Mississippi Arts + Entertainment Experience Fall 2020
PLACE From the Upcoming Exhibition Deliberately Distorted: The Pottery of George E. Ohr October 3, 2020–January 10, 2021
MOMENTS OF MEANING
“There are moments of meaning in life. A moment that changes the moments that follow.” —Erin Morgenstern, The Starless Sea In those moments, a particular decision causes a chain reaction of additional pivotal moments. Over the past few months, Mississippians have been confronted with a number of those moments of meaning. As a people, we chose to place others before ourselves during the pandemic by self-isolating and practicing safe measures. In our state legislature, our leaders chose to remove a symbol that has served to divide us as a people. I believe the choices made over the past year have opened a path to new and positive outcomes, brightening our collective future. The stories of artists we represent in The Mississippi Arts + Entertainment Experience reveal many moments of meaning in their lives and careers. An example would be the moment when William Faulkner chose to move to the West Coast and pursue writing for the silver screen, a decision that influenced the voice of a generation of writers of screenplays for movies and television. Perhaps the Rolling Stones, Eric Clapton, and Bob Dylan would have sounded different if Muddy Waters had not allowed Alan Lomax to record him in 1941. Perhaps William Eggleston’s friendship with painter and photographer William Christenberry was the moment that influenced Eggleston’s path to become a master of color photography. We will all face important moments of meaning in the coming months. Our choices may not manifest into grand outcomes like those of these great artists, but our thoughtful or even heart-ful decisions will influence a positive future for those touched by our mission. During the pandemic, many of our visitors have found a refuge for reflection and contemplation in our galleries and through the rich content we share. I hope you will take time to explore the stories of our artists as we emerge from these challenging times. Perhaps you will recognize a moment of meaning in your own life. Regards,
Mark A Tullos Jr. President | CEO The MAX
On the cover: Vase with Handles (1895–1900), George E. Ohr. On loan from the collection of Jack Stevens.
Board of Directors Ann Alexander, Chair Meridian Archie Anderson, Treasurer Meridian Marian Barksdale, Secretary Oxford Shawn Brevard Tupelo Sheryl Davidson Meridian Tommy Dulaney Meridian Veldore Young Graham Meridian Checky Herrington Starkville Melanie Mitchell Meridian Dede Mogollon Meridian Joe Norwood Meridian Millie Swan Hattiesburg Billy Thornton Gulfport Fred Wile Meridian Duffee Williams Meridian Laura Carmichael, Ex-Officio Meridian Director Emeritus Fred Cannon Billy Estes Alan Lamar
McCarty Pottery The
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By Coleman Warner, MAX Director of Development | Photos by Ron Blaylock
The MAX 2020 Hall of Fame Celebration The evening of September 3, 2020 will hold a special place in the history of The Mississippi Arts + Entertainment Experience. Amid restrictions necessitated by the COVID-19 pandemic, The MAX and its supporters staged a memorable Hall of Fame induction ceremony for five outstanding Mississippi artists at the MSU Riley Center performance hall in downtown Meridian, followed by sidewalk-star reveals and a reception two blocks away at The MAX. The events featured a wonderful blend of live entertainment, important artists, and fellowship, as country music star and historian Marty Stuart filled the master of ceremonies role. From the stage of the ornate Grand Opera House, dating to the late 1800s, in the Riley Center, Stuart noted that the Hall of Fame gathering had a spirit “somewhere between a family reunion and church.” Musicians Bo Diddley (McComb), John Lee Hooker (Clarksdale), Jerry Lee Lewis (Nesbit) and Tammy Wynette (Itawamba County), and writer Margaret Walker (Jackson) were inducted into The MAX Hall of Fame, bringing to 28 the collection of arts and performance giants receiving this designation to date. Hall of Fame/Walk of Fame consultant Marty Gamblin and the museum’s staff devoted many months to preparations for 2 | PLACE
