” the moment they walk in the door.
“Greeted” might not be the appropriate word to use here. Hayes’ arrangement of 15 life-sized, concrete figures is moving, awe-inspiring and totemic— but perhaps not welcoming. Each naked figure is manacled to an oblong, charred wooden structure, resembling, as one article noted, “a cross between a boat and a tombstone.”
Nothing could be more fitting, as the back of each wooden sculpture is carved with the floor plan of the British slave ship, Brookes. The famous image diagrams how 452 slaves could be packed head-to-toe onto the lower deck of the ship in order to maximize efficiency and profit.
Hayes, both a printmaker and sculptor, completed the display by covering the walls with prints of the diagram and covering the floor with rusty chains and hooks. Overall, the scene captures the overwhelming inhumanity and barbarism of slavery so effectively that an AJC article equated it to “a punch in the gut.”
To emphasize the emotional impact of the exhibit, Hayes’ figures are highly personalized models of men, women and children, casted from molds of the artist’s own family and friends. As Catherine Fox reported for the AJC, “[the figures’] particularity, emphasized by their placement each in their own boat, accentuates the dehumanization inherent in the plan and, of course, slavery.”
The exhibition is set to run through Aug. 10, 2010. To read the entire article, click here.
Exit Through the Gift Shop is a film that has been out for a while now about street art, and Cine may show it here in Athens once the art students are back in town. Banksy, probably the most famous street artist in the world, plays a major role in the movie. His website is here. Banksy is famous enough and there’s enough about him on the web that I don’t feel the need to discuss him. Another street artist who is important to the film and a little more obscure than Banksy is Invader.
Unlike Banksy, who works with stencils and spray paint, Invader makes mosaics, which he then cements to walls. These mosaics are usually of the blocky aliens from the 80s arcade hit Space Invaders, hence the name, and can be found on walls all over the world (at least 35 cities have them). The artist lives in France, so most of the cities are in Europe, but his art can even be found in places as far away as Los Angeles, New York, Tokyo, Melbourne, or Kathmandu. On his website (www.space-invaders.com) he tracks the progress of the invasion on a map with links to pictures of his small mosaics stuck to walls across the globe. The best part about this is that if you’re visiting a major city and have time to kill, you can get a map from Invader’s website showing the locations of his mosaics in that city.
More recently Invader has been creating pieces of what he calls Rubikcubism, in which he makes complex mosaics using only Rubik’s Cubes that he manipulates to show certain colors. These can be viewed here: www.space-invaders.com/rubikcubism_.html . Invader is important to the film because he is the cousin of Thierry Guetta (the main character), who becomes a street artist. Read more about the film here: www.banksyfilm.com
This post was prompted in part by recent events in Athens. Lou Kregel, before leaving Athens, painted chrysanthemums on walls around town. One can be found on the rooftop of the Jittery Joe’s Roaster and another on the wall of Athens Blueprint downtown. There was an article in Flagpole about this that can be read here: http://flagpole.com/Weekly/AthensRising/AthensRising-2Jun10 . By Dylan Whitlow
This summer, Birmingham Museum and Art Gallery will be displaying over 80 images by world-renowned photojournalist Steve McCurry, in the first and only UK exhibition of his work. Recognized as one of the world’s finest photographers, Steve McCurry is a recipient of the Robert Capa Gold Medal and is best known for his iconic image, “Afghan Girl” (shown above).
The exhibition features photographs spanning McCurry’s extraordinary 20-year career, which began with his coverage of the Soviet war in Afghanistan, where he disguised himself as a native and sewed roles of film into his clothes to hide them as he crossed borders. McCurry’s goal was not to photograph the war, but to capture images of the human consequences of war— a recurring theme throughout his career.
"I look for the unguarded moment, the essential soul peeking out, experience etched on a person's face," McCurry says. (http://bit.ly/d1FKQy)
“Afghan Girl,” a captivating portrait of a young girl in a Pakistan refugee camp in 1984, is the perfect example of the powerful effects of McCurry’s photography. After the portrait appeared on the cover of National Geographic in June 1985, the image received so much response that it became “the most recognized photograph” in the 114-year history of the magazine, as well as a symbol of the refugee situation worldwide.
