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Collections Summer 2013 Volume 96

From the ExecUtive

Director Membership Column Lowndes- Joelle and I had an idea that I’ll come talk to you about.

Karen Brosius Executive Director

When we have an artist with international roots who lives in our state, it brings to life our mission of celebrating art from around the world and embraces an artist in our midst. The CMA is presenting this summer the large, geometric and colorful sculptures and paintings of Steven Naifeh in the first retrospective exhibition of his work. Naifeh, an Aiken, South Carolina resident, has truly been a magnanimous participant in the creation for this exhibition, and his generosity in sharing his work with our visitors is sincerely appreciated.

It is hardly surprising that Naifeh’s childhood in the Middle East educated his eye to the rigorous forms of Arab and Islamic art. The art of the Islamic culture is deeply beautiful and reflects a sensual delight in the precision of geometric formulas. Islamic culture has been so essential to the development of mathematics worldwide that many mathematical terms – algebra and algorithms, for example – entered English from the Arabic language. The geometries of Islamic art, with their ornamental counterpoint, are the basis of Naifeh’s art. This joyful, mathematical alignment of color, material, shape and line brings to light an intricate and versatile body of work that is visually compelling and worthy of profound contemplation. Found in Translation is destined to inspire our community and open doors to understanding cultures beyond our own. It shows visitors that what we share culturally is perhaps greater than what separates us. Abstract art is capable of expressing complex ideas like unity and continuity. We hope every visitor is inspired with a deeper understanding of the art of the Middle East, Northern India and Northern Africa and takes the time to reflect on its synergy with contemporary Western art. This exhibition is representative of the CMA mission to celebrate artistic creativity as expressed by diverse cultures both here and abroad and introduce exciting work to our community, state and region. I would also like to thank our board of trustees and commissioners for their continued legacy of support. I am most grateful for a superb and talented staff that worked diligently to bring this exhibition to fruition. It is surely a delight for everyone to see this beautiful integration of cultures.

Board Member Highlight Lisa Arnold xxxxxxx

Front Cover: Saida XXX: Venetian Blue 2012. Acrylic on 60 canvases, 120 × 120”.


Now on View

Found in Translation: The Art of Steven Naifeh May 17–September 1, 2013 Will South, chief curator The abstract art of the West and the geometric art of the Arab and Islamic worlds share not only an appreciation for the beauty of the physical world, but also, even more fundamentally, an understanding of the spiritual origin and purpose of beauty. The brilliantly colored, large scale geometric abstractions by Steven Naifeh reveal and celebrate this commonality in his first museum retrospective. His art gives the viewer the opportunity to simultaneously learn more about Western abstraction and Islamic art, all while being overwhelmed by the splendor of his out-sized creations. Beginning a thousand years ago, Islamic artists from Moorish Spain to northern India used geometric art to represent universal harmony. These artists used the basic shape of a circle to create a seemingly infinite number of different patterns that expressed the belief there is order in all of creation.

Above: Cyrene XVI: Gold, 2012. Acrylic on 110 canvases, 89 × 115” Next Page: Mamluk IV: Sapphire, 2011. Acrylic on 12 canvases, 62 × 72”

three continents as his parents moved from assignment to assignment in the service of their country. From Libya to Pakistan, Naifeh grew up surrounded by the art of the Middle East.

The spirituality of Middle Eastern art had its counterpart in Western artists such as Kazimir Malevich, who thought of his paintings as religious icons. Over a career spanning more than four decades, Steven Naifeh’s work has evoked this sense of order and clarity at the heart of both Middle Eastern art and Western geometric abstraction.

Over many centuries, artists across this vast geographic area used the same geometric rules both to organize space and to embellish surfaces. Working closely with the great mathematicians of the Islamic Renaissance (who invented the modern system of numbers), artists used mathematical formulas to create everything from whole structures like the Taj Mahal to exquisitely illustrated manuscripts.