the events, and Blue Cross & Blue Shield of Mississippi served as lead sponsor. Extensive media and social media attention surrounded the latest induction ceremony, promising lasting benefits in building public awareness of The MAX and its mission. As one of the newest honorees in the Country Music Hall of Fame, Philadelphia, Mississippi-native Stuart introduced speakers, video treatments, and performances honoring the Hall of Fame Class of 2020. Striding onto the stage, playing the mandolin, Stuart paid respect to country and bluegrass traditions with a rendering of “Orange Blossom Special.” Later in the show, he was joined by wife and fellow Country Music Hall of Fame artist Connie Smith in Tammy Wynette’s, “Apartment No. 9.” Stuart, always adept at weaving together threads of music and cultural history, facilitated appearances by individuals representing the Hall of Fame honorees. While the theater crowd was limited in size due to pandemic restrictions, the atmosphere was one of engagement and deep appreciation. Those in attendance will not forget rousing performances by the Bo Diddley
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family, John Lee Hooker’s daughter Zakiya Hooker-Bell, Jerry Lee Lewis sister Linda Gail Lewis, and Georgette Jones, daughter of Tammy Wynette and George Jones. The performers were modest in assessing their own capacity for revisiting songs associated with their famous relatives, but then proceeded to electrify the audience. Hooker-Bell cautioned that “doing one of my dad’s songs is a chore because there’s only one John Lee Hooker,” but seemed moved by the opportunity to represent the Mississippi Delta musician, a pivotal influence with noted rock ‘n’ roll as well as blues musicians. “Even when they’re gone, we can still have them with us through the music.” Among the five Hall of Fame honorees, only Jerry Lee Lewis is still living. He was unable to attend the September 3 events due to health issues, but Linda Gail Lewis delivered greetings from the flamboyant piano player. She honored her brother with a hard-driving performance of “Great Balls of Fire,” lifting one leg into the air as her fingers raced across the keyboard.
With a nod to Meridian and Jimmie Rodgers, emcee Marty Stuart kicked off the evening with “Orange Blossom Special.”
The program section honoring longtime Jackson State University professor and FALL 2020 | 3
writer Margaret Walker provided an opportunity for recalling the deep commitment of Walker, a Birmingham, Alabama native, to teaching and pushing for change during the civil rights era. Dr. Robert Luckett, director of the Margaret Walker Center at Jackson State, offered remarks about Walker’s decades of service and contributions to African-American literature, and Dr. Maryemma Graham, an expert on the history of African-American writing from the University of Kansas, offered a filmed tribute. The event also featured a clip of Walker reading from her widelycited poem, “For My People.” Following closing remarks at the Riley Center by MAX President/CEO Mark Tullos, the crowd moved to The MAX site for photos and remarks at the Walk of Fame Star Unveiling, then enjoyed a reception and outdoor performance by Vasti Jackson and his band. The McComb-based Jackson, eager to take part in a live, sociallydistanced performance after a pandemic-driven disruption of
Top to bottom: Members of the Bo Diddley Family band, Garry “Reese” Mitchell, Scott Free, and Evelyn Cooper, light up the stage with a medley of Bo Diddley hits. Zakiya Hooker-Bell and Vasti Jackson perform John Lee Hooker’s “Boom Boom.” The audience was moved by a recording of Margaret Walker reading her poem, “For My People.”
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Georgette Jones, Connie Smith, and Marty Stuart team up to perform Tammy Wynette’s first recording, “Apartment No. 9.”
his performance schedule, moved about the crowd as he plunged into one electric guitar riff after another. Just a day after the Hall of Fame events, Georgette Jones was among those using social media to spread glowing reports about The MAX and express thanks for new acquaintances. “I don’t remember the last time I had so much fun!” she wrote. “The Bo Diddley family, John Lee Hooker family and Jerry Lee Lewis family were all there performing last night and I enjoyed meeting and hanging out with all of them so much! There’s a connection with others who grew up the way we did … I’m hoping and praying we keep in touch cause I’m looking forward to making more music and memories with my new friends.” She said her mother Tammy Wynette, had she been able to attend and accept the honor, would have been overwhelmed.
Special thanks to sponsor Blue Cross & Blue Shield of Mississippi.
Top to bottom: Linda Gail Lewis channels her brother Jerry Lee with a rousing rendition of “Great Balls of Fire.” Jerry Lee Lewis III and Linda Gail Lewis accept The MAX Hall of Fame award. Jamie Lennon, Georgette Jones, and Chuck Ward with the portrait of Tammy Wynette in The MAX Hall of Fame. Georgette Jones, Evelyn Cooper, and Zakiya-Hooker Bell display their commemorative Walk of Fame plaques.
