Cover: Will Wilson (b. 1969), Will Wilson, Citizen of the Navajo Nation, Trans-customary Diné Artist (detail), 2013, printed 2018, archival pigment print from wet plate collodion scan, 22 x 17 in. Art Bridges. Photography by Brad Flowers.
Executive Committee
R. Ripley Bell, Jr., President
Summer Cotten, Vice President
Butler Stoudenmire, Treasurer
Rosemary Hamburger
At-large Members
Lindsay Rohrer Barnhill
Margaret “Puddin" Bass
Dr. Jeffery Cannon
Dr. Samantha Fields
Meg Gentile
Donald Gray, Jr.
Sheri Hall-Barlow
Dr. Brenda Hodges-Tiller
Meryl K. Joiner
Dr. Suresh Lakhanpal
Dr. Jason Langer
Jimmy Lindsey
Beau Sinyard
Carmen Wiggins
MUSEUM STAFF
Andrew James Wulf, Ph.D., Executive Director
Bruce Campbell, Technical
Katie Dillard, Curatorial Affairs
Jermaine Dupree, Security
Makayla Ferguson, Guest Services
Cheryl Hendricks, Guest Services
Jim Hendricks, Marketing
Chloe Hinton, Development
Jazzmond Kendrick, Operations
Sidney Pettice, Curatorial
Mackenzie Strom, Development
Annie Vanoteghem, Education & Programming
Linda Weaver Guest Services
ALegacy ofCreative Excellence
Dear AMA Family,
AndrewJamesWulf,Ph.D. ExecutiveDirector
The Albany Museum of Art stands on the cusp of becoming Southwest Georgia’s cultural hub, and is uniquely positioned to broaden its influence throughout the United States and beyond. Our new museum will bring together local and global cultural influences that we wholeheartedly support and endorse, while continuing to showcase the creative diversity of our region.
The new building also inspires our values-driven plan of action, as the AMA will enhance its mission while maintaining relevance and success through investment in three main areas.
Serving All Communities: Connecting Albany and Beyond
The AMA strengthens connections with all communities through its dedicated programs because everyone deserves to be seen and heard. This inclusive environment integrates Southern cultural traditions with works from local artists while embracing the diverse viewpoints of artists worldwide. The museum moves beyond its traditional role as an art space by striving to establish itself as a refuge that caters to the diverse needs and aspirations of its community members.
Deepening DEAI Commitment: Turning Vision into Impact
The Albany Museum of Art demonstrates a strong commitment to Diversity, Equity, Accessibility, and Inclusion, which forms the fundamental basis of our mission. This commitment is reflected in every component of our work, including properly representing people of color and LGBTQ+ artists by highlighting their voices and stories. Through our programs, visitors can explore various cultural dimensions, which help them identify their unique experiences within our exhibitions. The AMA follows the representation principle, critical for producing social transformation through art. By honoring all of the brilliant artistry within Southwest Georgia, we add depth and truth to the stories told.
Strategic Partnerships: Expanding Our Reach
The Albany Museum of Art is positioned to attract national recognition but will keep strong connections to its local traditions. Through our strategic partnerships with renowned museums, we will bring traveling exhibitions to Albany, establishing our city as a key location for major art installations. We will also expand our reach through regional cultural partnerships, enabling dynamic cultural exchanges and opening up new possibilities for artistic growth and development.
This summer’s exhibitions demonstrate our dedication to offering visionary, dynamic experiences from established and emerging artists:
The Haley Gallery exhibition, Will Wilson: In Conversation, supported by Art Bridges, highlights a connection between contemporary Navajo (Diné) photographer Will Wilson's work and that of Edward Curtis, a 19th-century American photographer. Wilson’s work counters Curtis’s historically inaccurate images through collaboration and by giving his subjects control over their representation.
South African artist Buqaqawuli Nobakada showcases her exhibition Her Ladyship, Countess of Cumakala (East and Hodges Galleries), which examines how Black women establish their identities through self-fashioning and self-presentation. Nobakada utilizes her art to show the beauty of luxury while embodying confidence and sexual freedom in her celebration of Black female identity.
