,r{?olette in o?eni Tlorld

April 5 - June r5, rg97

CO-CURATORS:

Patrtcia Phagan,Georgia Museum of Art

Annette Hatton,The Georgia Reaiew

,rtfrnowledgements

fffihe Georgia Museum of Art is pleased to join The Georgia Review in cele-

ll brating its fiftieth anniversary. The exhibition, A Palette in a Pen's Woild,JL bri.rgr together a diverse group of artists, all with one common feature. Works

from each of these artists have graced the pages of The Georgia Reoiez.a over the pasttlventy-tvvo years, and each has gone on to establish himself or herself on regionaland national levels. Long considered one of the best literary journals in the UnitedStates, The Reaiew has brought the visual arts into its pages as a testament to the tiesthat bind thre beaux-ayts to belles-lettres. Just so, in its recent history, the GeorgiaMuseum of Art has been pleased to welcome poets and novelists, those literaryartists who have done with words what the painters, sculptors, printmakers, andcraftspeople have done in their media to give meaning to the shared human struggle.

This exhibition and accompanying publication benefit from the generous supportof the Office of the Vice President for Academic Affairs and from the donation ofprinting services by Network Press in Acworth, Georgia. The staff of the GeorgiaMuseum of Art join me in acknowledging the two curators of this exhibition: PatriciaPhagan, curator of prints and drawings at the Georgia Museum of Art, and AnnetteHatton, managing editor at The Georgia Reviezo. They have worked with meticulouscare to ensure that this project is a proud reflection of its two sponsoring organiza-tions. They have been joined by the staff of both The Reztiew and the museum in real-izing this exhibition and publication, and I am grateful to both groups. Ms. Hattonand Ms. Phagan have shown us that, indeed, together the pen and the palette are twiceas mighty as the sword.

WILLIAM U. EII-ANDDirector

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eI ?olette iru o ?en's Wodd1\ n apt title invented by Annette Hatton, 'A Palette in a Pen's World" deftlyA\ describes this retrospective exhibition of selected works reproduced in The

A. )LGeorgia Rez,iezo, which this year celebrates its fiftieth anniversary. A nation-ally known literary journal begun in 1947, The Reaiew began irregularly publishingartist portfolios, sections reproducing art independent of the text, only in ry74.Stanley W Lindberg, editor since rg77, has made this feature a regular componentof each issue, and has sought to publish diverse works by both established andemerging artists.

Published quarterly in March, June, September, and Decembeq The Reaiewbeganas a regional publication of special concern to Georgians. There were no reproduc-tions of art in the periodical until the Winter r95r issue, when documentary pho-tographs accompanied an article, "Salem Camp Meeting: Symbol of an Era," byWebb B. Garrison, about the religious campground near Covington, Georgia. Docu-mentary photographs joined other illustrations of articles and reviews to become reg-ular ingredients in the pages of The Reaiew during most of the remainder of ther95os. No illustrations appeared from rg59 until r965, however, and only a few repro-ductions-photographs and line engravings-appeared in the journal from 1966until the Fall r974 issue.

Throughout these later years, new editors of The Georgia Reztiew initiatedchangesin the literary and visual content of the journal. With the appointment of James B.Colvert, announced in the Fall 1968 issue, the quarterly began opening its pages tocontributions that were non-Southern in nature. With the Fall ry74 issue, under thenew editorship of John T. Irwin, the independent portfolio first appeared with "TenGraphics by John Schnell," a series of black-and-white reproductions of pop-inspired, sharp-edged paintings by this New York artist. When Lindberg becameeditor, he announced in the Fall 1977 volume his intention to continue The Rez.tiezts's"tradition of publishing.the best in contemporary American thought and literature:"an "eclectic blend of essays and reviews," together with stimulating poetry and fic-tion. With the Spring r978 issue, the new editor initiated the use of color reproduc-tions on the cover, newly re-designed by Ronald E Arnholm, professor of art at theUniversity of Georgia. Ten years lateq beginning with the paintings of Willie Nashin the Winter r g88 volume, portfolios in color finally appeared, and now are featuredregularly in The Reaieu issues.