Readers of the magazine were so moved by the suffering reflected in the girl’s eyes that National Geographic formed a team to search for the girl. When she was finally identified over 17 years later as Sharbat Gula, National Geographic published a follow-up cover story and set up the Afghan Children’s Fund in her recognition. The story was also the subject of a television documentary, copies of which will be available at the exhibition.
Though the viewer is instantly drawn in by the vivid, evocative colors in McCurry’s images, the most successful aspect of his photographs is his ability to capture the beauty in the activities of everyday life and establish a universality understood by people everywhere.
“The thing that I want people to take away from my work is this human connection between all of us,” McCurry says. “Despite our religion, language or ethnicity, we’re all basically the same.”
Steve McCurry’s retrospective exhibition will be on view until October 17, 2010. For more information, click here. For more history on “Afghan Girl,” please visit http://bit.ly/dykaR2.
The Collectors and Ciné have joined together to bring Don Argott's gripping documentary, "The Art of the Steal," to Athens. The movie chronicles one of the art world's most fascinating controversies––the long and dramatic struggle for control of the Barnes Foundation, a private collection of art valued at more that $25 billion. Dinner, catered by The National, begins at 6:30 p.m. followed by the film at 8:00 p.m. $60 per Collector; $65 for the general public. For more information, call 706.542.0437.
Dinner, 6:30 p.m. Catered by The National
Traditional tomato gazpacho, garnished with white almond gazpacho and croutons
Roasted chicken breast with rice salad, accompanied by black eyed peas, asparagus, peppers and arugula, and lemon-yogurt
Portuguese-custard tarts with cinnamon
Beverages
Film, 8:00 p.m. “The Art of the Steal”
In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art, located just five miles outside of Philadelphia. Now, more than 50 years after Barnes’ death, a powerful group of moneyed interests have gone to court for control of the art, and intend to bring it to a new museum in Philadelphia. Standing in their way is a group of Barnes’ former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed. Will they succeed, or will a man’s will be broken and one of America’s greatest cultural monuments be destroyed?
Click here to read a blog post about the Barnes Foundation.
Archeologists and art restorers have discovered what they believe to be the oldest paintings of the faces of Jesus Christ and the Apostles. The images in the branch of the catacombs of St. Tecla near St. Paul’s Basilica, outside of Ancient Rome under a modern building, were painted at the end of the4th century and the start of the5th century.
Art restorers began the restoration project two years ago. The frescoes inside the tomb measured about 2 meters by 2 meters and were covered with a thick layer of calcium carbonate, which resulted from extreme humidity coupled with no air circulation. In order to preserve the paint, restorers used a laser as an optical scalpel to remove the calcium carbonate. The result was very clear images made with extraordinary colors.
Professor Fabrizio Bisconti, head of archeology for Rome’s numerous catacombs, which are maintained by the Vatican, said, “These are the first images that we know of the faces of these four apostles.” Archeologists believe these images may have set the standard for later paintings and portraits.
The full-face icons included the original apostles St. Peter, St. Andrew and St. John and St Paul, who became an apostle after Jesus’ death. Other scenes from the Bible are also depicted, including Jesus raising Lazarus from the dead and Abraham preparing to sacrifice his son Isaac.
While art restorers continue to work, the tomb is only open to specialists.
"Port of Rotterdam" by Maximilien Luce (1903). Nassau County Museum of Art Permanent Collection.
The Sea Around Us, an exhibition at the Nassau County Museum of Art (NCMA) in Roslyn Harbor, New York, presents works of art that focus on bodies of water. The exhibition “examines the romantic fascination artists have always had for expanses of water.”
The exhibition showcases works from American and European artists from the mid-19th century to the present and includes art by Jasper F. Crospey, Edward Hopper and Monet, among others. The works are on loan from other major public and private collections, such as the National Gallery of Art and the Brooklyn Museum.
Works in the exhibition depict bodies of water in various ways, from calm beaches to dangerous tsunamis. According to NCMA, The Sea Around Us “provides an examination of how artists have portrayed both the attractions and dangers of oceans and waters as well as their qualities of metaphor.”
The Sea Around Us is on view through September 12. Read this article from the New York Times reviewing the exhibition.