In his exhibition, Hues of Skin and Earth (McCormack Gallery), Jamele Wright, Sr. explores color perceptions by examining the frequently overlooked color brown, demonstrating how it embodies depth and complexity. The exhibition encourages viewers to explore the intersections of color theory with history and emotional expression in abstract and figurative artworks.
Today marks the beginning of an exhilarating journey as the AMA steps into a leadership role and transforms its artistic excellence into a permanent legacy. Your steadfast support enables the familiar and the new, the local and the global, to become an integral part of our artistic heritage at the Albany Museum of Art, the place where we all belong.
Albany Museum of Art curators are reaching out to the community for information for an upcoming exhibition focusing on Albany safe sites listed in the 20th-century publication The Negro Motorist Green Book
From the book’s first edition until about 1945, Albany was listed with tourist home locations where Black travelers could safely stop and board overnight. In the summer of 2026, the AMA will present Sense of Place: Green Book Sites in Albany, GA, an exhibition about the Albany women and their homes listed in the book.
During those years, four women registered their homes as tourist homes. Mrs. Aurelia Bentley, Mrs. Lula Davis, Mrs. Virginia Ross, and Mrs. Callie Washington opened their residences to travelers for lodging and refuge.
“This is an especially exciting exhibition opportunity,” Curator of African Collections and African Diasporic Art Sidney Pettice said. “While these four historic homes no longer exist or function as the homes they once were, we aim to honor the legacy of these women.”
Those with information on the Albany people and places included in the book can email Pettice at sidney.pettice@ albanymuseum.com or call her at the AMA.
ALBANY-DOUGHERTY DAY AT THE CAPITOL
Each year the Albany Area Chamber of Commerce assembles local leaders to meet with Georgia lawmakers, the governor’s office, and government officials at Albany-Dougherty County Day at the State Capitol in Atlanta.
AMA Executive Director Andrew J. Wulf, Ph.D., attended the Jan 27-28 event, which provided participants with key opportunities to engage directly with state leadership and advocate for policies and initiatives that impact business competitiveness in the Albany Area and Southwest Georgia.
“This annual visit to Atlanta is vital for the AMA as it allows us to connect with lawmakers on their home ground, informing them of our priorities back home, including the AMA’s downtown project,” Wulf said. “These individuals represent their regional constituencies, and discussions with our elected leaders are crucial for securing advocacy, funding, and ongoing support for our efforts here in Southwest Georgia. This visit also gives us insights into how the state legislature operates.”
AMA TEEN ART BOARD PROJECT
The recently completed first phase of artwork installations in the new Trauma & Critical Care Tower on Phoebe’s main campus highlights the creativity and talent of Albany-area artists, including members of the Albany Museum of Art Teen Art Board.
The AMA’s teen leadership group created and contributed a pair of paintings titled Nature’s Dance, which draws inspiration from the healing properties of nature. The paintings are displayed in the Neonatal Intensive Care Unit family waiting area.
“We are incredibly proud to see the students’ work displayed in a space where it can provide joy and a sense of calm to those going through difficult times,” said Annie Vanoteghem, Albany Museum of Art Director of Education & Public Programming. Nature’s Dance, rendered in warm, cheerful hues, captures the beauty and vitality of life’s cycles—depicting flowers, trees, and dandelions as they grow and thrive.
Museum’s mission. It raises funds critical to providing quality art exhibitions, community programming and events, and removing barriers through free admission and outreach.
A PERFECT NIGHT FOR A PARTY
With the perpetual celebrants of François Flameng’s painting gazing approvingly from their own garden party inside the Albany Museum of Art, Art Ball 2025: Fête Nocturne presented a beautiful night of fine dining, cocktails, and dancing under a glowing white tent adorned with native greenery, an exquisite setting complemented first by a gorgeous sunset and later by twinkling stars.
Along the way, generous attendees set a record at the Wayne & Alicia Gregory Family Foundation Paddle Raise. Led by the foundation’s gift of $20,000, Art Ball guests donated over $73,000 to the AMA’s educational programs, including free school field trips and art camp scholarships.
