by Jeffrey Gibson

Upstream Jeffrey Gibson 2016 acrylic on canvas  Museum purchase made possible by the Edward Swift Shorter Bequest Fund

Upstream Jeffrey Gibson 2016 acrylic on canvas

Museum purchase made possible by the Edward Swift Shorter Bequest Fund

Jeffrey Gibson grew up in major urban centers in the United States, Germany, Korea, England and elsewhere. He is also a member of the Mississippi Band of Choctaw Indians and half Cherokee. This unique combination of global cultural influences converge in his multi-disciplinary practice of more than a decade since the completion of his Master of Arts degree in painting at The Royal College of Art, London in 1998 and his Bachelor of Fine Arts degree in painting from the School of the Art Institute of Chicago in 1995.

Jeffrey Gibson

Jeffrey Gibson

Gibson’s artwork intermingles elements of traditional Native American art with contemporary artistic references. Thus powwow regalia, 19th century parfleche containers, and drums are seamlessly merged with elements of Modernist geometric abstraction, Minimalism, and Pattern and Decoration. Here there is an echo of Frank Stella and Josef Albers – canonized in our current dialogue which has little or no inclusion of Native American art which Gibson provides comparable weight and equivalence.

Gibson’s artworks are in the permanent collections of many major art museums, including the Museum of Fine Arts, Boston, the Smithsonian, the National Gallery of Canada, the Nasher, the Nerman, Crystal Bridges, and the Denver Art Museum. Recent solo exhibitions include SCAD Museum of Art (Savannah and Atlanta), the National Academy Museum in New York, The Institute of Contemporary Art in Boston, and the Cornell Museum of Fine Art. The Denver Art Museum will mount a traveling mid-career survey in the Spring of 2018, to be followed by a smaller solo exhibition at the Ruth and Elmer Wellin Museum of Art in the fall of 2018. He has participated in Greater New York, Prospect New Orleans, the Everson Biennale, and Site Santa Fe. Gibson is a member of the faculty at Bard College and a past TED Foundation Fellow and Joan Mitchell Grant recipient.


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Born in 1941 in Tacoma, Washington, Dale Chihuly was first introduced to glass when studying interior design at the University of Washington. After graduating in 1965 and working for a time for John Graham Architects, Chihuly enrolled in Harvey Littleton's seminal glass program at the University of Wisconsin. Littleton is considered the father of the American studio glass movement, which changed the medium world-wide from one of craft and design, to one in which artists may work directly with the material for their own aesthetic expression. Chihuly received his M.S. in 1967. He continued his glass studies at the Rhode Island School of
Design (RISD) and was awarded an M.F.A. in 1968. After a Fulbright Fellowship, working and observing in the Venini factory in Venice, Chihuly returned to RISD to establish and head a glass department. In June 1995, while making temporary glass installations along the Nuutajärvi River in Finland, Dale Chihuly tossed some of his forms into the water to let them float downstream. When he saw local children putting them in their small wooden rowboats, he developed an idea for a new work of art. For Chihuly, Boat Installation is a recreation of that experience in Finland.

Uniting color, light, form, and space to deliver uniquely immersive experiences, Chihuly has completed ambitious architectural artwork installations all over the world. Inspired by a lifelong interest in architecture and gardens, Chihuly creates site-specific sculptures for a wide variety of settings, from public spaces and museums, to private homes and gardens. In 1999, Chihuly mounted an ambitious installation, "Chihuly in the Light of Jerusalem." More than one million visitors attended the Tower of David Museum to view these installations. In 2001, the Victoria and Albert Museum in London curated the Chihuly exhibition at the V&A. He exhibited at the Salt Lake Art Center during the 2002 Olympic Winter Games and Paralympic Games in
Salt Lake City, Utah. His first major glasshouse exhibition "Chihuly in the Park: A Garden of Glass" was on display at the Garfield Park Conservatory, Chicago. The Chihuly Bridge of Glass in Tacoma, Washington, was dedicated in 2002. In the summer of 2005, Chihuly returned to London, England and transformed the famous landscape of London's Kew Gardens with
large scale, organically-shaped glass sculptures set throughout Kew’s 300-acre garden landscape. Gardens of Glass: Chihuly at Kew included a series of spectacular installations placed within the great glasshouses. SVM

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The Last 100 Yards Exhibit at the Infantry Museum

The National Infantry Museum, located in Ft. Benning. Ga, is currently hosting The Last 100 Yards: The Infantryman’s Legacy of Valor and Sacrifice exhibit. Experience 240+ years of American history in immersive exhibits that put you on the front lines for the Last 100 Yards. See what it takes to be a U.S. Army Soldier and be reminded why freedom isn’t free.

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The story of the Infantry’s history – at least the pieces of it that can fit inside one museum – is finally complete. The National Infantry Museum has opened the long-awaited Securing our Freedoms/Defining the Nation gallery, which chronicles the branch’s history from 1775 to 1889.

