Preview Spring 2025 by North Carolina Museum of Art

PREV IEW

cover Toyin Ojih Odutola, The Marchioness (detail), 2016, charcoal, pastel, and pencil on paper, 831/4 × 661/8 in., Promised gift of Pat and Tom Gipson; © 2024 Toyin Ojih Odutola, Courtesy of the artist and Jack Shainman Gallery, New York

PREVIEW

MANAGING EDITOR

Laura Napolitano

DESIGNER

Dan Ruccia

PHOTOGRAPHERS

Christopher Ciccone, Vann Powell

CONTRIBUTORS

Cameron Allison, Sean Burrus, Lori Cowherd, Melissa Dean, Wale Ejire, Laura Finan, Nicole Flynn, Moses T. A. Greene, Miles Hall, Molly Hull, Sabrina Hurtado, Courtney Klemens, Angela Lombardi, Lizzie Newton, Sean Sabye, Bryanne Senor, Jill Taylor, Janis Treiber, Oliver Wagner, Billy Wilson, and Jeffrey Yelverton

Preview is published by the NCMA four times a year.

The exhibitions and programs featured in Preview rely on support from people and organizations who value the Museum and its work. Please consider donating to the NCMArts Fund at qrco.de/ncmaartsdonation

Exhibitions in Preview are made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for these exhibitions is made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

The North Carolina Museum of Art is a division of the Department of Natural and Cultural Resources, Pamela B. Cashwell, secretary.

The NCMA’s mission is to steward and share the people’s art collection and inspire creativity by connecting our diverse communities to cultural and natural resources. Its vision is to be a vital cultural resource for the entire state and a national leader in creating a welcoming experience of belonging and joy.

The NCMA visual mark is inspired by Thomas Sayre’s Gyre (1999), a site-specific work of environmental art in the 164-acre Museum Park.

From the Director

Dear Friends,

This year ushers in a period of expansion and renewal at the NCMA, embodied by the initiation of a series of exciting and transformational capital projects in Raleigh and Winston-Salem. As our campuses continue to evolve, so, too, do the ways in which we engage with our visitors and members, sharing exceptional experiences built upon a mutual appreciation of the arts and nature. This spring we look forward to presenting a schedule of exhibitions and programs that encompasses various cultures and means of expression and creates opportunities for learning, contemplation, and simply having fun.

We are honored to commence our new year of exhibitions with The Time Is Always Now: Artists Reframe the Black Figure, organized by the National Portrait Gallery, London (pages 2–5). Featuring contemporary works of art that depict and celebrate the Black figure from the perspective of Black artists, this exhibition reflects our commitment to highlighting multiple histories, voices, and perspectives in and beyond our galleries. Later in March, ring in springtime with friends and family at our annual Art in Bloom fundraiser, a five-day festival of florals responding to works in the collection (pages 12–13). The large floral installations in this year’s edition draw inspiration from art in the Ann and Jim Goodnight Museum Park. In April Grace Hartigan: The Gift of Attention, one of the largest exhibitions of the artist’s work in over two decades, elaborates on

the connection between word and image during a transformative moment in her career, when poets inspired her (pages 6–9).

Further in this issue, we hear from Asheville-based artist Christopher Holt about how creativity can play an active role in the continued recovery of communities impacted by Hurricane Helene (pages 10–11). We take time to recognize the invaluable work that happens at the Museum every day, specifically the remarkable dedication of our NCMA Docent Organization, which is celebrating 50 years of service in 2025, and the transformative projects of our conservation team (pages 14–17). Finally, we delve into David LaChapelle: Dear Sonja,—a survey of the artist’s prints, drawings, and videos on view at the NCMA W-S through July 27 (pages 22–23).

A selection of LaChapelle’s works will also be on view at the NCMA through July 20.

We are pleased to have designed another season that invites you to take part in an array of programs, visit exhibitions, admire the rotating collection of works in the People’s Collection, attend a special event, and enjoy the natural beauty of the Museum Park in Raleigh and the Museum grounds in Winston-Salem. I find that what makes our Museum so special is the myriad ways we remain true to our history while continuously striving to offer new and exciting opportunities to engage with the arts, nature, and people.

With appreciation and my best,

Valerie Hillings

linda dougherty Chief Curator and Senior Curator of Contemporary Art

INVITING A SHIFT IN PERSPECTIVE

maya brooks Associate Curator of Contemporary Art

Featuring 23 contemporary African diasporic artists from the United Kingdom and United States, The Time Is Always Now focuses on works of art that depict and celebrate the Black figure from the perspective of Black artists. The NCMA is the final venue for this traveling exhibition, which is organized by the National Portrait Gallery in London and curated by Ghanaian-born and UK-based writer and curator Ekow Eshun.