Art Ball is a celebration of art and community, but as the AMA’s biggest fundraiser, it plays an enormous part in the
“Art Ball 2025 was a magical evening where art merged beautifully with community spirit and generous giving,” AMA Executive Director Andrew J. Wulf, Ph.D., said. “Our event succeeded remarkably due to the stunning atmosphere and exceptional support from guests that will sustain our educational work and ensure the continued delivery of art experiences to our community, while demonstrating the transformative power of creativity for every participant.”
The Albany Museum of Art gives a heartfelt thank-you to the chairs of Art Ball 2025—Kelly and Matt Lane—whose vision, dedication, and hard work led to this year’s successful event. Other table hosts included Clyde Ellis and George Harrison, Jordan and Clint Eudy, Katie and Crisp Gatewood, Sarah Beth and Cam Kirbo, and Carmen and Colby Wiggins.
The Museum also thanks its wonderful community partners whose generous sponsorships empowered Art Ball’s success. In addition to the Wayne & Alicia Gregory Family Foundation, sponsors were Safe Aire Heating & Cooling, Upland Wealth Advisors, BMW of Albany, Albany Motorcars Mercedes-Benz, WALB, Flint Community Bank, Hays LTI, and Phoebe.
This serene landscape, an oil on canvas by Jean Charles Cazin, was gifted to the Albany Museum of Art by Ms. Tara Payne Okon in 2020. The painting and its frame were restored this past year by conservators who brought this beautiful artwork back to its original splendor.
Cazin (French, 1840-1901) is mainly celebrated for his landscapes, rural scenes, and portrayals of light and atmosphere. His technique focused on subtle tonalities and distinctive use of color, often capturing the soft light of dawn or dusk in his scenes painted from memory. His landscapes were frequently influenced by his knowledge of English and Dutch painters.
In Paris, he studied under Horace Lecoq de Boisbaudran (1802-1897), an innovative, unorthodox instructor who developed a teaching method based on drawing from memory. Other young artists attracted to his teaching style were Fantin-Latour (1836-1904), Alphonse Legros (1837-1911), and Auguste Rodin (1840-1917). They shared an interest in Symbolism, which sees symbols in reality and perceives reality through symbols. Cazin submitted a landscape painting to the Salon des Refusés. The landmark 1863 art exhibition in Paris showcased works rejected by the official Paris Salon and was a pivotal moment in the development of modern art.
In 1875, Cazin settled near Boulogne-sur-Mer, his hometown, where he painted landscapes and the beaches of the coastal town. During this time, Cazin likely painted this warm and inviting landscape with the sea in the distance. In his later years, he received numerous awards for his contributions to French art.
This pendant was given to donor Marguerite L. Burt as a gift during her time in Ethiopia. While the pendant is beautifully crafted, it has a captivating accompanying Haile Selassie Lion Pendant is named after Emperor of Ethiopia Ras Tafari Makonnen (1892-1975), later known as Haile Selassie I, who ruled from 1930-1974. He was likely the emperor during Marguerite Burt’s time in Africa, and this pendant commemorates the work the emperor did for Ethiopia.
Haile Selassie I was best known for bringing Ethiopia into the League of Nations and the United Nations, which he later utilized when leading a resistance against the Italian invasion of Ethiopia. The emperor was memorable for his progressive approach to politics, appealing to younger generations in the country. He was the first emperor to engage with other political leaders abroad and at home as one of the founding members of the Organization of African Unity, bridging gaps and relieving strife between African communities on the continent.
The symbol on the pendant called “The Lion of Judah” depicts a crowned lion carrying a cross with a ribbon tied around it. The symbol was on the Ethiopian Flag from 1897-1974 and is representative of the Solomonic Ethiopian emperors, including Haile Selassie I, who was the last of his dynasty. The Lion of Judah is emblematic of strength, bravery, leadership, and nobility, which Haile Selassie I became quite well known for in his time as emperor of Ethiopia as a political mobilizer and organizer who fought for the inclusion of his country in the affairs of the world, and the unification of African communities.
ON VIEW
May 15 – Aug 16, 2025
In Conversation
This exhibition, with support provided by Art Bridges, comes to the Albany Museum of Art as part of the AMA’s commitment to sharing stories and perspectives from all Americans. Through the artistic manipulation of light and chemistry, this exhibition connects two photographers from different eras, both dedicated to documenting and preserving identities but with vastly different approaches. It brings their works into conversation.