When the museum opened in 2009, budgetary constraints put the completion of the planned Revolutionary War and Civil War galleries on hold. In 2011, the museum offered one of those two unfinished spaces to the Armor branch, which had just moved its school to Fort Benning.

Visitors to the new 5,100-square-foot gallery will be transported to the years preceding the Revolutionary War, and will travel through to the end of the Frontier Indian Wars. Among the 175 priceless artifacts now displayed are numerous muskets and rifles, a 200-pound mountain howitzer used in the Mexican-American War, a Civil War era James Gun with its innovative rifling system, and the Gatling Gun – the forerunner of the modern machine gun – used in the Frontier Indian Wars.

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There are interactive kiosks, too, including one that illustrates the challenges of building a disciplined and effective Army, and one that demonstrates the critical role of music in communication on the battlefield. Two large silk regimental and national flags from the 2nd United States Colored Troops – among the museum’s rarest artifacts – are on display for the first time.

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Maneuver Center of Excellence Museum’s Chief Dave Hanselman says the gallery is intended not only to inform and educate the public, but to fulfill the mission of supporting Infantry training at Fort Benning. The underlying theme of the gallery, he says, is how ever-evolving technologies have dictated ever-evolving training since the Infantry’s earliest days. “This time period set the stage for everything that has followed over the past 242 years,” said National Infantry Museum Foundation President Greg Camp. “We are thrilled to finally be able to share this chapter of Infantry history.”

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The new gallery was formally dedicated at a ceremony at 10 a.m., Wednesday, June 14, the Army’s 242nd birthday. The guest speaker was LTG (Ret) Tom Metz, Chairman and CEO of the National Infantry Museum Foundation.

The 190,000-square-foot National Infantry Museum and Soldier Center chronicles the history of the American Infantry from its formation in 1775 to the present. On display are tens of thousands of priceless artifacts telling the stories from Bunker Hill to Baghdad.

Soldier Center includes elements that make the modern museum visitor’s experience complete: a giant screen theater, the Fife and Drum restaurant, and the Soldier Store, operated by Ranger Joe’s, an iconic name in the military retail field.

The 155-acre campus includes an authentically restored World War II Company Street and a five-acre parade field and stadium that holds 2,100 people for weekly graduations of Fort Benning trainees. Heritage Walk is lined with flags of all American states and territories and features customengraved granite pavers purchased by those who wish to honor a loved one.

The $100 million National Infantry Museum and Soldier Center opened on June 19, 2009. In eight years, 2.5 million people have visited the museum. It is the number one rated attraction in Columbus on TripAdvisor, and has one of the highest ratings among attractions statewide. It has earned a prestigious Themed Entertainment Industry Award, and, in 2016, was named USA Today’s Best Free Museum.

The National Infantry Museum is a private, non-profit organization that relies on donations for operating expenses. Admission is free, however a $5 per person donation is requested at the door. SVM


Alice ; 2017; 54x43 inches; oil on canvas

Alice; 2017; 54x43 inches; oil on canvas

Amy Sherald was born in Columbus, Georgia, in 1973. She received her MFA in Painting from Maryland Institute College of Art (2004), BA in Painting from Clark-Atlanta University (1997), and was a Spelman College International Artistin-Residence in Portobelo, Panama (1997). In 2016, Sherald was the first woman to win the Outwin Boochever Portrait Competition grand prize; an accompanying exhibition, The Outwin 2016, has been on tour since 2016 and will open at the Kemper Museum, in Kansas City, MO in October 2017. She describes her young self as an introvert who took solace in making art, an activity she could enjoy on her own. Her family was supportive, though not involved in the arts. Sherald didn’t go to a museum for the first time until she was in college.

From the time she started kindergarten, when she was one of two or three black children enrolled in her private school, Sherald was well aware of her race ― specifically, how it should and should not be performed. “You’re different from everybody else,” Sherald recalled. “You need to speak a certain way and act a certain way. That’s what my mom told me on the first day of school.” Early on, Sherald absorbed the ability to slip in and out of certain modes of being, like a variety show performer, depending on who she was with and what she wanted to achieve. “In sociology they call it ‘code switching,’” she said. “I can feel just as comfortable in a room full of people who don’t look like me because I understand the social cues of class and race.”

Amy is an award-winning painter who paints large scale oil paintings of people underrepresented in the art historical narrative. Translation: she paints portraits of beautiful ordinary black folk because they’re missing from museum walls and representation matters. She’s much like Kerry James Marshall in this regard, deliberately aiming her art practice at centering black people in her work and painting them in ways that evoke everyday living and everyday leisure. Her portraits lean more on the surreal side and include elements you won’t find in real life. For starters, she ditches a more realistic brownish skin tone color and instead casts all her characters in this beautiful charcoal gray which adds this extraordinary intensity but still feels real and still reads “I’m black.” The vibrant backgrounds, playful outfits, and accessories appear in stark contrast to the stoic expressions. “I’m depicting the many people who existed in history but whose presence was never documented,” Amy Sherald explains.