Steven Naifeh (pronounced, NAY–fee) was born in Iran, the son of American diplomats. He spent his childhood in a succession of exotic “homes” spread across

After graduating from Princeton, where he studied art history, Naifeh did graduate work at the Fogg Art Museum of Harvard University. His unusual background led

him to a fascination with the geometric abstraction of 20th-century Western European and American art, about which he has written extensively. At the same time, his own art began to address the kinship between the geometric abstraction of prominent Western artists like Frank Stella, Ellsworth Kelly, Donald Judd, Bridget Riley and the millennium-old tradition of Arab and Islamic abstraction. Naifeh’s art became and remains a blend of both ancient and modern sources. Many works by Naifeh are modular, meaning they are made up of single units that combine to form a whole. For example, in the Saida series (see an example on the front cover), the individual shapes emanate out from the center and


Found in Translation Upcoming Programs Presented by Joyce Martin Hill and the Humanities CouncilSC

Lecture: Symbolism as Seen in Geometry of Islamic Art Friday, July 19 | Noon Mana Hewitt discusses how Islamic art reveals a preference for surface patterns composed of geometric forms. These complex designs create the impression of unending repetition, which is said to encourage the viewer to contemplate the unlimited nature of God. Hewitt is the current Undergraduate Director and McMaster Gallery Director at the USC Department of Art. $10 / $8 for members / $5 for students

Lecture: The Adornment of Geometry: Image, Text & Form

Friday, August 9 | Noon Islam’s adornment of geometry, the Arabesque may be traced back to the early formation of Islamic Art around the 8th century. In this lecture, Dr. Akel Kahera explores the major issues of image, text and form by inviting participants to examine the adornment of geometry in Islamic visual expression. Dr. Kahera is the Associate Dean of the College of Architecture, Art and Humanities at Clemson University. $10 / $8 for members / $5 for students

Dinner and a Movie with Steven Naifeh

Sunday, August 18 | 5:30 p.m. Spend an evening with Steven Naifeh enjoying a cocktail hour, gallery tour and BBQ dinner. Afterward, stroll down to the Nickelodeon Theater to enjoy popcorn, desserts and drinks while learning and watching how Naifeh’s book on Jackson Pollock became the film, Pollock. Individual tickets: $100 / $75 for CMA and Nickelodeon members. Couples’ tickets: $175 per couple / $125 per couple for members.

Artist Salon Series: Will South

Friday, August 23 | Noon The Artist Salon Series features gallery talks, led by working artists, about a wide range of subjects, topics and disciplines. Join CMA Chief Curator, Will South, as he leads a tour of Found in Translation: The Art of Steven Naifeh. Free with membership or admission.


get larger left and right, downward and upward, all at the same time. The result is an expansive, rhythmic and very positive feeling. According to Naifeh: “Saida is an Arabic word meaning happiness. When I found the geometric basis for this series, it was incredibly exciting. And I think most people who see it have the same feeling. It is so surprising and delightful the way the pattern works out – how these boxes of different sizes stack into a spiral. It combines the satisfying resolution of geometry with the playfulness of Op Art. The contradiction of these two pleasures affects the way you see the image. Your eye oscillates constantly between the stable overall design and the shape-shifting separate elements. The result is a kind of visual laughter. It’s the same reaction you might have to a magic trick: That can’t be right! How does it work?” One of the most glorious aspects of Islamic art is that it is made using such a wealth of materials. Think of just a few—mother-ofpearl inlay in Damascene furniture, semiprecious stones set in the white marble of Mughal architecture, ceramic tiles in domes and minarets all along the entire length of the Silk Road and the lustrous silks of Ottoman textiles. So much of the Islamic world stretches across such arid geography that the indigenous artists naturally turned to rich color and material, to enrich their own often-ascetic lives.