At the turn of the 20th century, American photographer Edward Sheriff Curtis (1868-1952) embarked on a journey to produce a series of portfolios documenting Native Americans and their ways of life. The results, published as The North American Indian (1907-1930), were decidedly romantic while being received as reality. A common misbelief of this time was that Native American cultures were vanishing, and Curtis dedicated more than 30 years of his life to documenting over 75 Indigenous North American
groups. However important his work was to preserve a historical record of many Indigenous peoples, in actuality, Curtis reduced his subjects to archetypes rather than allowing for personal agency. He would often provide props, suggest sitters wear their finest clothing or ceremonial attire despite posing for everyday tasks and worked diligently to ensure no examples of modern life or European influence appeared in his constructed scenes.
Contemporary Diné (Navajo, b. 1969) photographer Will Wilson’s ongoing Critical Indigenous Photographic Exchange (CIPX) project is dedicated to creating a 21st-century vision of Native North America by challenging the long-standing acceptance of Curtis’ documentative photos from The North American Indian compendium. For CIPX, Wilson employs a wet-plate collodion photographic technique, based on the 19th century method that involves exposing and then developing a plate that has been coated in
light-sensitive chemicals. Through his work, Wilson explores identity, the photographic medium as both art and science, and community. Wilson’s use of the word “exchange” in his project is a very intentional choice. He collaborates with his sitters, who determine the pose, clothing, props, and how they are presented. As a gesture of reciprocity, Wilson gives the sitters the original photograph, while retaining the right to print and use scans for artistic purposes. He does not simply capture their likeness but has meaningful encounters with his sitters that go beyond the tintype.
Opposite page: Will Wilson (b. 1969), Nakotah LaRance, Citizen of the Hopi Nation, 9-Time World Champion Hoop Dancer, Member, Dancing Earth, Indigenous Contemporary Dance Creations, 2012, printed 2018, archival pigment print from wet plate collodion scan, 22 x 17 in. Art Bridges. Photography by Brad Flowers.
In the 1880s, the U.S. government actively suppressed Native American religious practices by enforcing the "Code of Indian Offenses," which banned traditional ceremonies, rituals, and beliefs, with the goal of cultural assimilation through policies that continued until at least 1934. The Indian Removal Act of 1830, signed by President Andrew Jackson, authorized the forced relocation of tribes from east of the Mississippi River to lands in the west. Curtis was born about 38 years later and was raised with knowledge of these events. During Curtis’ production of The North American Indian, he was asking Indigenous groups to skirt the law and perform ceremonies and rites that were essentially banned by the United States government. His fabricated scenes notwithstanding, Curtis made strides in preserving the memory of Indigenous culture, but did so through controversial means, which should not be separated from the result of his work.
In award-winning filmmaker Anne Makepeace’s own words from her book and subsequent documentary, Edward S.
Curtis, Coming to Light, she shares what she learned during her research regarding her own experiences, which were, at times, quite similar to Curtis’ while attempting to photograph and record Indigenous ceremonies:
“Since the time the first photographers went West, the idea of photographing ceremonies has been extremely controversial. Many Indian people feel that the camera is an invasion of privacy. Some also believe the photographs negate the effects of their prayers. … When the Navajo or the Kwakiutl had donned masks to perform dances for [Curtis’] camera, or when the Sioux and Crow had reenacted battle scenes on horseback, they were doing so to contribute to a photographic record that would be of value to their children and grandchildren. Most Indian people today refer to their departed family members as relatives, not as ancestors. The spirits of the dead are still with them, and Curtis’s photographs are the gifts of the departed relatives to the present generation.”
Likewise, Wilson does the same; to capture and keep memory alive. Through his Critical Indigenous Photographic Exchange, Wilson firmly asserts his identity and his sitters’ identities as their own, not constructed versions of a romanticized ideal. Furthermore, Wilson brings his photographs into the 21st century by utilizing Augmented Reality (AR) technology to make some of his tintypes “talk.” By downloading this free app, developed by Wilson himself, “Talking Tintypes,” visitors can experience a new depth to these tintypes and feel like they, too, are a part of the conversation.