Last Friday, GMOA hosted a performance artist at Hotel Indigo’s Rialto Room as part of the “Club Crawl” portion of this year’s AthFest music and arts festival. Amelia Winger-Bearskin performed Square Dance/Round Dance, which she debuted at the Frist Center for Visual Arts in Nashville, TN in April. We promised “an audience-interactive performance that references Winger-Bearskin’s unique cultural heritage with elements of traditional American square dancing and American Indian round dancing, combined with mysterious celestial lights and a dance club atmosphere.” Winger-Bearskin delivered. She shared the bill with a full lineup of female singer-songwriters (Wilma, Caroline Aiken, and Lera Lynn) and thankfully, their fans were good sports. Despite a bit of hesitancy at the start, everyone joined in with full aplomb once things got going. A video is a poor substitute for a performance piece, especially when I’m behind the camera, but if you’d like a sense of the work, here it is (see above).
John Martin (1789–1854). View of the Temple of Suryah & Fountain of Maha Dao, with a Distant View of North Side of Mansion House. Etching with aquatint added by Frederick Christain Lewis (1779–1856), in Martin's series of views of Sezincote, ca. 1818.
Romantic Gardens: Nature, Art, and Landscape Design is currently on view at the Morgan Library & Museum in New York City. The exhibition includes prints, drawings and texts showcasing the Romantic ideas that were implemented both in private estates and public parks during the late 18th and early 19th centuries.
In addition to the original proposals for Central Park by Frederick Law Olmsted and Calvert Vaux, the exhibition also includes works by J. M. W. Turner, William Wordsworth and John Ruskin. These and other Romantic-era landscape designers “sought to express the inherent beauty of nature” and looked to nature as a “liberating force.”
Highlights of the exhibition include steel engravings from William Cullen Bryant’s Picturesque America (1872–74), lithographs from Prince Pückler-Muskau’s Hints on Landscape Gardening (1834) and two manuscript “Red Books” by Humphry Repton (1752–1818). The Morgan Library & Museum also has lectures, discussions, family programs and films to accompany the exhibition.
Romantic Gardens: Nature, Art, and Landscape Design is on view through August 29.
As promised last week, here is part two of “Notes from the Midwest:”
My last installment ended with Bill, Beau, and me in Milwaukee, having had an inspiring day at the Milwaukee Art Museum (MAM). We drove back to Chicago that evening just in time to pick up the indomitable Dr. Perri Lee Roberts from O’Hare. Perri Lee (most people call her “Perri,” but we like to be Southern about it) is Senior Associate Dean of the College of Arts & Sciences at University of Miami, and authored our most recent publication, and one of our grandest efforts to date: the three-volume Corpus of Early Italian Paintings in North American Public Collections: The South. Never one to rest on her laurels, Perri Lee is now embarking on an exhibition for us. To quote from the prospectus: A prominent scholar, teach, curator, administrator, and collector, Ulrich Alexander Middeldorf (1901-1983) is a well-known figure in Renaissance art historical studies. Prompted by his belief that the so-called minor, decorative arts were essential to an understanding of the history of the material world, he assembled a unique collection of Italian medals, plaquettes, textiles, and wrapping paper.
Middeldorf was also a key researcher of the Kress Collection, part of which is now housed at GMOA. Middeldorf’s own collection of medals, plaquettes, and textiles resides at the Indiana University Art Museum. We were originally scheduled to meet up with Perri Lee in Bloomington to look at those objects, but fate was kind and gave us a couple extra days with her beforehand. More on the Middeldorf exhibition research and planning momentarily.
We started the next day with a trip to the Smart Museum at the University of Chicago. Although their space is limited—have I mentioned lately how lucky we are to be getting such a great building in only a few more months?—their collection is superb. I was especially interested in the way they organize their galleries thematically, rather than by period or region. This is a strategy I intend to use on a more limited scale in our Holder Gallery, in which we’ll display our European art from the 18th-20th centuries. I find that this approach encourages meaningful comparisons while allowing one to show a broad range of artistic styles in a relatively small space.