“There are many ways to honor this celebration of rich materials, ways that don’t involve emeralds and rubies,” Naifeh said. “In many of my paintings I use metallic paints, which I often oppose to strips of flat white paint to enhance their metallic effect. I have also used metallic paints on fiberglass or on welded steel, which produces an even more luminous surface. My LED lightboxes have an entirely modern luminosity that, I think, Islamic artists from 1,000 years ago would have appreciated.” n Exhibition Presented By: Mrs. Joyce Martin Hill Supporting Sponsors:

Dr. Gregory J. Wych Dr. Suzan D. Boyd and Mr. M. Edward Sellers R. Thomas Cox, III Dr. Carolyn Kressler-Greenberg and Dr. Stanley H. Greenberg Mrs. Carol C. Saunders

The Clarion Hotel Education Sponsors The Hilliard Family Foundation

Coming Soon

Figures and Forms: The Glass Sculpture of Rick Beck August 20–December 8, 2013 Will South, chief curator Something magical happens when the familiar is skillfully transformed, which makes Rick Beck something of a magician. Beck takes the human form and casts it in glass, making it translucent. Similar to a magician, he makes us look closely at what we thought we saw, only to see something different than expected, and become surprised, delighted and amazed. In his first one-person exhibition at the CMA, Beck shows figures and forms sure to capture the imaginations of visitors of all ages. Beck and his wife Valerie, who is also an artist, consider each other their artistic muses. They have lived and worked in their Spruce Pine studio since 1991 and show their work throughout the country. “If it wasn’t for her and of course our beloved dog, my art would be much darker, but they make it all worth it,” Beck said. In 1991, the Becks were among only 100 glass artists selected among thousands by the Corning Museum of Glass to be published in the prestigious New Glass Review 12. Since 1992, the Becks’ work has been featured six times in American Craft Magazine and also featured in Glass Magazine. In addition to the human figure, the subjects of Beck’s cast glass sculptures include industrial elements and scientific models.

Beck creates his glass sculptures using clay forms to create a silicone mold for recycled glass, which is fired to 1650 degrees Fahrenheit. As the molten glass takes the shape of the mold, it can take anywhere from a couple of weeks to a couple of months to cool to room temperature. Diamond blades shape the sculptures, and their surfaces appear rough and unpolished. That is intentional. “I want light and color to pass through, but I want you to be looking at the form and the color, not at what’s pretty inside of it,” Beck said. Light and color passing through the sculpture—instead of being on the surface only—can fool the eye and its interpretation of an object’s position in space. This is Beck as magician and artist, which are, after all, somewhat interchangeable professions. “With glass, you can make something plain into something beautiful,” he said. “With my art, you can see my moods—happy, pensive, wonder, creative and playful. All of my art means something different and through it I am able to show the audience what I was feeling when it was created.” n

need tombstone


CMA on Tour

CMA Monet to Travel the Country

Museums often lend treasured objects to exhibitions to bring a new understanding to art. Such works are missed locally, but serve as cultural ambassadors for their institutions and communities. One of the CMA’s most popular paintings will travel across the country to Oklahoma and Texas. In 2014, an unprecedented exhibition, Mornings on the Seine: Impressions of a River reunites the 28 paintings of Monet’s series for the first time in over a century, allowing visitors and scholars to view his exploration of the subject in its entirety. 4

Monet devoted much of his time in 1896 and 1897 to capturing the distinctive light and atmospheric changes along the river Seine near his home in Giverny. When the resulting series was exhibited in June 1898 at the Galerie Georges Petit in Paris, these pictures helped establish Monet’s reputation as a landscape painter. Mornings on the Seine: Impressions of a River was originally proposed by Todd Herman, former CMA Chief Curator. He envisioned the exhibition to serve as an examination of the larger context of Monet’s exploration of the Seine. The exhibition also examines

the broader personal, political and artistic context for the series, particularly the artist’s growing environmental concerns about the industrial encroachment on the French countryside. The exhibition is on view at the Philbrook Museum of Art in Tulsa, OK beginning June 29, 2014 and at the Museum of Fine Arts, Houston, Texas beginning October 26, 2014. n Above: The Seine at Giverny (L’Ile aux Orties, Giverny), 1897 Claude Monet, French, 1840-1926 Oil on canvas, Gift of Mary T. Chambers in1964