Above: Will Wilson (b. 1969), Raven Knight, Citizen of the Jicarilla Apache Nation, Dancer, Dancing Earth, Indigenous Contemporary Dance Creations (Detail), 2012, printed 2018, archival pigment print from wet plate collodion scan, 22 x 17 in. Art Bridges. Photography by Brad Flowers.
Opposite page: Will Wilson (b. 1969), Michelle Cook, Citizen of the Navajo Nation, UNM Law Student, 2013, printed 2018, archival pigment print from wet plate collodion scan, 22 x 17 in. Art Bridges. Photography by Brad Flowers.
May 15 – Aug 16, 2025
East and Hodges Galleries
Her Ladyship, Countess of Cumakala
Buqaqawuli Nobakada
"By making ourselves hyper-visible through art, we claim space, defying histories that sought to erase us. This is the essence of my work: to celebrate our beauty and craft through a visual utopia where we are abundant, delicate, and sovereign. "
—Buqaqawuli Nobakada
Buqaqawuli Nobakada (b. 2000) is a South African-born and based artist who specializes in the depiction of the honorable practice of craft in the selffashioning, and self-presentation that Black women adopt. The artist calls this practice “performative visuality,” noting the meticulous care that goes into the makeup, hairstyling, and clothing choices that Black women make. Nobakada considers beauty an element of luxury, sexual liberation, and confidence.
This exhibition, which the artist has titled Her Ladyship, Countess of Cumakala, is Nobakada’s first solo exhibition in the United States. Through her lace paper artworks and Black feminist perspective, she brings forth beauty in womanhood and sisterhood.
The artist and Curator of African Collections and African Diasporic Art Sidney Pettice have written essays in conversation with each other. This publication, available for purchase, will allow patrons to engage with the artist’s practice, both in the fabrication of works and in intuitive writings.
Opposite page: Ginger, HD Lace 13 x 6 Buss Down, 2024, Acrylic Paint on hand-prepared lace, archival frame.
May 15 – Aug 16, 2025
McCormack Gallery
Hues of Skin and Earth
Jamele Wright, Sr.
Jamele Wright, Sr., born and raised in Ohio, moved at age 22 to Atlanta, where he began his artistic career at the intersection of jazz music, poetry, and visual arts. While his works emit presence, they also evoke feelings of warmth, body, and landscape. Inspired by the work of abstract-expressionist painter Al Loving, who is best known for his artworks which meticulously balanced shape and form, Wright continues Loving's tradition and legacy while providing new perspectives on the use of color.
When creating the body of work on exhibit titled BROWN, the artist was
inspired by the notion of brown artwork and paintings being unpopular or undesired. In breaking the color down into reds, oranges, yellows, blues, and greens, Wright rethinks color association and hue. He has placed his body of work in the conversation with classical depictions of landscapes from the Hudson River School to the visual world of Technicolor film in the early-to mid20th century.
His exhibition Hues of Skin and Earth offers an immersive and imaginative experience bringing about memories, feelings, and experiences interconnected with color, shape, and form.
Wright is the awardee of the AMA’s inaugural open-call search for Georgiabased artists for a solo exhibition. The jury selected his work out of the nearly two dozen submissions.
Opposite page: Installation of Jamele Wright, Sr.’s BROWN series, courtesy of the artist.
PROGRAMS
FOR KIDS
TODDLER TAKEOVER
Tuesday | May 13 | 10:30-11 AM
This special morning for toddlers ages 15 months to 5 years and their caregivers features sensory exploration, storytelling, and hands-on crafts inspired by the exhibition In Conversation: Will Wilson. Activities will encourage creative play and cultural appreciation.
This is the final Toddler Takeover for the 2024-25 school year. The program will pause for the summer and return on Sept 2.
Cost: Free for Reciprocal and higher donors; $5 for Artist Guild donors; $10 for non-donors.
FOR K-12
HOMESCHOOL DAY
Thursday | May 15 | 10-11:30 AM
This program is an immersive learning experience. Homeschool students will explore photography techniques, composition, and artistic expression while learning about Will Wilson’s contemporary work and the history of tintype photography.
Designed for students in K-5th grade, participants learn together in the gallery and create take-home projects in the AMA Classroom. Homeschool Day will pause during the summer months and return on Sept 11.