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By Stacey Wilson, MAX Curator of Exhibitions
Deliberately Distorted: The Pottery of George E. Ohr George E. Ohr may have become a potter by happenstance, but the world remembering him as a pioneer of American Ceramics and the first art potter was deliberate. During Ohr’s lifetime, he used his eccentric personality as a tool to promote his pottery — the result of hard work, determination, and a mastery of pottery. After Ohr’s death, antiques dealer James Carpenter skillfully educated the world on Ohr and his pottery. George E. Ohr, born in 1857 in Biloxi, was raised in the post-Civil War/Reconstruction era which meant that formal education was not a priority and he was expected to learn a trade. Consequently, Ohr learned blacksmithing from his father just as his father learned it from his grandfather. However, Ohr realized that neither blacksmithing nor the other 19 trades he tried were for him. It was not until Joseph Fortune Meyer, a family friend and potter, offered him a job in New Orleans that he finally found his niche as a potter. As Ohr described the experience, “When I found the potter’s wheel, I felt it all over like a wild duck in water.” Candlestick holder with handles, 1895-1900. Ron Blaylock Photography. 6 | PLACE
Once Ohr mastered the basics, he spent two years traveling to 16 states visiting every potter and pottery studio he could find. He learned various techniques and styles all the while forming his own ideas about pottery as a profession, function, and art. When he returned home in 1883, Ohr had $26.80 (roughly $700 today) in savings and used that money to build his studio. To keep costs low, he cut the trees himself, fabricated the potter’s wheel and kiln, and dug clay from the banks of the Tchoutacabouffa River.
Ohr managed his pottery shop until 1894 when a massive fire destroyed several Biloxi businesses including his shop. This fire signified a transition of Ohr from potter to artist. In the years before the fire, Ohr married (1886) and had children (ten between 1887-1906, with only five surviving to adulthood). To support his family he created utilitarian pottery such as water jugs, chimney flutes, and flower pots, and in his spare time, created art. After Ohr reopened his shop, like a phoenix, he created with such ferocity and freedom that his genius emerged. He made vases, pitchers, and teapots in addition to novelties such as puzzle mugs, brothel tokens, and coin banks. Ohr emerged as an artist during the Arts and Crafts Movement (1890s-1920s). Pottery was symmetrical, functional, decorative, and of the highest quality. According to Garth Clark, ceramics expert and art historian, Ohr was the first to “deconstruct the pottery form and approach it as an artist trying to make a creative statement and not just a beautiful pot.” Ohr’s pottery was oftentimes asymmetrical, nonfunctional, and if it was glazed, the colors were strikingly bolder than the pottery of the time. Ohr’s critics described his pottery as poorly constructed and full of deformities. However, his pottery took a great amount of skill to make. Ohr’s level of control over the clay allowed him to make the walls almost paper thin without collapsing and he deliberately added “deformities” such as crumpling, ruffling, and buckling. Ohr regarded his pottery as an extension of his family and affectionately referred to his pottery as his “mudbabies.” After the fire, Ohr carefully salvaged over 1,000 mudbabies including burned ones. He put the burned pottery on special display in his new shop and lovingly referred to them as his “burnt babies.” When asked why, Ohr responded, “Did you ever hear of a mother being so inhuman that she would cast off her deformed child?” Above left to right: Bowls, 1895-1900. Cup, 1895-1900. Ron Blaylock Photography. FALL 2020 | 7
While Ohr’s eccentricities cultivated his notoriety as a loon, his lunacy helped promote his pottery. When possible, Ohr exhibited his work at expositions, fairs, and trade shows. In 1895 he exhibited at the Cotton States International Exposition (Atlanta, Ga.) and did not win any awards. However, his lunacy made the news when The Atlanta Constitution described him as a “comical genius with the long whiskers who made all sorts of pottery…always surrounded by an admiring crowd.” At the Louisiana Purchase International Exposition (St. Louis, Mo.) in 1904, Ohr won his first award, a silver medal for Original Art Potter. The award was the first tangible validation of Ohr as an artist, but you cannot help but wonder if his lunacy played a part in it. Ohr was deliberate in his