This exhibition reaches back to rg7s, a year after the artist portfolio was estab-lished in The Georgia Reaiew. Like the journal of the past two decades, with itsemphasis on diversiry the exhibition presents a mix of varied art forms and styles, across-section that begins with black-and-white photographs of Flannery O'Connor'sMilledgeville taken by Barbara McKenzie and published in r975, and a screenprintedword portrait of Ezra Pound by John Sokol, published in ry79. Though not anannounced theme, identity emerges as an important issue in many works in the exhi-bition, whether literary, social, racial, cultural, or autobiographical. Regional identity,the raison d'Afue of the early years of the quarterly, has become one issue among many.Works on view span over two decades of The Reoiew, the large-scale watercolor bySeattle-based artist Patti Warashina being reproduced in the Spring r997 issue.

Beyond the literary parallels found in the works by McKenzie and Sokol, there liesa field of choices tended toby The Georgia Reoiew that speak to the pluralistic natureof American art in the past twenty years or more. The range of mediums in the exhi-bition, from film stills to oil paintings, is indicative of this more inclusive approach, as

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is the range of concerns that preoccupy artists. James Herbert, for instance, has beenexperimenting with making independent films since the late r96os, when avant-gardefilmmaking experienced a resurgence of interest. The University of Georgia art pro-fessor creates his film stills by rephotographing footage from his original films with amovie camera that can zoofii or tilt across a projected image, an arena not unlike thatof his large, abstract expressionist paintings where his gestures animate the canvas.

These primarily formal and aesthetic concerns contrast with the pronounced socialand autobiographical issues presented in the works of so many of the artists in thisexhibition. For instance, African-American culture and heritage are major themes inthe works of Charles White, Lois Mailou Jones, and Carrie Mae Weems, well-knownblack artists, as rn'ell as in the photographs and prints of Herb Snitzer and GeorgeDavidson, which celebrate the African-American roots of jazz and blues music.

Observations arising from one's daily life are of central concern for Mary Porterin her warm, vivid watercolors of her home in Athens, while autobiography alsoinforms the large and ambiguous self-portraits of Lynn Davison, a painter fromFlorida, and the spiritually anxious drawings of Lilly Rosa, a first-generationCalifornian. Mary Jernigan, who lives in Arkansas, creates miniature gouaches ofcomfortable, middle-class interiors cast with sexual tension. Floridian AkikoSugiyama, who moved to the U.S. from Japan in 1974, constructs sculptural collagesof shaped, painted paper, often with themes addressing her emotional transitionfrom one society to another. Trisha Orr, of Charlottesville, Virginia, also alludes toautobiography through her intricately detailed still life paintings that picture glassvases, boldly patterned fabrics, and other familiar items from her personal life.

Other concerns abound in the works on view. Saturated, contrasting colors areessential to Rodger Kingston's Cibachrome photographs of storefronts, billboards,and signs, urban images honed by this Massachusetts-based artist. Nude, gesticu-lating figures caught in a performance of their own making are central to the large-scale watercolor by ceramist Warashina, who in this work on paper expresses herprofound feelings against the exploitation of nature. Finally, human attributes arecrucial for Frank Fleming's white porcelain sculptures of clothed animals, sitting orstanding, telling tales, and imparting wisdom. Both Warashina and Fleming, anartist from Birmingham, Alabama, are indebted to the ceramic sculpture movementin California of the rg5os through r97os, and especially to the unorthodox work ofRobert Arneson.