Middle & High School Students: Mondays | May 19, Aug 25 | 4-5:30 PM Elementary School Students: Tuesdays | May 20, Aug 26 | 3:30-5 PM
In the last club meetings of the 2024-25 school year, students will explore themes of self-representation and cultural identity through various media, including self-portraiture, photography, and painting. This program fosters discussion, critical thinking, and hands-on learning.
The club meetings will pause during the summer and return for the 2025-26 school year on Aug 25-26. The monthly meetings enable students to explore different art media and learn and work on new techniques as the year progresses.
RSVP: www.albanymuseum.com/ama_programs/art-club/
Cost: $12 for AMA donors; $15 for non-donors.
PROGRAMS
SUMMER ART CAMPS
The Albany Museum of Art again offers a wide variety of weeklong summer art camps for children and youth. Each camp caters to a specific age group. Prices may vary by camp. Most camps are 9 am-4 pm, and many offer free early drop-off at 8 am and free late pick-up at 5 pm.
Campers can bring a brown bag lunch or lunch can purchased with registration. All campers participate in the pizza party on the final day of each camp.
Detailed information about each camp and a link to register campers can be found at www.albanymuseum.com/summerart-camps.
This summer, artworks created by campers will be featured in the West Gallery, which leads from the front lobby to the AMAzing Space creative play area. Growing Creativity: AMA's 2025 Summer Camp Art Showcase will be home to revolving displays of camper-created artwork from June 6 to Aug 16.
2-4 YEARS OLD
Littles Camp I
June 9-13 | 9 AM-Noon
This sensory-based art experience for toddlers features storytelling, music, and hands-on art projects like finger painting and sculpture.
Littles II Camp
June 23-27 | 9 AM-Noon
This sensory-based art experience for toddlers features storytelling, music, and hands-on art projects like finger painting and sculpture.
K-5TH GRADE
Wizard School Art Camp
June 2-6 | 9 AM-4 PM
Young wizards create magical artwork, mix color potions, and craft their spellbooks in this fantasy-inspired camp. Activities include wand-making, enchanted landscapes, and magical creature sculptures.
Mad Scientist Art Lab Camp
June 16-20 | 9 AM-4 PM
Science meets art in this camp where young artists experiment with paint reactions, slime art, and kinetic sculptures to explore the science behind the creativity.
Art Around the World Camp
July 7-11 | 9 AM-4 PM
Campers explore different cultures through art, creating works inspired by traditional art forms from Africa, Asia, the Americas, and Europe.
Color Carnival Art Camp
July 21-25 | 9 AM-4 PM
Summer camp season wraps up with a week packed with vibrant, expressive art-making, including tie-dye, color theory exploration, splatter painting, and large-scale collaborative projects.
EVENTS
EXHIBITIONS OPENING RECEPTION
Thursday | May 15 | 5:30-7 PM
Join in the celebration of the opening of the summer exhibitions: In Conversation: Will Wilson, with support from Art Bridges; Buqaqawuli Nobakada: Her Ladyship, Countess of Cumakala, and Jamele Wright Sr.: Hues of Skin and Earth
This celebration of African-American heritage and creativity commemorates the end of slavery in the United States on June 19, 1865, when Maj. Gen. Gordon Granger ordered the final enforcement of the Emancipation Proclamation in Texas at the end of the Civil War.
The event will include dance, poetry, and music performances; Black history trivia; a craft station to create jewelry using wire and glass beads; a food-tasting station, and a wine and beer bar.
Cost: $5, entry ticket; $10, entry and two drinks tickets. Additional drink tickets are $5 each.
KID ARTREPRENEURS MARKETPLACE
Friday | July 18 | Noon-2 PM
Spend your lunch hour at the Albany Museum of Art and see what tomorrow’s artists are doing today Kid Artrepreneurs campers spend the week creating art-related businesses and products, which go on sale at their marketplace inside the AMA on the final day of camp. It is a great opportunity for campers to learn the business side of art, and the marketplace encourages campers to pursue their art dreams.
In concert with the exhibition Will Wilson: In Conversation, with support from Art Bridges, this event will be a moderated discussion that explores themes of Indigenous identity, selfrepresentation, and cultural appropriation. The time for the event will be announced.