Meet Gladys



Donor Shows Passion through a Gift of

every opportunity. Myrtle often brings her In December of 2012, St. John Neumann children and grandchildren to the CMA Catholic School third graders received an early Christmas present. More than 50 to see traveling exhibitions and to enjoy students, teachers and chaperones enjoyed programs like summer camps. a day of exploration and inspiration at the CMA. For many, Upon hearing of the “I believe that our this field trip was their plans for the fall 2012 community’s cultural first time in an art exhibition, Mark life continues when our museum and for others, Rothko: The Decisive it was an opportunity children form a connection Decade, Myrtle with the arts.” couldn’t wait to get her to experience the wondrous world inside - Myrtle Robinson grandchildren in to the CMA again. the Museum to see the art. This time though, Myrtle Robinson is a supporter and longshe wanted to do a little more since it is standing member of the CMA. As an not often that children in Columbia get avid art-lover and enthusiast, she shares the opportunity to see works from this this passion with friends and family at important painter. Myrtle decided to bring 6

the entire St. John Neumann third grade class to the CMA for a field trip. Knowing it was not within the school’s budget, Myrtle offered to pay for a bus to transport them and to cover the student’s admission. The students were giddy with excitement as they made their way through the Rothko exhibition learning about the art and life of this great American artist. Following the tour, each student created his or her own original art. Myrtle hoped the tour would inspire them, and she hoped the opportunity to create something in the studio would encourage their inner creativity – and that it did!

Education and Exploration A few weeks after the field trip, Myrtle invited CMA Executive Director Karen Brosius, to her home. During her visit, Myrtle proudly showed Karen a box filled with dozens of drawings, cards and handwritten thank-you notes from the students, teachers and chaperones. While the reward for Myrtle was sharing her love for art, she is now aware of just how much the visit to the CMA meant to the children.

“Dear Mrs. Robinson, Thank you for sending the whole third grade to the Art Museum… It was the best day in the history of the world!” - Mariah, 3rd Grade Student Arts education is at the core of the CMA’s mission. With the support of our members and donors like Myrtle, we continue connecting people to visual arts while making our community a better place to live, work and play. We invite you to share your love of art with friends and family by supporting the CMA’s educational mission. “We loved our time at the museum! We could not have done it without Myrtle Robinson. It’s so important to expose children to the various types of art and its history!” Jeri, Third Grade Teacher, St. John Neumann For details on our school field trip programs, call Kayleigh Vaughn at 803.343.2163. n


upcoming events

Program Highlights Learn to Draw: In the Spirit of Ink Saturday, July 13 | 10:00 a.m. – 4:00 p.m. Ink wash is a drawing technique that has evolved into a practical illustration technique. Students in this workshop discover how ink wash is similar to watercolor paint and learn necessary techniques to create ink wash drawings. Instructor Tonya Gregg received a Master of Fine Arts in Painting from the University of Chicago and a Master of Community Arts from the Maryland Institute College of Art. This workshop is suitable for beginner and intermediate students. Students are encouraged to bring drawings or images to translate. All supplies included. $60 / $48 for members. Painting in the Style of the Old Masters Monday - Friday, July 22 – August 2 | 10:00 a.m. – 4:00 p.m. In this two-week workshop, students learn the step-by-step process of academic oil painting under the instruction of award-winning artist Letitia “Tish” Lowe. Learn how to create an exact replica of an Old Master painting by using specific techniques and principles of the 19th-century French academies and Renaissance masters. Topics covered include the stages of a painting, form, color, light, edges and paint quality. Lowe trained at the Angel Academy of Art in Florence, Italy. She specializes in portrait, still life and figurative oil paintings in classic realist style. Suitable for advanced or beginning painters. $1095 / $995 for members. Register by July 8 for a discounted cost: $1050 / $950 for members. Painting with Light Wednesdays, August 7 – September 25 | 9:00 a.m. – 12:30 p.m. Ever been tempted to try and copy a painting you see in a museum? This is your chance! Learn to paint through a focused look at Jean-Baptiste Armand Guillaumin’s Ferry Boat (1885) from the CMA collection. During this eight-week course, students are guided step-by-step on how to view light and color to complete an entire impressionistic painting without any experience. Popular instructor Lee Swallie teaches a unique impressionistic style of painting to students of all skill levels. His one-on-one approach makes painting for novices enjoyable and fun. $320 / $256 for members. Lecture: From Bawdy Boucher to Moody Monet: The Expressive Use of Color Wednesdays September 4 – 25 | 10:00 a.m. This four-week lecture series by CMA Curator Victoria Cooke highlights the use of color by artists in four major artistic movements: Rococo, Neoclassicism, Romanticism and Impressionism. Whether flirtatious and fanciful or evocative and elegiac, color plays an important role in painting for the artist as well as the viewer. Cooke joined the CMA staff in January and is a specialist in French painting of the 18th and 19th centuries. She is a published author, a popular speaker and has served as adjunct professor of art history at Tulane and Loyola Universities. $60 / $48 for members / Single Lecture is $15. Film: Art 21: 100 Artists Thursday, September 5 | Noon Saturday, September 14, and Saturday, September 28 | 1:00 p.m. Participate in a global screening from the popular PBS series Art 21:100 Artists that highlights 100 contemporary artists. xx minutes. Free with membership or admission. 8