The writer appreciates the generous loan of works to the exhibition and thanks theinstitutions, collectors, and artists for their cooperation and assistance. I also com-mend my volunteer staff of museum interns-Julia Featheringill, Mary Koon,Marissa Vivona, Madonna Smith, Amy Bardakjy, Stephanie Lathan, and RachelFerrel-who provided invaluable support through their library research and writingof wall texts. The museum staff at the Georgia Museum of Art, especially AnneliesMondi, associate registrar, and Patricia Wright, secretary to the curator of prints anddrawings, have been indispensable in the organization of this exhibition. Lastly, itwas a pleasure working with the staff of The Georgia Rettiew, and I hope that thissmall publication will serve them and the reader as a stimulating record of the richvisual past of the journal.

PATRICIA PHAGANCurator of Prints & Drawings

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Tn oJeraice of ,2(0rud und ffiortHigh is our calling, friend! Cyeatiae An(Whether the instrument of zaords slte use,

Or pencil pregnant zlith ethereal hues )Demands the service of a mind and heart,

Though sensitiae, yet, in their weakest part,

Heroically fashioned.

-WILLIAM WORDSWORTH

\f X /hen The Georgia Retiew was founded in 1947, it was envisioned as a

V \\/ regional journal of arts and letters in the broadest sense. No mention wasV V made at the time for incorporating visual art, and-except for a few line-

drawing engravings-the journal continued to be devoted to the printed word forover twenty-five years. In some ways, The Reaiew's changing covers tell much of thestory. The first quarterly issues appeared in "Confederate gray,, covers, which thejournal continued to employ for over twenty years. Then

"diior Jam"s B. Colvertredesigned the format and began using covers of different colors, rotated on a sea-sonal basis, a practice that continued under the editorship of Edward Krickel. After1974, however, editor John T. Irwin's new design once again called for look-alikeissues-this time in light brown-and for the next three years the major differencein appearance from issue to issue was in the listing of authors on the front cover.

when I became editor in rnid-ry77,I chose to retain the brown covers to com-plete that volume year but enlisted the talent of Ronald E Arnholm, an art professorat the University of. Georgia, to reformat the rnagazine and to create a new coverdesign that could incorporate art of varying dimensions to let each issue visuallyannounce its unique existence and yet simultaneously signal continuity by p.ese.rt-ing our logo in a fixed position. I wanted to make the outside of the journal as invit-ing and engaging as its textual contents. Arnholm came up with the now familiarsplit-spine, wrap-around cover design that-ever since Andr6 Derain,s Landscapezuith Huntsman and Bathers graced the Spring rg78 cover-has served The GeorgiaReoiew so well (and has been imitated by so many other publications). "

But rnagazine covers seldom tell the whole story about anything. The truth is thatvisual art had actually begun appearing on a fairly regular basis within the issues ofThe Reaiew well before rg78-mainly as an illustration or film clip accompanyingtext, but sometimes as a subject in its own right. And there was no d.amatic changeln this practice in 1978, for my primary focus was still directed toward presenting tf,ehighest possible quality of thought and writing. Although the ry7g volume featuredthree individual artist portfolios-the screenprinted portraits of authors by JohnSokol, the r88o documentary photographs of william E. wilson, and the first-everrnagazine focus on the paintings of Mattie Lou O'Kelley-most of the inside artthroughout the early r98os served to illustrate essays.

One reason The Georgia Reaiew may have been reluctant to embrace visual artsooner can be traced to the journal's primary method of printing. From the start,The Reoiew has been typeset in hot lead on Linotype machines and then letterpressprinted-a technology still preferred by many who recognize and, appreciate the

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beauty of such printed texts, but one with distinct disadvantages in dealing withvisual images. For a number of years, those technical limitations, which essentiallymeant that we could offer only black-and-white reproductions, were a major factorinfluencing our selection of art. The quality of our images improved significantlywhen we began running art features in separate offset signatures, but the majorimprovement came in rg88, when increased university funding perrnitted TheReoiew to present full-color portfolios inside our issues, thus opening up consider-ably the range of art we could consider and properly present.