promotion and exploitation of his lunacy. He adopted the P.T. Barnum approach of self-promotion which emphasized amusement over facts. He played on his eccentric qualities with proclamations such as the “Mad Potter of Biloxi” and the “Greatest Art Potter on Earth, You Prove the Contrary.” He also sported an 18-inch mustache and advertised with photographs that depicted crazy faces, disheveled hair, and peculiar poses. Locals thought he was crazy, but tourists visited in masses. Once in a conversation with a reporter, Ohr confessed, “I found out a long time ago that it paid me to act this way.” Unfortunately, Ohr’s tactics contributed to why he was rejected as a respectable artist during his lifetime. Ohr made around 10,000 pieces of pottery, but did not sell much of it. Compared to the pottery of that time, his pottery was odd-looking, overpriced, and not really for sale. Oftentimes when he sold a piece of pottery, he tried to convince the customer to sell it back. So, Ohr decided since he could not sell his pottery individually, he would find a buyer for his entire collection. He sent unsolicited crates of pottery to the Smithsonian Institution (Washington D.C.) in 1899 and to the Delgado Art Museum (now the New Orleans Museum of Art) in 1906. Neither wanted his collection in its entirety. In fact, when the Delgado Art Museum selected only a few pieces, Ohr demanded they send them all back. Ohr sent pottery to those respected museums in an attempt validate himself as an artist, but in the case of the Delgado Art Museum, his eccentricities were a hindrance. Unsuccessful in his attempts to sell his pottery, Ohr packed it up and closed his shop in 1909. Little did he know, fifty years later there would be a buyer for his entire
Left to right: Burnt Baby Bowl, 1880s-1894. Grouping of unglazed pottery, 1895-1900. The center jug was created during the 1904 Louisiana Purchase International Exposition in St. Louis, Mo. Ron Blaylock Photography. 8 | PLACE
collection. James Carpenter, newly emerging antiques dealer, first saw Ohr’s pottery in 1968. After years of negotiating with two of Ohr’s sons, in 1972 Carpenter bought 6,000 pieces for an unconfirmed amount, but it is believed to have been between $50,000–$100,000. Perfect timing for Ohr’s reemergence, Carpenter bought Ohr’s collection during the Abstract Expressionism movement (1945–mid–1980s). Abstract Expressionism praised diverse art forms and challenged traditional ideas of artwork. Thus Carpenter, devised a plan to educate the world on Ohr. In 1973 Carpenter asked Robert Blasberg, friend and scholar, to write the book, George E. Ohr and his Biloxi Art Pottery, with the sole purpose of educating the world on Ohr, his pottery, and his genius. A few years later, ten pieces of Ohr’s pottery was selected for a juried exhibition at The Smithsonian. Their inclusion in the exhibition validated his pottery as art. After the show, Carpenter donated the exhibited pottery to the museum. It became a part of the museum’s permanent collection which added value to Ohr as an artist. Carpenter began to sell more pottery and often sold the pottery in bundles mixing high quality pieces with pottery of lesser quality. When he realized his inventory could disappear quickly, he sold them individually and limited the number of pieces he sold each year. This drove the prices up and consequently, the demand. By the 1980s everyone knew who Ohr was, understood his genius, and wanted his pottery. George E. Ohr and James Carpenter were very deliberate in their actions that catapulted Ohr into the art world. Cited as an artist ahead of his time, the bold and colorful glazes, and the organic and untraditional forms of Ohr’s pottery set him apart. Self-proclaimed statements he made over 50 years ago are true today—“Unequaled, Unrivaled, and Undisputed, Greatest Art Potter on Earth.” As Ohr said, “I’m making pottery for art’s sake, God’s sake, the future generation, and by present indications— my own satisfaction. But when I’m gone my work…will be prized, honored, and cherished.” Deliberately Distorted: The Pottery of George E. Ohr, featuring over forty never-before-seen mudbabies, will be on display October 3, 2020–January 10, 2021. To see more of George Ohr’s innovative work, visit the campus of the Ohr-O’Keefe Museum of Art at 386 Beach Boulevard in Biloxi, Mississippi. For more information, visit georgeohr.org.
Left to right: Set of Five Novelty Brothel Tokens (front and back), late 1890s. Trickster Vase, 1880-1896. Ron Blaylock Photography. FALL 2020 | 9
William Dunlap + “Pappy” Kitchens
“I paint about folks, what folks see, and what folks do.”