Now on View

Photography From the Collection Victoria Cooke, curator Recently, the CMA rededicated the BB&T gallery to the exhibition of works on paper from the collection, including prints, drawings and photography. The debut show, White, Roberts & Ashe: Photography from the Collection, features the work of three African-American artists: Richard Samuel Roberts (1880–1936), Jeanne Moutoussamy-Ashe (b. 1951) and Charles White (1918−1979). Richard Samuel Roberts constructed the identity of a generation of African Americans in South Carolina. His breathtakingly crafted photographs may seem as if they were made for the private use of the sitter, but Roberts’ hard-won technical skill and imaginative artistic vision are proof that he—like any ambitious artist—assumed an audience of future viewers who would not only be impressed by his work, but who would be moved spiritually and intellectually to understand something greater than the sum of the parts of his pictures. This installation also includes photographs taken by Jeanne Moutoussamy-Ashe on Daufuskie Island, South Carolina in the early 1980s. At that time, the island was still largely untouched by the outside world. She captured every aspect of the Gullah community from homes to churches and the surrounding landscape. Each individual she photographed shines through with his or her own special personality. Her pictures help preserve the unique culture of this community.

Jeanne Moutoussamy-Ashe American, born 1951 Blossom (detail), 1981 gelatin silver print Gift of Jeanne Montoussamy-Ashe in 1985

In addition, two photographs by the draftsman Charles White are included. White’s photographs capture urban life in his hometown of Chicago. He said, “Paint is the only weapon that I have with which to fight what I resent. If I could write, I would write about it. If I could talk, I would talk about it. Since I paint, I must paint about it.” He was wrong; he did have another weapon—photography. Like all works on paper, photographs are fragile and subject to fading when exposed to light for extended periods. To preserve the collection for future generations, the photographs by Roberts

and Moutoussamy-Ashe with be exchanged with other photographs by the same artists in the fall. The two photographs by Charles White will be replaced with Counting, a large work by Lorna Simpson (b. 1960). Simpson is a leading artist and photographer featured at the Whitney Museum of American Art and the Brooklyn Museum. Her work reflects a contemporary approach to AfricanAmerican subject matter and addresses issues of race and gender. Photography from the Collection is on view through early 2014. n


new acquisitions

Growing the Collection collection and complement the 26 works on paper by Taylor, which are already in the collection. The museum was also given two paintings by writer and painter, Lee Hall (b. 1934). Hall served as the dean of Visual Arts at the State University of New York/ Purchase and president of the Rhode Island School of Design. Hall was at the epicenter of the Abstract Expressionist movement, writing a significant book on Elaine and Bill de Kooning and exhibiting her work at the influential Betty Parsons gallery.

