Everett Raymond Kinstler, Theodor Geisel, Dr. Seuss, 1982. Oil
on canvas. 38 x 36 inches. Collection of the Hood Museum of
Art, Dartmouth College, Hanover, New Hampshire. Commissioned
by the Trustees of Dartmouth College.

America Creative: Portraits by Everett Raymond Kinstler

Everett Raymond Kinstler, who turns ninety-two August 5, has painted more than two thousand portraits of leaders in almost every professional field, including eight United States presidents. America Creative explores how the eye of the artist sees kindred souls whose life’s work is also in the arts, whether visual, musical, performing, or literary. Kinstler’s vibrant, impressionist style imbues an otherwise static medium with the energy and vitality of his sitters, enlivening their personalities for us and telling the stories of their lives. Spanning the years from 1952 through 2015, these portraits cover the long career of a hugely successful artist. Thanks to loans from the artist and from several museums, the exhibition features portraits of Norman Rockwell and Alexander Calder, Katharine Hepburn and Christopher Plummer, Tony Bennett and Marian Anderson, and Tom Wolfe and Dr. Seuss.

America Creative: Portraits by Everett Raymond Kinstler was organized by the Vanderbilt University Fine Arts Gallery and curated by Joseph S. Mella, director, and Margaret F. M. Walker, assistant curator, with special thanks to the artist, Peggy Kinstler, and Michael Shane Neal.

Horace Talmage Day, Toomer’s Boatyard, Buckingham Landing,
circa 1938. Oil on canvas. Courtesy of Mr. and Mrs. H.
Talmage Day.

Views of Georgia and South Carolina by Horace Talmage Day

Horace Talmage Day (1909–1984) gained early recognition for his portraits and landscapes, particularly his paintings of Georgia and the Carolina low country, the subject of this exhibition.

The eldest of four children born in China of American missionary parents, he was already painting accomplished landscapes by the time he was twelve. He came to the United States to attend the Art Students League in New York City, where he studied with Kimon Nicolaïdes, Boardman Robinson, and Kenneth Hayes Miller. In 1936 he was appointed the first director of the Gertrude Herbert Institute of Art in Augusta. It was during that time that he discovered the landscapes of Georgia and South Carolina.

The work in this exhibition has been lent to the Morris Museum by the artist’s son H. Talmage Day, Jr. The exhibition has been made possible by the generous assistance of H + K Gallery of Spartanburg, South Carolina.

Charles Edward Williams, All Power, 2018. Oil on watercolor
paper. Courtesy of the artist.

February Sun: Paintings by Charles Edward Williams

February Sun is a collection of paintings drawn from the series Everyone Loves the Sunshine. These works convey Williams’s response to the civil rights movement of the 1960s. He tells stories told to him by his grandmother about this period in American history, and he shares her belief, which has guided him in his work: “Stay in the light, stay positive.”

Charles Williams, a native of Georgetown, South Carolina, earned a BFA degree from the Savannah College of Art and Design and an MFA degree from the University of North Carolina at Greensboro. His work has been featured in numerous exhibitions around the country and is included in the collections of leading museums.

February Sun, informed by the abstract paintings of Franz Kline and the color theories of Josef Albers, references God’s love, emotional and physical nourishment and care, and the growth of all living beings.
Williams believes that we all hope to find our place in the sun.

Elmore DeMott, Flowers for Mom: September 9, 2016. Digital media.
Courtesy of the artist.

Flowers for Mom: Photographs by Elmore DeMott

Photographer Elmore DeMott earned her bachelor’s degree in mathematics and fine art from Vanderbilt University before embarking on a career in banking. From there, she moved into arts administration and then photography, in order to exercise her creative instincts and put her talents to work.

Passionate about connecting people with nature, she is the creator of award-winning work in private and corporate art collections, galleries, and museums. Flowers and pine forests—her signature subjects—have been featured in publications, presentations, and arts collaborations. Her work has been widely exhibited, and she has frequently spoken in support of it. During the summer of 2018 she was a featured speaker at the Chautauqua Institution, where she taught photography and other subjects for eight years. She has also spoken at schools, museums, and civic organizations in Alabama, Connecticut, Georgia, and South Carolina. Her work has been widely published, and stories about her have appeared in numerous Southeastern publications.