— O.W. “Pappy” Kitchens, 1901–1986
In 1969, Oscar William Kitchens became an artist at the tender age of 68. At the urging of William Dunlap, his son-in-law and an artist in the infancy of his own art career, Kitchens picked up a paint brush and a piece of paper, wood—any material he could get his hands on—and created art, and also helped to preserve the Southern tradition of oral torytelling through visual art. Kitchens is a self-proclaimed folk artist and rightfully so. His work contains many of the qualities common to this genre of art: he is self-taught, uses found materials, breaks every art rule (because he has not been influenced by mainstream concepts and philosophies), and most importantly, tells stories with his work. This Crystal Springs native was raised at a time when telling stories and parables was commonplace in conversations among people of all ages and races. Old-timers would gather together and tell stories, each even more farfetched than the first. Parents and grandparents would teach their children and grandchildren life lessons through parables. In the 1970s Kitchens emerged as a folk or outsider artist during a time when the art world was just discovering outside art. At the time, photography, performance art, and minimalist sculpture were all the rage. But by the 1980s, art trends had shifted and outsider art was taken more seriously. Paintings by Pappy Kitchens, Sister Gertrude Morgan, Howard Finster, and Clementine Hunter became valued for their primal and storytelling qualities. Kitchens spent four years (1973-1976) developing The Saga of Red Eye the Rooster. The series, comprised of 60 paintings, follows the life of Red Eye the Rooster, adopted by Henry, his Uncle Bim, and their dog Spot. The Saga of Red Eye the Rooster chronicles the life of Red Eye as he confronts most of the ten deadly sins and heroically overcomes them all just to succumb to his own fatal flaw. We can all relate to Red Eye’s story of love, lust, loss, and redemption. William Dunlap presents The Saga of Red Eye the Rooster which will be on display September 28, 2020–March 2, 2021. This exhibition features 60 paintings plus an additional 18 paintings depicting parables loaded with humor, truth, and lasting lessons that all ages can enjoy. Above, left to right: Henry shows Uncle Bim the chicken, Red Eye the Rooster, he saved from a hawk as Spot, the dog, watches. Untitled. 10
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Board Spotlight Melanie Mitchell Meridian, MS
It took 20 years for this concept (The Mississippi Arts + Entertainment Experience) to become a reality and the perserverance and influence of many people to build this amazing place in downtown Meridian. This issue’s Board Spotlight features someone special to The MAX family. A person who had a front row seat for most of this process and worked tirelessly behind the scenes—Melanie Mitchell. Melanie was born in Louisiana, a bigtime LSU fan who has made her impact here in our state. PLACE spoke with Melanie and we learned a few things… like exactly why she is so persuasive. How long have you been involved with The MAX? I was on the Board of Directors in the early days when we were planning an enormous complex out at Bonita Lakes. When the wisdom of Haley Barbour and Tommy Dulaney redirected The MAX to downtown, Manny and I were able to donate the Front Street corner for the new site. I then negotiated the purchase of Montana’s Restaurant with Ken Montana (something that was widely thought to be impossible) which completed the current site. Then I got out of the way for several years. Happily, I find myself on the Board again. What is something most people don’t know about you? In High School I spent weekends traveling to Debate Competitions. It was the perfect hobby for a talkative teenager. That work paid off, I was the 1968 Louisiana State Debate Champion! If you could tell people one thing about The MAX, what would it be? COME... If you haven’t visited the MAX yet, I promise you will be blown away! What are your hopes for The MAX and Downtown Meridian? Although the progress has moved slowly, Meridian has been like the proverbial tortoise, slow but steady. My hope is that the journey through downtown continues to blossom, starting with the renovation of Sela Ward Parkway, the fabulous new Children’s Museum, our MAX, the historic and vital Riley Center, through to the Threefoot Marriot Hotel. Now we see retail, clothing for the whole family, gift shops, jewelry stores, and many fullyoccupied apartments and lofts. There is an office building in the “pipeline” and a brewpub ready to open. Let me say that although our current climate is exciting, I can’t wait to see all the new businesses that will be coming. It’s the unexpected nature of The MAX that resonates with our visitors, the grandeur of the space, the sheer number of artists, writers, musicians, actors, celebrities, and chefs that we honor from this state. Sometimes our greatest champions are those not born here, but their body of work or their love for the arts, and this place makes them one of us, a Mississippian.
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News from The MAX In Memoriam: Bob Glazar It is with great sadness that we announce the death of our beloved volunteer, Bob Glazar, who died July 7 at the age of 78. A longtime resident of Meridian, Bob graduated from Meridian High School in 1959 and later earned two master’s degrees from the University of Southern Mississippi. His working life was spent leading and directing volunteer programs at East Mississippi State Hospital, Laurelwood Center, and the Foster Grandparent Program in Lauderdale County. He was an active board member of the Retired Senior Volunteer Program (RSVP) and recently served on the board of the Meridian Little Theater. Bob and his wife Ann have been active volunteers at The MAX since the doors opened and it certainly will not be the same without him. He will be remembered for his faithful service, kindness to our patrons, and unforgettable wit. Our community and The MAX have benefitted greatly from Bob Glazar and he will be sorely missed.