Carl Van Vechten American, 1880-1964 Portrait of Prentiss Taylor (detail), 1930 gelatin silver print Gift of John A. Zeigler, Jr. in 2013

Victoria Cooke, curator Expanding the collection is one of the most exciting activities in a museum and in the first months of 2013, the CMA added several pieces to its collection. The CMA received three portraits of Prentiss Taylor by photographer Carl Van Vehten (1880–1964) from the collection of John A. Seigler, Jr. Van Vechten began his career as a journalist and critic, writing for the New York Times and Vanity Fair. His interest in photography grew out of necessity, as he was often asked to provide photographs 10

to accompany his articles. He developed relationships with and photographed the artists, writers, singers, actors and social critics who shaped the culture of the day, particularly in New York. Through his writing, Van Vechten became a proponent of the Harlem Renaissance, and his photographs record the leading figures of the movement. The three portraits given to CMA by Seigler show the artist Prentiss Taylor (1907–1991), who was also a participant in the Harlem Renaissance. The photographs show a stylish and sophisticated Taylor in 1930 and again in 1948. These are the first works by Van Vechten to enter the CMA

Both paintings, Connecticut Rise/Autumn and Spring Instance II, were included in her one-person show at the Betty Parsons Gallery in 1979. While they are abstract works, they are nevertheless recognizably landscapes and reflect an interest in the changing seasons. In her handling of paint and color, these paintings show her affinity for the stain paintings of Helen Frankenthaler and the drop paintings of Morris Louis. These paintings greatly enhance our collection of 20th century American art and were generously donated by Janna Fitzgerald, a relative of the artist from Charlotte, NC. The Sears-Peyton Gallery in New York gave the CMA two new works: a painting by Michael Abrams (b. 1957), Somerset Lake, 2012, and a monoprint by Isabel Bigelow (b. 1966) Abstraction, 2012. Abrams lives in Vermont and finds inspiration in the work of the Hudson River School artists. Landscape has always been his subject of choice and his work reflects a respect for the environment. Having a contemporary painting of the Hudson River region allows the CMA to draw connections between generations of artists who were inspired by this American landscape. Isabel Bigelow’s work is more abstract but shows the

influence of a variety of sources, including the simple curves of plowed fields and the play of light and shadow on architecture. The CMA also made a major purchase in the first few months of 2013. As the end of the loan period for the sculptures Kaitlin and Martin by Bob Trotman (b. 1947) drew closer, the staff felt that the piece had become too much a part of the CMA to let it leave. The visitor services staff reported that visitors often pose with the figures for photos, which delights the artist and makes the work one of the CMA’s signature views. Kaitlin and Martin exemplify Trotman’s work, as his artist statement attests: “As a contemporary artist, I am fascinated by a noire narrative of life at the office. My wooden people, often surprisingly posed, evoke both humor and anxiety and, taken together, offer an absurdist vision of an imaginary corporate purgatory.” This humor resonates with CMA members and visitors. Perhaps for all of us in our modern work-a-day lives there are moments when we feel like Kaitlin and Martin look – with frayed nerves, drowning. Kaitlin and Martin appear in various places in the CMA and continue to delight visitors. n

Above: Lee Hall, American, born 1934, Connecticut Rise/Autumn, 1978 oil on linen, Gift of Janna S. Fitzgerald in 2013

Below: Bob Trotman, American, born 1947, Kaitlin and Martin, 2008 wood, tempera, wax, Museum purchase in 2013


Honors and awards

Ethel Brody: Life, Love and Art

Piccadilly 2007 Lino Tagliapietra Italian, born 1934 blown and carved glass Gift of Ethel S. Brody in 2008