As editor, I must make the final decisions on everything that enters the pages ofThe Reoiew-including, of course, the art-but during the past twenty years I havereceived good advice from many different people. For the first ten years or so,

Ronald Arnholm served as my primary advisor on art, eventually being joined byeditorial board members Judith McWillie and Jim Herbert, as well as Rick Johnson

-all from the Lamar Dodd School of Art. Each of them has also directed us toartists whose work we ended up publishing, as have authors Leon V. Driskell,Charles East, Jim Kilgo, Susan Ludvigson, Bin Ramke, and Paul Zirnrner. And therehas obviously been a great deal of worthy input from my colleagues on the staff ofThe Georgia Reoiez.u, especially from managing editor Annette Flatton, whose advi-sory role has grown in recent years and who has been instrumental in assembling thisanniversary exhibition.

Informing the selection process throughout my tenure has been the search forquality and diversity. Since The Georgia Reoiew has limited space for art, we try touse it primarily to introduce new work of distinction, whether by an artist alreadyestablished or one as-yet unknown. Although we have featured a few retrospectivelooks at exceptional but under-recognized careers-Mattie Lou O'Kelley, RobertGwathmey, Charles White, and Lois Mailou Jones-most of our portfolios of artmake no effort to show all that an artist has attempted but focus instead on some ofhis or her recent efforts, often thematically related, that merit serious considerationand appreciation. And from the start we have tried to capture some of the rich diver-sity of art being created today. From intricate wood sculptures to photographs ofAmerican jazz greats and dazzhngly designed quilts, from graphite drawings andwatercolors to rephotographed film stills, wood and linocuts, and mixed-media pre-sentations-all of these and more have been featured at different tirnes in TheGeorgia Reoieus.

When individuals turn fifty, they are regarded by many as being in their prime, andcertainly that's how I feel about The Georgia Reaiew as it celebrates this anniversary.The Reoiewhas never been stronget in my opinion, and one key reason for its strengthderives from the more complete integration of its visual components with its prize-winning blend of literary contents. As is clear from the rich variety of art gathered forthis exhibition-only a representative fraction of what we have published-the roleof art in The Reaiew is far greater now than the founding editors could have imagined.It is a role likely to grow as The Georgia Reaiew moves into the next century.

STANLEY W. LINDBBRGEditoq The Georgia Rez;iez.a

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@onsi dering Qlu oresan t Oron ge

"There is no such thing as a bad color." -Ron Arnholrn

s I was walking to a concert on campus recently, I realized the man on thepath in front of me was carrying what was then the latest issue of The GeorgiaReaiew with its unmistakable, fluorescent orange cover. I experienced a real

feeling of pleasure in spotting something so familiar in an unexpected place-and as

it turned out, carried by a man who lived in Stockbridge, Georgia, a good ways fromAthens. Seeing this issue, and with the fiftieth anniversary celebration coming up, Istarted thinking about the colors of our covers and the kinds of art we have pub-lished, especially for the thirteen years I have worked at The Reoiew. One does notnormally think of fluorescent orange as a cover color for a literary journal. Norwould one necessarily think of finding a cover drawing, entitled Self-Portrait, of a

man mummified in newsprint, holding paint brushes, and peeking out from hiswrappings with one eye. But it is just this element of difference, this tendency to beattracted to the unusual (a taste that one of our printers labels "bizarre"), which oftenpulls me to an artist or to a particular work.

But as anyone reading The Reaiew and observing its art over the years knows,"bizane" may fit some but certainly not all of the art published in our pages. Firstof all, it is true that we still receive few unsolicited art submissions (though morethan in the past). Some of the artists we have featured I have found through art pub-lications or exhibitions. Others have been discovered by the editor or recommendedto us by a previously featured writer or artist. Once, as we approached a publicationdate with no art in hand, I announced as I left for lunch that I was going off to findthe art, and when I crossed the street to the art department, I found some wonder-fully bizarre sculptures by Frank Fleming on display. While we have not had toscramble like that since, our pool of choices has been relatively small when comparedto the tremendous overflow of poems and short stories sent to us each year. Artistsseldom think about publishing their work, and even if they did, they would not nec-essarily think about publishing it in a literary journal.