Introducing Coleman Warner Coleman Warner, a longtime newspaper journalist and former executive at The National WWII Museum in New Orleans, has joined the MAX team as Director of Development. A Meridian native, Coleman will help advance The MAX mission through cultivation of partnerships and financial support. He works closely with Membership Manager Margo Evans in building the museum’s membership, an essential part of the institution’s broad strategy for community engagement. Coleman has demonstrated a strong interest in efforts to revitalize Meridian’s economy, neighborhoods, and educational assets, and previously served on The MAX Board of Directors. He enjoyed a challenging career as a writer for The Clarion-Ledger and The Times-Picayune before spending nearly a decade in communication and administrative roles at the WWII Museum.
Meet Jesse Valentine Jesse Valentine was born right here in Meridian, Mississippi. He attended Meridian Community College studying Broadcast Communications Technology. After graduating in 1998, Jesse moved to Tennessee and earned a Bachelor of Science in Recording Industry Management with a focus on production and technology. He is an avid music listener, audiophile, and fan of vintage hi-fi. After 20 years in Nashville, Jesse is back in Meridian to oversee the audio, video, and livestream production needs at The MAX.
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Cole Hill performs a virtual Brown Bag Lunch Concert on June 18, 2020.
Closed to the Public but Opened to the World As COVID-19 was becoming a story nationally, The MAX team prepared for something serious on the horizon. There was no road map or best practices and the only modern examples were countries where this virus originated. Museums in China continued to share their collections with virtual tours online. The MAX team began work on our plan—gallery shots, classes, and messages from Mississippians such as Sela Ward, Cat Cora, Dorothy Moore, even Vasti Jackson. Those messages were viewed over 10,000 times. We hosted our first live stream while the building was closed. Cole Hill from Hattiesburg performed live on Facebook for the first time. After the show Cole commented, “Thanks. So many gigs have been canceled and that’s how musicians make a living.” That first performance reached over 2,000 people. We moved the Brown Bag Concerts to the courtyard and streamed without a live audience. Downtown Meridian was eerily quiet, silent except for the occasional train sound or a siren in the distance. Our next artist, Sam Mooney from Oxford, reached another 1500 views. Online comments like, “so glad you are doing this” and “thanks for giving us an escape” were universal—and not just locally. We reached people from all over the world. One viewer from Houston, Tex. commented that she was working with hospice patients and thanked us for the distraction and the positive vibes. We believed in the healing power of the arts but had no idea how far this message could go. Live streaming on social media can be tricky, it’s new, but all in all, it’s about the music. Ten performers gained thousands of views. A symphony duet reached 8000 and local musician Daniel Houze had over 16,000 views. Then came Todd Tilghman, who would go on to win NBC’s “The Voice.” His first performance reached over 76,000 people and was magical. With a second performance, Todd and The MAX reached a total of over 140,000 people. Totaling over 201,000 minutes of video viewed. To quote William Faulkner, “to understand the world you must first understand a place like Mississippi.” We are known for surviving with very little, and out of that struggle we tend to create beauty. This experience will extend our mission beyond visitors to the museum and inspire a new way of learning about Mississippi.
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Snap (detail), Theora Hamblett, 1964.
Visit The MAX on the first Saturday of every month and enjoy a day of fun for the whole family! Join us for Make + Take Workshops, music, games, artist demos, illustrated talks, scavenger hunts, and more. Visit msarts.org for details. F I R S T
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First Saturday ticket prices: Adults $5, youth 6–17 $1, children 5 and under and members are always free. 9/5/20 The MAX Hall of Fame 10/3/20 Mississippi Folk Art 11/7/20 Focus on Pottery
Maxie’s Juke Joint is open! Dance your covid cares away socially distanced in The MAX courtyard. Performing blues, jazz, and r&b live are two Mississippi favorites. Refreshments + cash bar available. Shows at 6–9pm. $20 Non-members | Free for Members L
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10/30/20 Ralph Keyes + LuV Undercover 12/18/20 Aa’Keela and The Beats
Seth Power
Funded in part by a grant from the Mississippi Arts Commission.