The Time Is Always Now highlights the extraordinary number of contemporary Black artists creating figurative artworks now—all of the works in the exhibition were made in the 21st century, from 2000 forward. The title also references a 1956 essay on desegregation by American writer James Baldwin, in which he wrote, “There is never a time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.”

The exhibition showcases works by Njideka Akunyili Crosby, Hurvin Anderson, Michael Armitage, Jordan Casteel, Noah Davis, Godfried Donkor, Kimathi Donkor, Denzil Forrester, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry James Marshall, Wangechi Mutu, Toyin Ojih Odutola, Chris Ofili, Jennifer Packer, Thomas J. Price, Nathaniel Mary Quinn, Amy Sherald, Lorna Simpson, Henry Taylor, Arthur Timothy, and Barbara Walker. The show includes a major work by Odutola that is a promised gift to the NCMA collection (cover).

Amy Sherald, She was learning to love moments, to love moments for themselves (large detail), 2017, oil on canvas, 541/8 × 43 in., © Amy Sherald, Courtesy the artist and Hauser & Wirth; Photo: Joseph Hyde

This collective interest in figuration and representation, examining the presence and absence of the Black figure in art history, illuminates the richness of Black life beyond common perceptions shaped by white society. The curator, Ekow Eshun, explains that this exhibition serves as a counterpoint to “the ways that Black people are seen in mainstream culture” by examining how “for hundreds of years, the Black figure has been depicted by White artists.” Through their work in figuration, these artists are inviting a shift in the dominant art history perspective, from “looking at” the Black figure to “seeing through” the eyes of Black artists and the figures they depict.

The exhibition explores the complexity of these narratives through the context of three thematic groups: Double Consciousness, Past and Presence, and Our Aliveness.

DOUBLE CONSCIOUSNESS

This section explores the duality experienced by Black people living in a racist society, where they possess a self-perception while also looking at themselves through the gaze of someone else. This concept of double consciousness was introduced in 1897 by W. E. B. Du Bois, a civil rights activist, writer, and one of the founders of the NAACP. He wrote in an essay for the Atlantic Monthly that “it is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.”

The artists in this section create works that question what the viewer determines about a person based on physical characteristics and personal styles. The works are intertwined with the politics of perception—how people are perceived because of how they are or are not represented.

Artists exploring the idea of race as a social construct include American artist Amy Sherald, whose Black subjects are depicted with gray skin tones, which is perceived as neither, or both, black and white. Confronting issues of historic underrepresentation and stereotypical imagery, Sherald deliberately decided

to paint her subjects’ skin gray; doing so challenges the notion of color-as-race. The lack of representation of Black subjects in the art history canon inspired American artist Kerry James Marshall to paint figures whose skin tones are deeply and dramatically black. He has stated that the blackness of his figures is “nonnegotiable—to demonstrate the complexity, depth, and richness of blackness.”

PAST AND PRESENCE

The artists in this section of the exhibition are reinventing and rewriting art history in works of art that foreground the Black figure and create new narratives. They challenge assumptions and ingrained responses by recontextualizing historically and culturally weighted images, forcing

a reconsideration of what we expect and have been taught to see.

American artist Titus Kaphar physically manipulates, ruptures, and reconstructs art history in his works. In his Seeing through Time series, he replaces the white, female protagonists from neoclassical-style paintings with Black women, empowering his subjects and giving them the prominence and visibility they did not receive historically. British artist Barbara Walker’s Vanishing Point series similarly appropriates classical Western paintings and re-creates them with detailed pencil drawings on embossed paper, transforming the formerly marginalized Black figures into the primary subjects. British artist Kimathi Donkor restages heroic historical figures and brings narratives of freedom

fighters like Queen Nanny of the Maroons and Harriet Tubman to the forefront of 18th- and 19th-century-style paintings.

OUR ALIVENESS

The artists in this section contextualize Black figures within universal themes found in everyday, ordinary life—love, joy, beauty, family, friendship/kinship, and memory. A sense of familiarity and vulnerability surrounds each work in this final thematic grouping, presenting a mosaic of Black expression and the capacity to just “be.”

Painterly, expressive, and brightly colorful, American artist Henry Taylor’s paintings often depict friends and family in casual domestic settings and are imbued with a sense of intimacy. American artist Jordan Casteel’s life-size portraits are rooted in her community. Her subjects are the people she encounters in her neighborhood; she gives visibility to those who are often overlooked (page 3).