For more than 45 years, Ethel Brody has been a CMA member and volunteer, working with the CMA through two buildings, four directors and at least twice as many curators. In addition to giving time and financial support, she has personally donated more than 140 gifts of art to the CMA. Her generosity was celebrated in the 2011 exhibition, A Tale of Two Sisters, featuring dozens of objects given by Brody and her sister Leona Sobel. “Ethel has made her views and priorities known for years through her roles as CMA member, volunteer, donor, artist, trustee and friend. Her legacy will be an enormous one for the Museum and by extension for all who benefit from our presence… my words fall far short of honoring fully the enormous artistic legacy of this special citizen,” Chief Curator Will South said. On May 1, the Museum participated in a wonderful celebration honoring her gifts to 12

not only the CMA, but to our community and state. Ethel was honored as the Individual Recipient for the 2013 Elizabeth O’Neill Verner Award by the South Carolina Arts Commission. The following day, Ethel was presented before the South Carolina General Assembly and recognized for this honor. Established in 1972, this award is the highest honor the state presents in the arts and recognizes outstanding achievement and contributions to the arts in South Carolina. In addition to her support of the Columbia Museum of Art, Brody is a major supporter of the 701 Center for Contemporary Art. When the center opened in 2008, the recession made fundraising difficult, but Brody believed in the organization’s potential and provided crucial financial backing. Brody annually sponsors one of 701 CCA’s artist residencies, helping artists from outside the Midlands and the state to work and sometimes exhibit at the center.

A lifelong student of art and a practicing artist, Brody is a treasured artist in our community and can be found in her studio at Vista Studios. Her work is inspired by everything around her, but some of the patterns, designs, textures and colors are clear influences from her travels. She says, “Everything is grist to my mill. Everything I am interested in. I get my ideas from everywhere. Something strikes me and I am up and running.” Brody has demonstrated unwavering dedication to the South Carolina arts community as an advocate, donor, patron and artist. Her passion for art is highly praised by arts professionals and artists alike, and her impact on the state’s arts community can be seen statewide and beyond. Congratulations on this prestigious award Ethel, and thank you for your gifts to our community that will live on forever! n

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Columbia Museum of Art Board of Trustees 2013 - 2014


Dr. Suzan D. Boyd Katherine W. Davis C. Carroll Heyward, chair Stephen G. Morrison Dr. Ronald C. Rogers

Life Trustees

Ethel S. Brody George B. Hartness Cary K. Smith Susan G. Robinson (in memoriam) Dr. Donald E. Saunders, Jr. (in memoriam)


About Face: Maria Robinson, president Columbia Design League: Elizabeth Nkuo Johnson, president Contemporaries: Asheley Scott, president Docent Corps: Susan McMillan, president Friend of African American Art & Culture: Brandolyn Thomas Pinkston, president

Simply Gorgeous

The unique architecture of the Columbia Museum of Art lends an extraordinary atmosphere for corporate events, client entertainment and social celebrations. With interesting spaces and world-class art, the Museum can accommodate groups from 50 to 1000. Our special events team will work with you to create a distinctive occasion, designed for your individual needs. To book your event, call Christina Carson at 803.343.2212. Support

Generous support for the Columbia Museum of Art is provided by Richland County, the City of Columbia, the Cultural Council of Richland and Lexington Counties, the South Carolina Arts Commission, which receives support from the National Endowment for the Arts, citizens and corporations of the Columbia Riverbanks Region and by the Commission of the Columbia Museum of Art. AND C O U







City of Columbia Stephen K. Benjamin, Esquire, mayor (ex–officio) Tameika C. Isaac Devine, city council liaison Richland County L. Gregory Pearce, Jr., county council liaison


Core Supporters



Steven M. Anastasion Lisa J. Arnold Kay Butler-Bachmann Luther J. Battiste, III, president Nathaniel A Barber Melissa W. Blanchard Julie C. Brenan Dr. Allen J. Coles Thomas E. Collins Sidney Heyward Rex Helen L. Hill Rachel Hodges Dr. J. Carlton Hughes Dr. Carolyn Kressler-Greenberg R. Scott McClelland Sam E. McCuen Duncan S. McIntosh Jodie W. McLean Shirley D. Mills Dr. Allen A. Montgomery Virginia E. Newell Ann B. Oliver Joel A Smith, III Kathryn Hilliard Stuart Dr. Suzanne R. Thorpe Brenda T. Wheeler Karen Brosius, executive director



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