Her Flowers for Mom series resulted from her decision in August of 2016 to produce a daily floral image for her mother, then in the grip of Alzheimer’s disease. The result was a series of more than seven hundred unique images, several of which are featured here. The series led to an arts collaboration with the San Francisco–based Del Sol String Quartet in 2017 in which a digital presentation of Flowers for Mom served as the backdrop for their performance of Crossings, two quartets by Ben Johnston.  

This is her first exhibition at the Morris Museum of Art.

Harold John Hansen, Abstraction—Blue, undated. Acrylic on board.
Morris Museum of Art, Augusta, Georgia. Gift of the Robert Powell
Coggins Art Trust.

Style and Attitude: Abstract Art in the South
November 17, 2018–January 12, 2019

This exhibition examines abstraction and abstract expressionism—the dominant mode of artistic expression in post–World War II America—through a Southern lens. Few art movements are as closely associated with a specific time and place as abstract expressionism is with New York City in the 1940s and 1950s. It was the first American movement to achieve international recognition, and it put New York City at the center of the Western art world. It was much bigger and more widespread and influential than its ties to New York would seem to indicate, however. The influence of the movement was certainly felt in the South, though it came later and never quite achieved the dominance that it did elsewhere. That said, many Southern painters were comfortable with the organic materiality of the idiom. In the work of such artists as Brian Rutenberg, Herbert Creecy, Herb Jackson, and Vincencia Blount, one can see a certain reverence for the cycles of the natural world, which seems a distinctly Southern feature of the work shown here. Also in the exhibition is the work of certain artists—Lamar Dodd, Augusta Oelschig, and Freeman Schoolcraft among them—who are not generally associated with abstraction, as well as such important artists as David Driskell, Sam Gilliam, and Dusti Bongé. The exhibition reveals a too-little-seen but unusually rich and historically important aspect of the Morris Museum’s permanent collection.

Jonathan Green, The Passing of Eloise, 1988. Oil on Masonite.
© Jonathan Green. Morris Museum of Art, Augusta, Georgia.

Jonathan Green: Selections from the Permanent Collection
NOVEMBER 21 2018–JANUARY 27, 2019

Born in Richmond, Virginia, in 1879, Edgar Hewitt Nye lived, worked, and taught in Washington, D.C., for fifty-eight years. He was educated in public schools before entering the Corcoran School of Art at age thirteen, where he studied for eight years before setting off on the requisite grand tour of Europe. Along the way, he married and spent a brief time studying at Oxford. On the Nyes’ return to Washington, he settled into his studio and began to produce a vast body of work, mainly landscapes and street scenes. He exhibited widely in Washington and elsewhere. His work was included in group exhibitions hosted by the Washington Water Color Club, the Society of Washington Artists, the Society of Independent Artists, the Washington Landscape Club, and the Corcoran Gallery of Art. He was the recipient of many honors and awards, and on the first anniversary of his death the Corcoran Gallery of Art presented a memorial exhibition of his work in recognition of the prominent place he held in the Washington art community. His work is part of the permanent collections of the Phillips Collection, the Smithsonian American Art Museum, the Corcoran Collection of the National Gallery of Art, and the Morris Museum of Art, to cite just a few. (Information from www.studioantiquesandfineart.com.


Billie Ruth Sudduth
Richard Royal, Vase, 1989. Blown and cased iridescent
glass. Courtesy of Brunk Auctions.

Contemporary Studio Art Glass from the Collection of Eugene Fleischer

The history of the studio glass movement in America is relatively brief. In fact, it’s barely more than fifty years old, dating back to demonstrations conducted by Harvey Littleton and Dominick Labino at the Toledo Museum of Art in 1962. The historical context for its beginnings, the Cold War era, is endlessly interesting.

In this, the second exhibition that the Morris Museum has organized from his collection, we have once again—for reasons of coherence (and with a nod toward the limitations of space)—kept the selection to American glass artists. Among those whose work is now on display are Harvey Littleton, the founder of America’s modern studio art glass movement, Dan Dailey, Rollin Karg, and Tommie Rush—all of them represented by examples of their work that have never been exhibited before.

This is the first installation in what is planned as a continuing display of studio art glass from the Fleischer Collection. The collection will be on indefinite display and, periodically, will be refreshed with other pieces from the collection.

>Past Exhibitions

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