Even with a small number of potentially publishable artists, however, we are guid-ed in our selections by several other factors, chief among them, of course, beingquality. It would be easy enough to settle for recognized names or established artistsas a route to "quality," but since there are so many excellent butunrecognized artists,we have often chosen the latter and have been very huppy with this approach.Another factor is eclecticism. We have deliberately remained open to a wide varietyof media: Carol Shinn's machine-stitched desert scenes of the Southwest, for exam-ple, some as seen through side- and rear-view mirrors of cars and trucks, and the all-white, semi-hysterical-looking, low-fire clay figures of Patti Warashina (who isincluded in this exhibition and the Spring 1997 issue of The Reoiew as well, but withnewer and different work). In addition, The Rez;iew has published photography,Iinoleum cuts, paintings, drawings, collages, and sculpture.

Up to the Winter r988 issue we were only able to print the inside portfolio in blackand white, so we had to make our selections according to what would reproduce best,especially if the originals were in color. For this reason, we rarely selected art that wasabstract or subtle in color. Since that time, however, we have been able to expand ourrepertoire to include such works as Paige Harvey's abstract paintings, KathleenHolder's luminescent pastels, and Trisha Orr's complex still lifes. What showed up

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often during the black-and-white period-partly because it is a personal interest, butpartly out of necessity-was figurative art, as exemplified by Charles White's draw-ings, paintings, and prints, Lilly Rosa's watercolors, and Bruce Carter's woodcuts.

As I look back over the past thirteen years of art published in The Georgia Reaiew,I recognize that not all of it, especially the figurative art, has been easy to look at. AsFrench painter Georges Braque said, " L'Art est Jait pour troubler [Art is meant to dis-turb]," and examples of this can easily be found in the paintings of Mary Jernigan,Lynn Davison, and Odette Col6n, the etchings of Alan Cober, and the charcoaldrawings of Selma Waldman. When we reproduced the film stills of Jim Herbert,we were certain that we were going to disturb someone with his nude female and malefigures, and we probably did. But outside of a few ambiguous subscription cancella-tions, we did not receive the protests we had expected. Nor did we get any complaintsabout the half-nude lesbian couple in Ian McFarlane's photographs. Of course, wedo not select art-just as we do not publish controversial essays, fiction, poetry-simply to elicit reaction. We do so because we believe in the work, whether writtenor visual. But neither do rve shy away from difficult art or work that may upset ourreaders' expectations.

The Georgia Reoiew has come a long way since its early gray days when there wasno cover art or inside art and the focus of the literature was regional. Even today notall nationally recognized literary magazines publish art. The inclusion of one or twoartists in each of our issues, however, not only enhances the appearance of the mag-azine, but is part of the "conversation" that exists between its fiction, essays, andpoetry in any particular number. Today it would be difficult to imagine The Reoiewwithout art-both on the cover and inside.

In the planning stages of this exhibition, we realized that budgetary constraintswould interfere with our original idea, which was to include at least one work byevery artist we had ever published. While we regretted bowing to this economicnecessity, we also realized that our original concept would have resulted in a verylarge and fragmented exhibition. The work in this show has been selected from thepast twenty-two years of The Georgia Reoiew and, needless to say, the process ofselection was very difficult, given all the wonderful artists whose work we haveincluded in our pages. The seventeen artists in A Palette in a Pen's World arc repre-sentative of all that we have published over the years. \Me are grateful, however, to allthe artists who helped to make The Reztiew the visually appealing publication it istoday; we hope they realize how important they are to us.