In her self-portrait with her son, Nigerian American artist Njideka Akunyili Crosby invites us into an expansive, idyllic space that explores a deeply personal story of a home and the love between mother and child. In Nigerian American artist Toyin Ojih Odutola’s paintings, she creates a fictional aristocratic family. Her subjects are presented in opulent settings that signify wealth and power. She invites viewers to think about the implications of representation, whose portraits appear in museums, and whose stories get told.

EXHIBITION-RELATED EVENTS

Exhibition Opening

Thursday, March 6, 7:30–9:30 pm

Ticket purchase required for general public

Member Preview Day

Friday, March 7, 10 am–5 pm free for Members

Exhibition Opening Lecture: Curator Ekow Eshun

Friday, March 7, noon free with registration

Ekphrastic Poetry Workshop with Jaki Shelton Green

Saturday, March 29, 11 am–1 pm

Ticket purchase required

College Night 2025

Friday, April 4, 5–9 pm free with registration

Collective Conversations with Lamar Whidbee

Wednesday, April 16, 23, and 30, 6–8 pm

Ticket purchase required

For program descriptions and tickets/registration, visit ncartmuseum.org/calendar.

Exploring Identity through Pastels with Telvin Wallace

Saturday, May 17, 1–4 pm

Ticket purchase required

Docent-Led Tours: The Time Is Always Now

Wednesday–Sunday, March 26–June 15 (by request)

free with exhibition ticket purchase Request a tour at ncartmuseum.org/tours.

THE TIME IS ALWAYS NOW

Artists Reframe the Black Figure

MARCH 8–JUNE 29, 2025

East Building, Level B, Meymandi Exhibition Gallery

Exhibition organized by the National Portrait Gallery, London, and presented by the North Carolina Museum of Art. Support for this exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

TICKETS

Reserve at ncartmuseum.org free for Members

$20 Adults

$17 Seniors age 65 and older

$12 Students (ages 7–22) free for children 6 and under

Through June 29, 2025, The Time Is Always Now and Grace Hartigan: The Gift of Attention are ticketed together.

Questions about ticketing? Email help@ncartmuseum.org

Poetry into Painting

jared ledesma

Curator of 20th-Century Art and Contemporary Art

In a 1961 Washington, DC, Star article titled “Poet, Painter Have Artist’s Exchange,” Grace Hartigan (1922–2008) reflected on the genuine impact of mid-20th-century poetry on her career. “The poets,” she said, “put into words the approximation of my emotional state.” For Hartigan poetry was not just a source of inspiration but also a vital link to a creative network that championed her vision. Her close circle of poetfriends—including Daisy Aldan, Barbara Guest, James Merrill, Frank O’Hara, and James Schuyler—offered critical support at a transformative moment. Many of these poets, queer or working within a queer community, fostered a collaborative environment, countering the rampant sexist and strict stylistic camps of the era.

Hartigan’s engagement with these poets coincided with her evolution as a painter, as she wavered between pure abstraction and a fusion of abstraction and figuration. These shifts in her style mirrored contemporary poetry’s embrace of unconventional lyrical forms. Hartigan praised O’Hara’s “Second Avenue,” for example, saying it contained “everything art should have: imagery, emotional content, leaps of imagination, displacements of time and place ... flashings of modern life and inner feelings.”

The exhibition Grace Hartigan: The Gift of Attention unites over 40 works created by Hartigan between 1952 and 1968 to illuminate the immense influence of mid-20th-century American poetry on this pioneering artist. Organized thematically, the show opens with portraits of poets rendered through Hartigan’s signature synthesis of abstraction and figuration. The Masker (1954) evokes O’Hara through bold, sweeping marks. Two Women (1954), featuring Aldan and her lover, Olga Petroff, is being exhibited in the US for the first time in several decades.

above Grace Hartigan, Grand Street Brides, 1954, oil on canvas, 729/16 × 1023/8 in., Whitney Museum of American Art, New York; purchase, with funds from an anonymous donor, 55.27; Digital image: © Whitney Museum of American Art/Licensed by Scala/Art Resource, NY

opposite Unidentified photographer [Walter Silver?], Grace Hartigan seated in front of River Bathers, circa 1953, Grace Hartigan Papers, Special Collections Research Center, Syracuse University Libraries

above left Grace Hartigan, The Persian Robe from Folder, no. 1, 1953, screen print, image: 103/16 × 67/8 in., sheet: 105/8 × 75/8 in., publisher: Tiber Press, Reba and Dave Williams Collection, Gift of Reba and Dave Williams, National Gallery of Art, 2008.115.2367

above right Grace Hartigan, cover of Folder, no. 3, Daisy Aldan and Richard Miller, editors, 1955, screen print, 105/8 × 75/8 in., publisher: Tiber Press, Grace Hartigan Papers, Special Collections Research Center, Syracuse University Libraries opposite Grace Hartigan, Snow Angel, 1960, oil on canvas, 69 × 751/4 in., Private collection; © 2021 Christie’s Images Limited