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Join us for live music in The MAX courtyard on the third Thursday of the month. Bring a lunch and be entertained by these two up-and-coming Mississippi artists. The live performances begin at 11:30am and end at 1pm. Free and open to the public. T H I R D
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9/17/20 Seth Power 10/15/20 Kenny Suire 14 | P L A C E
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MAXStudio: Fall Classes For updates and to register for events, visit msarts.org.
Ceramics: Wheel Throwing with Dillan Ladner
Painting: Watercolor with Rosemary Kahlmus
Tuesdays, 5:30–7:30pm September 15–November 3 $160 Members $185 Non-members $170 Seniors
Tuesdays, 2–4pm September 15–October 20 $160 Members $185 Non-members $170 Seniors
Experience creating one-ofa-kind pottery in this eightweek wheel thrown ceramics course. Students will learn and practice techniques of throwing and glazing. All materials and firing included in course fee. Class size limited to six students ages 16+. Registration required.
In this six-week class, students will learn the basics of watercolor painting—the unique transparency of combining pigment with water, experimenting with color shades, and more. All materials included in course fee. Class size limited to nine students ages 16+. Registration required.
Members Only: Open Studio Thursdays in October, 11am–2pm Members of all skill levels and abilities are welcome to open studio time in the ceramics studio. Includes materials and firing. $70 per month. Registration required. Mini Maestros Thursdays, 10:30–11:30am Children five and under are invited to enjoy different guided activities, including music, crafts, games, and dance. Free for toddlers and their parents/caregivers with adult admission. Limit two children per adult. Registration required.
This Fall at The MAX
Go to members@msarts.org and become a member today. WineDown: All Red Wines October 29 | 8–10pm $15 | Free for members
Members Only Preview: Two Exhibitions, One Opening October 2 | 9am–6pm
Welcome to The MAX HalloWineDown! Wear a costume and win the “best dressed” prize. Put together a team of 1–3 and bring three identical bottles of wine (two to taste, one for the “pot”). If your bottle wins, you'll stock your bar with a great selection of wines! Each participant receives a MAX wineglass. To register your team, visit msarts.org.
Members are invited to preview The Saga of the Red Eye Rooster (featuring the work of Pappy Kitchens) and Deliberately Distorted: The Pottery of George E. Ohr. Members will receive complimentary drink tickets and preview the exhibits while sipping on a refreshing beverage. Timed registration required. Register at msarts.org. F A L L 2 0 2 0 | 15
News from Membership + Development Scholarship Established for Future Audio Engineers This summer, The MAX hosted its first Audio Engineer Camp for teens ages 14–18, to learn about the recording studio and the recording process. Scott and Kelly McQuaig gave of their time and resources to help both the current and future programs. Scott played guitar and sang for one of the camps, allowing students to experience a professional musician in a quality recording setting. Participants were able to capture audio of Scott’s voice and guitar and apply it to what they had learned in camp. Scott McQuaig Music also made a contribution to begin a scholarship fund for future recording studio programs. The contribution will allow five students who may not otherwise be able to afford the course fee to attend the program for free. Scott said Kelly had the idea to establish the scholarship fund and that “all good ideas come from Kelly.” When she saw the Audio Engineers Camp was being offered, she wanted to encourage The MAX to continue programs like this in the future. The MAX would like to thank Scott and Kelly McQuaig and Scott McQuaig Music for supporting the program as we look forward to offering similar programs in the future.