After our visit to the Smart, the three of us hit the road for Champaign/Urbana to visit Beau’s folks and their outstanding collection of American Post-War art. On the way, we made a stop at Governors State University in Middle-of-Nowhere, Illinois (Monee, IL, technically, but I never saw a town). In part one of this post, I said that we visited “one of the best, but least-known, outdoor contemporary sculpture collections in the country.” That may have been bordering on hyperbole, but for its renown—or lack thereof—it really is the best sculpture park I’ve seen. Twenty-six monumental public sculptures reside on a rugged 750 acres tract, where the only groundskeeping is a mown trail through the underbrush. It takes some hiking, but the interaction with the works this offers makes it well worth the sweat and bug-bites. Highlights for me included their sculptures by Mark di Suvero, For Lady Day, 1969 (54’ x 50’ x 35’), and Martin Puryear, Bodark Arc, 1982 (2.25 acres—I love the dimensions in acreage), as well as a temporary installation by Icelandic artist, Steinunn Thórarinsdóttir, Horizons, 2007-08, pictures of which are included in the slideshow above.
Continuing on the drive to Champaign, we brainstormed about possible titles for the Middeldorf exhibition. After some failed attempts at alliteration on my part and Perri Lee’s, Bill came up with the winner: “Materials of Culture.” Of course, this will be followed by the typical colon and more descriptive subtitle.
We made it to Champaign in time to see some of Randy and Shelia Ott’s collection and to freshen up before dinner. Meeting Beau’s parents, it was easy to see where he got both his unfailing charm and his impeccable taste. We had a thoroughly delightful evening at the Ott’s home, filled with conversations ranging from art (of course), to Portuguese Fado music (Bill and Randy are both fans), to cattle breeding (both Randy and my dad were large animal veterinarians), not to mention a meal that was as beautiful as it was delicious. They had us over for breakfast the next morning, and then we hit the road again, this time for Bloomington.
When we arrived in Bloomington, work on our project was already well underway. Christa Thurman, formerly Chair of Textiles at the Art Institute of Chicago, is helping us evaluate Middeldorf’s fabric samples to determine which we will use for the exhibition, and she and Nan Brewer, IU Art Museum’s curator of works on paper, had already examined most of the hundreds of textiles in their collection. After some more looking and talking, we narrowed our selection further, choosing pieces made in Italy during the Renaissance that offer a range of styles and techniques. I’m really excited about the “wall power” these will bring to the show; they’re gorgeous.
That evening, Heidi Gealt, director of the IU Art Museum, took us out to dinner, where we were joined by her husband, Barry Gealt, and Bill Itter, both accomplished artists and studio professors at IU. Bill Itter actually has a show up at the Lamar Dodd School of Art’s Gallery 307 right now, which I highly recommend. I’m a big fan of both Barry’s and Bill’s work, and had a wonderful time hearing about their pedagogical approaches at IU as well as their student days at Yale (both were in the MFA program there at the same time as artists like Chuck Close, Richard Serra, Nancy Graves, etc.). To top off the evening, we were treated to a double rainbow as we left the restaurant.
The next morning, Bill Eiland went to see Bill Itter’s collection of African pottery while Perri Lee and I returned to the IU Art Museum to look at Middledorf’s medals and plaquettes. Here again, we were choosing objects created during the Italian Renaissance. These will be a perfect complement to the textiles, I think. Although they’re not particularly exciting from a distance, for me, they sustain close study much longer, and offer a range of fascinating subjects, from portraits to mythological narratives.
Our last stop on the trip was Dayton, OH. We reluctantly dropped Perri Lee off at the airport and checked in at our hotel. After a couple hours catching up on emails, we went to Carol and Jim Nathanson’s home for hors d'oeuvres, giving me a chance to see their collection, which is especially strong in works on paper. Carol is a recently retired professor of art history at Wright State University, and is writing our forthcoming collection-catalogue of works on paper, Tracing Vision. Jan Driesbach, director of the Dayton Art Institute (DAI), joined us at the Nathanson’s, and we all went to a German restaurant for dinner, where we “closed the place down.”
The next morning, Bill was up at the crack of dawn for a 7:30 meeting with the Dayton Art Institute’s board of trustees. I met up with Jan and Bill a little later and we went to the DAI to speak with their staff. Since this post is getting pretty long and my time is running short, I’ll restrain myself from waxing too poetically about their galleries and collection, but suffice it to say I was deeply impressed with both. I do have to note that theirs is the only Carl Andre sculpture whose label acknowledges that one may walk on the work (I usually have to confirm with the security guards that to do so is OK). Before closing, I also have to give a shout-out to Will South, DAI chief curator, who joined us for lunch and whom I very much enjoyed meeting. By one o’clock we were back in the car, on the long road back to Athens, GA.