Beyond their presence as subjects, poets also served as patrons in various forms. James Merrill, the son of Charles Merrill, co-founder of Merrill Lynch, facilitated the acquisition of several major works by Hartigan into museum collections. The landmark painting Grand Street Brides (1954, page 7), for instance, was collected by the Whitney Museum of American Art. O’Hara and Schuyler, meanwhile, authored positive reviews of Hartigan’s Tibor de Nagy Gallery exhibitions, calling out vivid pictures such as Bray from 1958 for its strength in composition and colorful texture.

The exhibition also highlights Hartigan’s responses to poets’ works, in particular Guest’s poetry, including Snow Angel (1960), a rich interpretation of Guest’s expressive verse. Hartigan’s collaborations extended further, yielding innovative printmaking projects that refined her artistic voice. Her first screen prints appeared in Folder, a poetry magazine edited by Aldan, Richard Miller, and Floriano Vecchi. Similarly, Hartigan’s collaboration with Schuyler for the book project Salute produced rare color screen prints that underscore her lesser-known facility as a printmaker.

Grace Hartigan: The Gift of Attention reveals the cross-pollination between Hartigan and her literary peers, emphasizing how poetry shaped her visual language and career. One of the largest exhibitions of Hartigan’s work in over two decades, it celebrates creative exchange and invites visitors to experience Hartigan’s work as a dialogue between word and image, abstraction and figuration—offering fresh insights into her legacy as a visionary who bridged art and poetry with a keen sense of awareness and sensitivity.

Exhibition-Related Events

For program descriptions and tickets/registration, visit ncartmuseum.org/calendar

Exhibition Opening

Friday, April 11, 7–9 pm

Ticket purchase required for general public

Ekphrastic Poetry Workshop with Jaki Shelton Green

Saturday, April 12, 11 am–1 pm

Ticket purchase required

Curator and Conservator Tour

Saturday, April 12, 1–2 pm

Free with exhibition ticket purchase

The Liberatory Practice of Collage with Jason Lord

Saturday, May 10, 1–4 pm

Ticket purchase required

GRACE HARTIGAN

The Gift of Attention

April 12–August 10, 2025

East Building, Level B, Joyce W. Pope Gallery

Tickets

Reserve at ncartmuseum.org free for Members

$20 Adults

$17 Seniors age 65 and older

$12 Students (ages 7–22) free for children 6 and under

Between April 12 and June 29, Grace Hartigan and The Time Is Always Now: Artists Reframe the Black Figure are ticketed together. From July 2 through August 10, Grace Hartigan will be open on its own.

Questions about ticketing? Email help@ncartmuseum.org

Organized by the North Carolina Museum of Art. In Raleigh additional support is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

Reflection, art, and photographs by

christopher holt

Artists and the Work of Healing and Recovery in WNC

The sheer force Hurricane Helene wrought over western North Carolina on the morning of September 27, 2024, testified in Biblical proportion to the power of nature. Whatever image you have in your mind, multiply it by a thousand. Witnessing firsthand, again and again, I’ve still only begun to make sense of its magnitude. Giant rocks found new positions. Entire rivers carved new paths. Old hikes on the Appalachian and Mountain to Sea trails now wind into dead ends, rendered impassable by the untold number of fallen trees. Bits of trash hang 35 feet in the air on limbs near the river.

Whether referred to as the flood, the tornado, or the hurricane, the truth is that Earth unleashed a mighty wrath on the region that has changed it forever. Hundreds of lives were lost, thousands of residents were displaced, and an imprint was left on the spiritual souls of everyone in our area and all those tied to it. In return, what has risen from within, and seems to rise with more fervor and passion from the places hit hardest, is a resilience laced with the deepest humanity.

Bridges were built where there were none. Strangers became neighbors, and neighbors became friends and family. Helpers arrived from all directions. Angels were unleashed. The knots were untied, the obstacles were overcome, and the water became

a lifeline to be shared. Everywhere new connections were sewn together as the people of WNC began to create themselves anew. The healing comes in realizing you are not alone.

Recovery becomes renaissance. Sculptures arise out of the river’s refuse. Songs spring forth from a pile of trash in an old jail. Paintings become portals. As one person walks away, another finds a calling.