Donate a Membership through A new initiative of the Mississippi Arts + Entertainment Experience will provide a year of membership privileges to selected individuals who are impacted by negative health or economic conditions, or other difficult circumstances. The MAXCares program, developed by the museum’s Membership Department and supported by donors, will help broaden the museum’s impact in the community. The Free Clinic of Meridian, the Care Lodge, and the Salvation Army are partnering with The MAX in the effort, which could become a model for innovative outreach, according to Membership Manager Margo Evans. “Art encourages creative thinking and imagination in children and adults,” Evans said. “Creative activity and an immersive museum environment can positively impact the well-being of people suffering from distress.” Development of MAXCares followed a generous offer by Mr. Gail Riley and Mrs. Moira Little, of El Cerrito, Calif., to The Salvation Army–Meridian, to allocate their membership dues to an individual from the Meridian area who would benefit from exposure to The MAX but might be unable to pay the admission charge of $14 for adults age 18 to 64, with lower rates for students and other selected groups. The offer prompted The MAX professional staff to consider ways of applying the same concept on a larger scale. Museum supporters who would like to participate may donate the amount of a full membership, or partial membership level, to MAXCares. Donations can be made directly to The MAX membership program via check or credit card, and a donation option is available on the museum’s website. Additional details are available from Margo Evans at 601-5811550, ext. 24, or email margo@msarts.org. 16
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Membership at The MAX gives you a front row seat to everything Arts + Entertainment. Grand Patron Level Members + above are listed below. As of August 31, 2020. Charter Performer’s Circle Mr. & Mrs. Jimmy Alexander Dr. & Mrs. Gary Boone Charter Benefactor’s Circle Dr. & Mrs. Woodie Abraham Jr. Dr. & Mrs. Ric Alexander Mr. & Mrs. Duncan D. Chalk Mr. & Mrs. Greg Creel Ms. Juanita Crowe Mr. & Mrs. Robert B. Deen Jr. Mr. & Mrs. Thomas K. Dobbins EMBDC Freddie’s Fine Spirits Mr. & Mrs. Hardy P. Graham Sr. Insurance Advisory Group, LLC LaBiche Jewelers, LLC Mr. & Mrs. Larry Love Mr. & Mrs. Archie R. McDonnell Jr. Mr. & Mrs. Phillip McLain Mr. & Mrs. Manny Mitchell Mr. & Mrs. Bill Scaggs Stifel Nicolaus Dr. & Mrs. James Lee Valentine Waters International Trucks Inc. Mr. & Mrs. Fred Wile Mr. & Mrs. Brad Woodall Charter Grand Patron Dr. & Mrs. Richard Abney Mr. William E. Arlinghaus Mr. & Mrs. Cole Cardwell Dr. & Mrs. Robert J. Cater Mr. & Mrs. Marl Cobler Mr. & Mrs. Robert A. Coffin III Crow’s Nest Properties Mr. & Mrs. Michael M. Davis II Mr. & Mrs. Tommy Dulaney Mr. & Mrs. Bill Hammack Mr. & Mrs. Miles Hester Mr. & Mrs. David Honeycutt Mrs. Alice James Mr. & Mrs. Larry Johnson Mr. & Mrs. Ken Labruyere Mr. & Mrs. Robert S. Loeb Jr.
Mr. & Mrs. Samuel E. Long III Dr. & Mrs. David Makey Mr. & Dr. Evan McDonald Mr. & Mrs. Scott McQuaig Meridian OB/GYN, PLLC Mr. & Mrs. Tony Pompelia Mr. Kendrick Prewitt Hon. & Mrs. Lawrence Primeaux Mr. & Mrs. David G. Ray Mr. & Mrs. Chuck Reece Mr. & Mrs. Don Rogers Dr. Ed & Dr. Michelle Snodgrass Ms. Peg Wahrendorff Mr. & Mrs. Coleman Warner
Charter Grand Patron Mr. Ken Allen Mr. & Mrs. Bob Barham Mr. Courtland Gray & Mrs. Shannon Crowe Mr. & Mrs. Maurice Hall Dr. & Mrs. R. Condon Hughes Meridian Airport Authority Dr. Tonea Stewart Grand Patron Mr. & Mrs. Claiborne Barksdale Mr. & Mrs. David Brevard Mr. & Mrs. Douglas Coleman Dr. Thomas Tischer & Mrs. Elizabeth Frohse Mr. & Mrs. Checky Herrington Mr. & Mrs. Maurice Kahlmus Dr. & Mrs. Nathan Myatt Dr. & Mrs. Michael Nanney Mr. & Mrs. Terry Pankhurst Mr. & Mrs. Kyle Temple Mr. & Mrs. Scott Vincent Dr. & Mrs. John D. Voss Mr. & Mrs. George S. Warner A Special Thank You to Mr. & Mrs. Marty Davidson for contributing $5,000 to Roof Terrace improvements.
Nonprofit Organization U.S. Postage Paid Permit #290 Tupelo, MS 38801
2155 Front Street Meridian, MS 39301
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Make the Most of your Experience with a Membership to The MAX! As a member of The MAX, your experience goes above and beyond standard admission. You also help showcase Mississippi’s legacy in arts and entertainment and inspire tomorrow’s artists through special programming and educational events. For more information, stop by The MAX today, call 601-581-1550, or visit msarts.org.