I extend my thanks to the staff of the Georgia Museum of Art for taking on thisfiftieth anniversary exhibition in all its complexities, and a special thanks to PatriciaPhagan without whose expertise, patience, and meticulous attention to detail thisexhibition would not exist.

ANNETTE HATTONManaging Editor,

The Georgia Reztiew

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Qhechlist of the €xh,ibitionIn the following, height precedes zpidth and, zohere applicable, depth,

Barbara McKenzie(American, b. ,S:+)

r. UntitledSilver gelatin print9e4,, x 6'/" inches (image)rox8inches(sheet)Reproduced in Barbara McKenzie,

"Flannery O' Connor Country, "The Georgia Reztiew (Summer r975)Collection of the artist,Durham, North Carolina

z. UntitledSilver gelatin print6sh x geAo inches (image)8 x ro inches (sheet)Reproduced in Barbara McKenzie,

"Flannery O'Connor Country,"The Georgia Reuiezt (Summer r975)Collection of the artist,Durham, North Carolina

3. UntitledSilver gelatin print63/s x geAu inches (image)8 x ro inches (sheet)Reproduced in Barbara McKenzie,

"Flannery O'Connor Country,"The Georgia Retiew (Summer r975)Collection of the artist,Durham, North Carolina

4. UntitledSiiver gelatin print63/z x geAo inches (image)8 x ro inches (sheet)Reproduced in Barbara McKenzie,

"Flannery O'Connor Country,"The Georgia Redew (Summer 1975)Collection of the artist,Durham, North Carolina

5. UntitledSilver gelatin print63/s x geAt inches (image)8 x ro inches (sheet)Reproduced in Barbara McKenzie,

"Tintypes and Archetypes,"

The Georgia Reaiezo (Summer r976)Collection of the artist,Durham, North Carolina

6. UntitledSilver gelatin print63/a x geAo inches (image)8 x ro inches (sheet)Reproduced in Barbara McKenzie,

"Flannery O'Connor Country onFilm," The Georgia Rersiew(Summer r977)Collection of the artist,Durham, North Carolina

John Sokol(American, b. ,S+Z)

7. Ezra Pound as "The Cantos"Screenprint in black ink on paper247/ax r9% inches(composition and sheet)Edition of 5oReproduced on the cover ofThe Georgia Reaiew (Summer r979)Collection of The Georgia Reztiew,University oi Georgia

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Frank Fleming(American, b. r94o)

8. Goatman, 1977Porcelain17t/z x r6 x r5 inches and6xrzxginchesReproduced in The Georgia Reaiew(Summer r985)Collection of Richard Bite,Birmingham, Alabama

g. The Wisdom KeePerPorcelainz6 x r3'/, x t6'/n inchesReproduced on the cover ofTie Georgia Ret-tiew (Summer r985)Collection of Jim Sokol,Birmingham, Alabama

Charles White(American, ryt8-ry79)ro. Gideon, ry5r

Lithograph on PaPerr33/a x to1/+ inchesReproduced in The GeorgiaReoieus (Summer r986)Collection of Frances B. White;courtesy of SICA Fine Arts,Oakland, California

tt. Mother Courage II, rg74Oil on canvas

{g3/+ x 39% inchesReproduced in The GeorgiaReaiew (Summer r986)National AcademY of Design,New York

Lynn Davison(American, b. rS+S)

e. Finalists in the Game ofMusical Chairs, ry87Oil on canvas (four Panels)65 * 5: inches(24 x z6% inches [uPPer Panels];

4t x z6f, inches [lower Panels])Reproduced in The GeorgiaReaiew (Spring r99z)Polk Museum of Art, Lakeland,Florida

13. Jester's Head, ry87Oil and fabric on Masonite

48 x z4 inchesReproduced in The GeorgiaReaiew (Winter 1987)