EXHIBIT A: Kindred

Andrew T. Crawford (b. 1970 Chatham, NJ)  Kindred , 2017 Stainless Steel; 12’ Museum purchase made possible by friends of Mark Porter

Andrew T. Crawford (b. 1970 Chatham, NJ) Kindred, 2017 Stainless Steel; 12’ Museum purchase made possible by friends of Mark Porter

A new outdoor sculpture has been installed in The Columbus Museum’s fountain in memory of the late Mark D. Porter (1957-2015). Porter was a past president and longtime member of the Museum’s Board of Trustees. The commission of the sculpture, Kindred, was made possible by the overwhelming generosity of friends of Porter. Porter, Group Vice President at Columbus Bank and Trust until 2015, died in November 2015, and designated The Columbus Museum for gifts in his memory. With the outpouring of donations, the Museum decided on the commission of an outdoor sculpture to commemorate his love of both the Museum and its Bradley Olmsted Garden.

The artist, Andrew T. Crawford, grew up in Atlanta and maintains his studio there. He has a Bachelors of Fine Art in sculpture from the Rhode Island School of Design. Crawford has work at the Atlanta Botanical Gardens and has exhibited work at the Museum of Contemporary Art of Georgia and The Bascom in Highlands, North Carolina, among other museums. “The sculpture, Kindred, is based on the observation of the similarities and differences between natural and man-made forms. It finds its origin in objects that exist in environments that are not exclusively of nature or mechanical origins. Through realism, ambiguous shape and form, scale, and surface treatment, the sculpture seeks to draw recognition to the relationships we find in everyday objects. It is a celebration of the crossover of form and imagery that exists between objects that are part of or of a whole, man-made or occurring completely in nature,” said Crawford.

Special thanks to Merecedes Parham, Columbus Museum.

EXHIBIT A: O Freedom Ova me

O Freedom Ova me
Mixed media on wood
Radcliffe Bailey
Born Bridgeton, N.J. 1968

Columbus is a place of rich culture, art and expression. The exquisite works of art in our community each have a unique story, an interesting naissance and heritage. Join SVM as we put them on exhibit for you.

Radcliffe Bailey’s large, mixed-media paintings address his life as young African American living in Atlanta. This work called “ O Freedom Ova Me” is made from found objects. They draw on a variety of sources, including historical events, popular culture, family memories and African traditions as they have been changed and preserved in African-American culture.

This particular work is built around an enlargement of a vintage photograph the artist obtained from one of his family albums. The surrounding surface is thickly painted and incorporates boat motifs that evoke themes of transport, flight and freedom. Bailey has also included repeating pairs of curved lines. These not only recall shapes found in iron balconies all over the South, but also mimic a symbol found on adinkra cloths of West Africa.

While he was influenced by historic figures that have transformed and changed the world, he was also influenced by family members, by his mother, his children, and his grandparents. His mother was quietly creating experiences for him to make art when he was a child. She was his first art teacher and is, today, his most important critic. She introduced him to museums at a young age, allowing for his first encounters with African art, with the art of James van der Zee and Jacob Lawrence. svm
Special thanks to Merecedes Parham, Columbus Museum.


EXHIBIT A: Contentment

Thomas Hovenden was an Irish-American artist popular during the late nineteenth century. He was known for painting narrative subjects from history, literature and contemporary events. He was especially sympathetic to African Americans, which was made even more evident by his embracing the political ideology of his anti-slavery Quaker in-laws.

Hovenden was notorious for depicting family, love and closeness in his works. In this piece, Contentment, he depicts an older couple enjoying each other's company after a family meal. They are shown in their own house, denoting a sense of personal success and status.

Contentment, painted in 1881, was gifted to the Museum in 1993 on behalf of Dr. Philip L. Brewer in honor of the late Dr. Delmar Edwards. Dr. M. Delmar Edwards was the first African American to practice surgery in Columbus, Georgia.

EXHIBIT A: Flight of Europa

Flight of Europa depicts the mythological beginning of Europe. Greek mythology tells the story of Europa, a beautiful Phoenician princess, and her journey to Crete. According to ancient legend, the god Zeus disguised himself as an enchanting white bull so he could entice Europa away. She was so captivated by the bull that she climbed on its back. The dastardly bull rushed to the ocean and swam westward to Crete, away from Europa’s life in Phoenicia. Upon her arrival to Crete Europa had three sons, including Minos, the future King of Crete, which is considered the earliest European civilization. Legend, and the ancient Greeks, crowned her the mother of Europe.  

Artist Paul Manship crafted the Flight of Europa in 1925. The gilt bronze cast depicts the story of Europa’s abduction. Eros, known as Cupid, gently whispers in Europa’s ear, while the leaping dolphins assist Zeus on his journey to Crete. Paul Manship chose the patterned marble base to convey a sense of crashing waves. Ensuring authenticity, Manship even inspected vessels from the Minoan era of Crete to shape the bull’s form. The Columbus Museum’s gilded casting is one of only five in existence and was acquired with the help of a Friend of the Museum and The Crowley Foundation Acquisition Fund.