You don’t have to consider yourself an artist to live a creative life. Creativity’s worth isn’t always measured in terms of art created but in the new ways that connection to each other is found. Lives are changed forever in kindnesses exchanged. In thinking outside ourselves, we rise above the floodwaters.

Artists are what we all can be in the wake of tragedy—creating and building bridges of understanding, finding better ways of working and overcoming the differences that separate us, taking the opportunity to solve old problems in new and innovative ways. Art at its best gathers us all at its feet as one in wonder. Lightning strikes our imaginations that propel us to create so that we may continue telling in new and powerful ways the stories of ourselves. The artists of WNC will be stepping into the waters of Helene physically and metaphorically forever. And while the healing and recovery in WNC may have been thrust upon us, the reshaping before us will resound with new vision, fresh imagination, and the heavy heart known intimately by what was lost. This is the recipe for renaissance. Out of the mud comes the lotus.

In this forward motion, may we be reminded perhaps most importantly not to take things for granted—clean water from the faucet, the privilege of having a job, the embrace of a friend, the shelter from the storm.

opposite Self-portrait

donate to hurricane recovery

Please give to the North Carolina Disaster Relief Fund to help communities recover from Helene.

www.nc.gov/donate-hurricane-helene-recovery

Where art sometimes seems absurd is the moment it becomes magic. These creations exist without time and tell us in profound ways about our past and future. Living in the present with gratitude, mindful of our world and how to create it for those ahead of us is our best artistic expression. It seems the way to heal and recover is creatively, lifting as we climb.

Christopher Holt is an artist based in Asheville, NC. He was featured in the exhibition Christopher Holt: Contemporary Frescoes/Faith and Community at the NCMA in 2020–21.

top left Signs of Spring

top right New roads

bottom Graham Sharp, one of my best friends and songwriter, singer, and banjo player for the Steep Canyon Rangers, singing in the Old Marshall Jail on our visit after the flood

THE FLORAL 2025 B ART IN on

PRESENTED BY

The wait is almost over! Art in Bloom 2025, presented by PNC, takes place March 19–23. More than 30 floral designers from across North Carolina and beyond interpret artwork and objects in the NCMA’s collection during this five-day festival for the eyes and nose.

This year’s theme, Art in the Park, is reflected in six large-scale installations that celebrate the artworks featured across the Ann and Jim Goodnight Museum Park’s 164 acres. Find everything you need to know before you go right here.

Proceeds from this fundraiser support the North Carolina Museum of Art.

TICKETS

$50, Members $40 free for children 6 and under ncartmuseum.org/artinbloom

Includes entry to the exhibition The Time Is Always Now: Artists Reframe the Black Figure from March 19 to 23, 10 am–5 pm (see pages 2–5)

Related events ticketed separately

ENTRY TIMES

(doors close 90 minutes after last entry time)

Wednesday, March 19, 10 am–3 pm

Thursday, March 20, 10 am–5 pm

Friday, March 21, 11 am–7 pm

Saturday, March 22, 10 am–7 pm*

Sunday, March 23, 10 am–5 pm

*Sensory-friendly hour, 9–10 am

RELATED EVENTS

To register, visit

Chef’s Table: Pre-emergent Art in Bloom Dinner

Friday, March 14, 6–9 pm

Prepaid reservations required

Guests are treated to a multicourse dinner from chef Rich Carter that emphasizes the fresh and bright flavors of a spring garden. Courses are paired with luscious boutique wines.

Wanderlust Chronicles with Brie Arthur: Exploring America’s Best Gardens

Wednesday, March 19, noon–1:30 pm

Ticket purchase required

Get ready to roam with local horticulturist Brie Arthur as she takes you on a captivating photographic journey through some of the best public and private gardens in the US.

Art in Bloom Garden Party Designer Reception

Wednesday, March 19, 6:30–9 pm

Ticket purchase required

Step into a sensational garden inspired by fashion and art for an evening full of creativity. Celebrate the opening of Art in Bloom with premium refreshments, onenight-only floral decor, and the chance to meet this year’s designers.

Sue McLeary, Flowers for All Floral Demonstration

Thursday, March 20, 11 am–12:30 pm

Ticket purchase required

This demonstration by Sue McLeary focuses on accessible, “everyday” flowers and how to see them in a new light. The ideas shared are approachable for home gardeners, floral enthusiasts, and professional florists. Sponsored by Raleigh Fine Arts Society.