Collection of Gilbert and JeanPokora, Port Charlotte, Florida

(nxoeIecr)14. The Stage Manager, rygt

Oil and gold leaf on canvas

86 x 7z inchesReproduced in The GeorgiaReoiew (Spring r99z)

John and Mable RinglingMuseum of Art, Sarasota,

Florida; purchased with fundsprovided by Mr. and Mrs' JaY

Crouse, the John E. GalvinCharitable Trust, and theRingling Museum of ArtInvestment Trust FundMF 93.4

James Herbert(American, b. 1938)

r5. Untitled (from the artist'sfilm "Theatre" [r985])Still-frame silver gelatin Print16 x zo inchesReproduced on the cover ofThe Georgia Review (SPring r989)CourtesY of Jackson Fine Art,Atlanta, Georgia

r6. Untitled (from the artist'sfilm "Hotel" [rg8+])Still-frame silver gelatin Printt6 x zo inchesReproduced in The GeorgiaRez-tiew (SPring r989)CourtesY of Jackson Fine Art,Atlanta, Georgia

r7. Untitled (from the artist'sfilm "Trains" [r987])Still-frame silver gelatin Printt6 x zo inchesReproduced rn The GeorgiaReoiew (SPring r989)CourtesY of Jackson Fine Art,Atlanta, Georgia

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Lilly Rosa(American, b. ,SSS)

t8. In the Praca deRepublica, ry87Ink and watercolor onArches paperg'/sxrr%inchesReproduced on the cover of TheGeorgia Reoiew (Summer r989)Courtesy of Galerie Cujas,San Diego, California

ry. The Sanctuary, :98TInk and watercolor onArches paper

4'/+ x 6 inchesReproduced in The GeorgiaReuiezt (Summer r989)Courtesy of Galerie Cujas,San Diego, California

Mary Jernigan(American, b. ,sSS)

zo. Girl in the Bedroom, ry86Gouache on illustration board9t/+x6% inchesReproduced in The GeorgiaReaiew (Spring/Summer r 99o)Collection of Emilie S. Kilgore,Houston, Texas

Mary Porter(American, b. ,sSS)

zr. Litsing Room, tgSgWatercolor on paperzz x 30 inchesReproduced in The GeorgiaRezliew (Spring/Summer r 99o)Private collection

zz. Serious Dish Build-Up, ry8s'Watercolor on paper22 x 30 inchesReproduced in The GeorgiaRez;iew ( Spring/Summer r 99o)Collection of the artist,Athens, Georgia

George Davidson(American, b. r95z)

4. 4 Santa Fe, rggoLinoleum cut on paperrz x 9 inchesReproduced in The GeorgiaReoiezo (Winter r99o)Collection of the artist,Athens, Georgia

24. Thelonious Monk, ry86Linoleum cut on paper8 x ro inchesReproduced on the cover ofThe Georgia Reaieut (Winter I99o)Collection of the artist,Athens, Georgia

25. Trumpet Thump, ry88Linoleum cut on paper61/a x 5 inchesReproduced in The GeorgiaReoiew (Winter r99o)Collection of the artist,Athens, Georgia

Akiko Sugiyama(Japanese-American, b. rS+S)

26. I'm Almost U.S. Citizen, ts8sPaper collage, crayon, andwatercolorz6t/+ x 4o'/n x 6f, inchesReproduced in The GeorgiaReaiezt (Spring r99r)Collection of the artist,Ormond Beach, Florida

zJ. Paradise) rggoPaper collage, crayon, watercolor,and pine needlesz^3x32x6inchesReproduced on the cover of TheGeorgia Reoiew (Spring r99r)Collection of Mr. and Mrs. GaryBrown, Miami, Florida

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Rodger Kingston(American, b. ry4t)28. Star Barber Shop,

Nez.o Yorh, New York, ryBzCibachrome print13 % x ro % inches (image);r4 x ro 7/8 inches (sheet)Reproduced in The GeorgiaRez-tieut (Summer r99r)Collection of The Georgia Reoiew,University of Georgia