A non-profit organization cannot fulfill its mission without operational support. The funds raised through the Annual Fund directly support staff, programming, infrastructure, and building needs. There are tiered levels starting at $1, with giving circles that suit the donor’s level of engagement. The AMA is deeply grateful for all our donors, whose contributions are 100% tax-deductible within the limits permitted by law.
This donorship program replaced the AMA’s traditional paid membership program on June 30, 2024.
To become an Annual Fund donor online, visit www.albanymuseum. com/support/annual-fund and choose the level you find comfortable. If you have questions, please contact AMA Director of Development Chloe Hinton at 229.439.8400 or at chloe.hinton@albanymuseum.com.
DONOR LEVELS
Artist Guild — <$125/year
• Attend one (1) opening reception per year for free for all household members, with discounts on other opening receptions.
• Discounts on Toddler Takeover, After School Art Club, Homeschool Day, Corks & Canvases Painting Parties, and AMA Meet-Up Trips (art camps are not included).
• Digital Communications, including the AMA’s weekly email newsletter, event invitations, and access to the digital magazine.
• Active military and their families may contribute at this level and receive Reciprocal Level benefits.
• 10% discount at the Lamp Shade.
Reciprocal Level — $125-$249/year
You receive all benefits of the Artist Guild Level, and:
• Print copies of event invitations, AMA Magazine, and special AMA announcements mailed to your preferred address.
• Reciprocal membership to hundreds of museums across the United States through the North American Reciprocal Membership (NARM) program and the Southeastern Reciprocal Museum (SERM) program.
• A discount on all camps and classes.
• A discount on birthday parties.
• Attend two (2) opening receptions per year for free for all household members, with discounts on other opening receptions.
• Toddler Takeover sessions are free.
Contributor — $250-$499/year
You receive all cumulative benefits through the Reciprocal Level, and:
• Annual recognition in AMA Magazine
• Attend all opening receptions for free.
• Free admission to AMA Meet-Ups
• Priority registration for special events.
Enthusiast: $500-$999/year
You receive all cumulative benefits through the Contributor Level, and:
• Invitation for two (2) to The Year in Art luncheon, a free, invitation-only event reflecting the closing fiscal year and looking forward to the coming year.
• A complimentary Reciprocal Level donorship for you to give to someone as a gift.
• Recognition on the Year-End Donor Wall in the AMA Lobby.
Advocate: $1,000-$2,499
You receive all cumulative benefits through the Enthusiast Level, and:
• A private tour for up to 10 people guided by the AMA Director of Curatorial Affairs.
• 20% off one auditorium rental.
Champion: $2,500-$4,999/year
You receive all cumulative benefits through the Advocate Level, and:
• One free annual limited-edition print.
• 50% off auditorium rental.
• Monthly updates on all things AMA.
Philanthropist: $5,000 or more/year
You receive all cumulative benefits through the Champion Level, and:
• One free auditorium rental.
• Exclusive travel opportunities to the Southeastern Museum Conference (SEMC), the Alliance of American Museums (AAM) conference, and Museum Advocacy Day in Washington, D.C., along with other invitations to travel with the AMA Executive Director.
AT A GLANCE
MAY
13 Toddler Takeover
10:30-11 AM
15 Homeschool Day 10-11:30 AM
Summer Exhibitions
Opening Reception
5:30-7 PM
17 Family Opening Day
10 AM-2 PM
19 After School Art Club: Middle & High School
4-5:30 PM
20 After School Art Club: Elementary School
3:30-5 PM
Ar t Lovers Book Club
5:30 PM
26 AMA is closed for Memorial Day
27-30 Culinary Arts Camp
9 AM-4 PM
Mini Masterminds
Art Camp
9 AM-4 PM
JUNE
2-6 Wizard School Art Camp
9 AM-4 PM
7 Yoga in the Gallery 10-11 AM
9-13 Littles Camp I
9 AM-Noon
Printmaking & Textiles Camp
9 AM-4 PM
16-20 Mad Scientist Art Camp
9 AM-Noon
19 AMA is closed for Juneteenth (art camp is open)