DIN ING

Art of Tea in Bloom East Building, East Café, 10 am–3:30 pm daily

This afternoon tea experience features a fixed price menu that includes savory canapés, finger sandwiches, and floralinspired pâtisserie. Premium teas or coffee included; floral-inspired cocktails available for purchase. By prepaid reservation only.

Exhibition Café

East Building, Level C, 10 am–4 pm daily

Grab-and-go items, coffee beverages, and drinks. No reservations required; limited seating.

Garden Grill and Lounge

West Building

Coffee and pastries upon opening of West Building; grill service from 11 am to one hour prior to closing of West Building (see page 12 for hours)

Spring-inspired hot bites, sandwiches, salads, snacks, and desserts. Trendy cocktails and mocktails, barista-crafted beverages, and soft drinks. Counter-style service, no reservations required; first come, first served seating.

*Please note: Art in Bloom ticket is required to enter West Building, site of the Museum Store and Garden Grill and Lounge.

MUSEUM STORE

West Building Opens at 10 am Wednesday, Thursday, Saturday, and Sunday Opens at 11 am Friday

The Museum Store champions established and emerging local artists and artisans. Enjoy favorites, including a limited collection of jewelry, as well as ceramic, wood, textile, and glass creations. This year’s offerings also feature an array of floral and botanical book titles and small keepsakes like stickers, magnets, and mugs. Each day brings special pricing or gifts with purchase.

Celebrating 50 Years of NCMA Docents

miles hall

Manager of Tour Experiences

The NCMA Docent Organization (NCMA Docents) is a group of volunteers that engages Museum visitors on a daily basis. The organization is a social community of friendship, learning, and serving centered around love of art. It is supported by NCMA education staff, who oversee the docent training program and provide ongoing learning opportunities around tour facilitation and art history. The organization was officially established in 1975, and so in 2025 we celebrate 50 years of a program integral to arts education at the Museum.

Accessible and amicable, docents facilitate tours for youth and adult groups, answer visitor questions about objects in the People’s Collection, and provide context for understanding works in the permanent collection and in special exhibitions. The organization contributed significantly to the development of new tours offered after the NCMA reimagined the galleries in 2022. NCMA Docents are an important extension of the Education Department: they are “on the ground” as synthesizers of research, knowledge, context, and interpretations shared between artists, curators, and education staff. They create engaging experiences for Museum visitors to respond to the NCMA’s collection and special exhibitions, and for that we are so appreciative.

The docent program at the NCMA reaches back to 1955, when the Museum’s first director assembled a group of four volunteers to begin preparations for the “Miracle on Morgan Street”—the sentimental name for the Museum at its original location in downtown Raleigh. In ten years the group counted over one hundred volunteers. Between 1955 and 1975, the docents continued to grow in number, with a greater focus on “learning and serving,” as reported by the very first docent, Beth Paschal.

Today, the NCMA Docents’ mission is much the same. They serve and learn and share both of these values with as many Museum visitors as possible. They interact with our youngest visitors during Family-Friendly Tours, guide school group tours for grades K–12, speak with college and university groups, and give tours to adult audiences representing a range of interests relating to the world of art and history. Docents offer tours in Spanish, French, and German and have been trained to provide tactile and audio description tours to ensure that the NCMA’s art and objects are accessible to all. The Museum is grateful to the NCMA Docent Organization for its 50 years of service and for continuing to provide our state with a richer experience of the NCMA.

The recent class of

is the most diverse group in terms of age,

and

in the history of the program

Combining all tour and audience types, docents interacted with over 11,000 people in fiscal year 2024.

Docent class of 2025; Photo: Ashley Rowland

Chryssa’s Neon Work Gets (and Life) a New Light

Chryssa’s light-based artwork Red Neon Birdshape (1969) was donated to the NCMA in 1978, arriving in a damaged condition with shattered glass tubes and a heavily scratched Plexiglas enclosure. After 46 years the piece was meticulously restored and refabricated last spring by the Museum’s objects conservation team, in collaboration with neon fabricators and art historians. Born in Greece, Chryssa (1933–2013) moved in the mid-1950s to New York, where she became a pioneering artist celebrated for her groundbreaking use of light and neon to elevate commercial materials into art. Her iconic neon sculptures such as Red Neon Birdshape cemented her reputation as one of the early masters of neon art.

Red Neon Birdshape is housed in a Plexiglas enclosure divided into three sections, each separated by thicker sheets of Plexiglas. The central section contains the largest neon sculpture, oriented vertically, which depicts an abstract bird crafted from handblown ruby-red glass tubes. The upper section holds a smaller, horizontally oriented version of the abstract bird fitted seamlessly within the depth of the enclosure. At the bottom the transformer and wiring are exposed. They connect to the topmost sculpture, enabling these neon tubes to light up. Notably, the transformer is not linked to the central sculpture. Chryssa’s decision to leave it unlit was integral to her practice, which explored the tension between visibility and invisibility.