(covnn)

zg. Three Penny Opera Poster,Amtrak S tation, Wilmington,Delaware, r976Cibachrome printr3Y+ x ro'/s inches (image)14 x rot%o inches (sheet)Reproduced in The GeorgiaReoiew (Summer rggr)Collection of The Georgia Reoiez.o,University of Georgia

Lois Mailou Jones(American, b. r9o5)

3o. Marchd, Haiti, ry63Polymer (acrylic) on board333/+ x zg1/s irrc}lesReproduced in The GeorgiaReaiez.a (Summer rggz)Courtesy of Sragow Gallery,New York

Herb Snitzer(American, b. ry32)

3r. John Coltrane, Backstage atthe Village Gate, Nezt: YorkCity, ry6rSilver gelatin printzo x 16 inchesReproduced in The GeorgiaRer.tiew (Winter r99z)Collection of the artist,St. Petersburg, Florida

32. Lester Young, Outside theFiz;e Spot CaJi, New YorkCity, ry58Silver gelatin printzo x 16 inchesReproduced in The GeorgiaReaiew (Winter r992)Collection of the artist,St. Petersburg, Florida

y. Miles Daais, Newport JazzFestixal, rygoSilver gelatin printt6 x zo inchesReproduced in The GeorgiaRez;iew (Winter r99z)Collection of the arrist,St. Petersburg, Florida

34. Nina Simone,Philadelphia, rs5eSilver gelatin print16 x zo inchesReproduced in The GeorgiaReaieus (Winter r99z)Collection of the artist,St. Petersburg, Florida

Carrie Mae Weems(American, b. ,gS:)

35. Untitled (from theI{itchen Table series), r99oSilver gelatin printz8%x z8% inchesReproduced in The GeorgiaRez;iew (Winter 1994)Private collection

36. Untitled (from theKitchen Table series), r99oSilver gelatin printz8t/sx z8% inchesReproduced in The GeorgiaReztiezo (Winter r 994)Private collection

l r+)

(nnoNrrserncn)

37. Untitled (from theKitchen Table series), rggoSilver gelatin printz8Y+x z8% inchesReproduced in The GeorgiaReview (Winter r994)Private collection

38. Untitled (from theKitchen Table series), r99oSilver gelatin print281/cx z8% inchesReproduced in The GeorgiaReoiez.u (Winter 1994)Private collection

Trisha Orr(American, b. r95r)

39. Still Life with Owl Teapot,r99zOil on canvas

4t x 36 inches

Reproduced on the cover of TheGeorgia Reaiez.o (Summer rg95)Collection ofMr. and Mrs. Kenneth E. Brown,Charlottesville, Virginia

Patti Warashina(American, b. r94o)

4o. Passionfor Papilio, rs95Watercolor and gouache on paper8z x 5z inchesReproduced in The GeorgiaReoiew (Spring r997)Collection of the artist,Seattle, Washington

GEORGIAMUSEUM OFARTPerforming and Visual Arts Complex

enerous support for this exhibition and publication were provided by the Office of

the Vice President for Academic Affairs and Network Press in Acworth, Georgia.

Partial support for the exhibitions and programs for the Georgia Museum of Art isprovided by the Georgia Council for the Arts through appropriations of the Georgia General

Assembly and the National Endowment for the Arts. A portion of the museum's general

operating support for this year has been provided through the Institute of Museum and

Library Services, a federal agency that offers general operating support to the nation's muse-

ums. Individuals, foundations, and corporations provide additional support through their

gifts to the University of Georgia Foundation. The Georgia Museum of Art's hours are ro

a.m. to 5 p.m. Tuesday, Wednesday, Thursday, and Saturday; ro a.m. to g p.m. on Friday;

and r p.m. to S p.m. on Sunday.

706.5+z.Gl/r)A

I rs ]

CHECKLTST NO. 14