The conservation of Red Neon Birdshape was initiated following a loan request for two Chryssa plaster pieces from the Museum’s collection for Chryssa & New York, a major traveling exhibition co-organized by the Menil Collection and the Dia Art Foundation. Conservation efforts began with the meticulous task of sorting through hundreds of glass shards to reassemble the four distinct neon tubes. Once a comprehensive schematic was developed, Matt Dilling, creative director and partner at Lite Brite Neon Studio, was consulted to source the original ruby-red glass tubing. Neon art conservation occupies a unique position in the field, often straddling multiple specialties and creating distinct ethical challenges. Traditionally, conservation ethics prioritize preserving original materials. However, for neon works and other contemporary art, the refabrication or replacement of materials is sometimes

corey riley

Objects Conservator mackenzie becker Buffalo State Art Conservation Graduate Student

necessary. In the case of Red Neon Birdshape, preserving the form and functionality of the artwork was critical to maintaining its artistic integrity. Replacing the tubes—standard practice in neon conservation—was essential to retaining the work’s original intent and ensuring that its visual impact remained faithful to Chryssa’s vision.

The original neon tubes were likely handblown in Greece in the 1960s. In Europe glass tubes are often bent using techniques that allow for sharper angles, as opposed to the smoother curves commonly seen in other regions. To faithfully replicate the sculpture’s original, more angular structure, Lite Bright Neon Studios collaborated with Italian neon artist Raimondo Piaia of Neonlauro, who worked from detailed schematics and art historical references provided by the NCMA. Once the glass tubes were re-created, they were installed in the original Plexiglas housing, and the electrical components were updated to meet modern safety standards. The sculpture is now restored to its original form, ensuring that it can be displayed and experienced as Chryssa had intended.

In 2026 the NCMA will debut a new conservation gallery and public-facing conservation studio in East Building. These new spaces will offer visitors the opportunity to observe conservators at work on treatments such as this one.

above left Chryssa, Red Neon Birdshape, 1969, neon, 28 × 19 in., Gift of Mr. and Mrs. Irvin Wallace Oestreicher; View of back side before conservation treatment

above right Chryssa, Red Neon Birdshape, after conservation treatment; Chryssa intentionally left the lower sections of neon unlit

right Lite Brite Neon technical drawing for the creation of the new neon tubes

opposite Mackenzie Becker, former NCMA conservation technician and current conservation graduate student at the Buffalo State Art Conservation program, working on the reconstruction of the original neon tubes

MY NCMA

The Museum offers many types of accessibility accommodations for events and tours. To find out what is available or request an accommodation, contact Accessibility Coordinator Molly Hull, mhull@ncartmuseum.org. Please note that requests require a minimum two-week notice.

SPRING EVENTS

The events in My NCMA represent a selection of programs taking place at the Museum in March, April, and May 2025. Please be aware that due to building renovations, some programs may be taking place in the Park or off site. Watch for email newsletters and go to ncartmuseum.org/programs for details and to find more programs.

I ♥ Purim 2025: Masks and Mazal

Saturday, March 1, 7:30–10:30 pm

Ticket purchase required

Join the Friends of the Judaic Art Gallery for an evening of fun and festivities at the annual I ♥ Purim party. Features hors d’oeuvres, beer, wine, a specialty cocktail, and dancing.

The Art of Wine

Friday, April 11, 7–9 pm

Ticket purchase required

Join us for a sensory experience that explores the connection between art, wine, and food. This enjoyable, enlightening, and delicious event takes place in the seated dining area of West Building and is wheelchair accessible.

Collector’s Cabinet Dinner 2025

Tuesday, April 22, 6–9 pm

By invitation

Members at the Collectors Cabinet level are invited to a dinner conversation in beautiful West Building.

North Carolina Indigenous Artist Festival

Saturday, April 26, 11 am–4 pm

free

Celebrate American Indian artists from tribes across North Carolina at our third annual festival. This event highlights the living traditions of dance, jewelry making, fine art, and more from established and emerging Native artists.

Spring Tea

Sunday, April 27, 10:30 am–3:30 pm

Ticket purchase required

This afternoon tea experience features a fixed price menu that includes savory canapés, finger sandwiches, and springinspired pâtisserie. Premium teas included.

Mother’s Day Tea

Saturday, May 10–Sunday, May 11, 10:30 am–3:30 pm

Ticket purchase required

This afternoon tea experience features a fixed price menu that includes savory canapés, finger sandwiches, and floralinspired pâtisserie. Premium teas included. Inspired cocktails available for purchase.

NCMA After Hours

Thursday, May 15, 5–9 pm free

This is your chance to spend time at the Museum once your workday is over. Join a tour, listen to live music, enjoy a poetry reading, and browse the Museum Store. Free entry to special exhibitions.

ADULT PROGRAMMING

Participate in programs developed to give you meaningful avenues to explore the arts. Studio workshops provide time to create along with professional artists; lectures deliver in-depth examinations of exhibitions and the Museum’s collection. Tickets, registration, and additional events: ncartmuseum.org/adultprograms

weinberg lecture

For the Love of Sekhmet: Maggie Benson and Nettie Gourlay in the Temple of Mut Sunday, March 2, 2 pm free with registration

Dr. Kathleen Sheppard (Missouri S&T) discusses the little-known work of Margaret Benson and Janet “Nettie” Gourlay at the Temple of Mut at Karnak as well as their personal relationship, demonstrating that they had a genuine scientific partnership.

Write Your Life!

Thursday, March 6, April 3, 10–11:45 am

Ticket purchase required

This creative writing workshop gives you strategies for getting started or revising a memoir, personal essay, or work of autofiction. Participants then draft a vignette and share it for feedback.

Drawing Meditation Workshop with Maureen O’Neill

Saturday, March 8, 10 am–noon

Ticket purchase required

In this workshop with artist Maureen O’Neill, participants use guided drawing

Photo: Negin Naseri

and painting to connect with the present moment. Experience the healing and creative power of intuitive mark making. No art experience needed.

Hone Your Voice, Creative Writing at the NCMA

Thursday, March 13, April 10, 10–11:45 am

Ticket purchase required

Are you a creative writer? This is for you! Would you like to be? This is for you too! Participants respond to visual art in poetry or prose. Taught by ECU English professor Helena Feder.

The Emotional Landscape: Painting Color and Light with Leslie Pruneau

Saturday, April 26, 1–4 pm

Ticket purchase required

In this workshop we observe the Museum Park landscape to explore intentional color choices as expressions of our own feelings. Participants are inspired through live demonstrations, discussions about materials and setup, color mixing, application processes, and critiques.

Foundations of Portrait Drawing with Jillian Goldberg

Saturday, April 26, 1–4 pm

Ticket purchase required

In this beginner-friendly workshop, students learn the foundational techniques for creating realistic portraits. We’ll explore the process of mapping facial features, focusing on placing the eyes, nose, and mouth within an oval framework.

MINDFUL MUSEUM

Mindful Museum programs offer opportunities to process emotions, cultivate inspiration, and find more connection both with art and our community.

Tickets, registration, and additional events: ncartmuseum.org/mindfulprograms

Spring Slow Art Appreciation

Wednesday, March 12, 6–7 pm free with registration

Slow art is a practice to mindfully observe and communally appreciate art. Participants

are guided through a brief centering practice followed by an intentional observation of a single work from our collection.

Virtual Sensory Journey through Art

Thursday, April 10, 7–8 pm

free with registration

Join curator Tashae Smith for a virtual journey inspired by Lamidi Fakeye’s Veranda Post with Divination Priest (Babalawo) and Drummer. Intended for adults who are blind, low vision, or have a learning need that would benefit from a sensory-style experience.

Spring Meditative Moments with Art

Wednesday, April 16, 6–7 pm

free with registration

Drawing on works in our collection and qualities of spring, we make an intentional observation of artwork followed by a guided meditation to create opportunities for moments of calm and self-reflection.

PERFORMING ARTS AND FILM

Multigenerational performing arts and film programming cultivates belonging, cultural arts production, and the exploration of NC residents’ rich histories.

Tickets, registration, and additional events: ncartmuseum.org/pafprograms

ncma indoor films

All Shall Be Well

Saturday, March 1, 8 pm

Ticket purchase required

Directed by Ray Yeung, 93 min., drama, NR

After Pat’s unexpected death, Angie finds herself at the mercy of Pat’s family as she struggles to retain her dignity and the home they both shared for over 30 years.

Emerald Strings

with Gregory Harrington

Friday, March 7, 7–8:30 pm

Ticket purchase required

Using his expressive lyricism, beauty of tone, and impeccable musicianship, the celebrated solo violinist plays classical pieces, traditional Irish tunes, and works by 20th-century composers.

ncma indoor films

A Song for Imogene

Saturday, March 8, 8 pm

Ticket purchase required

Directed by Erika Arlee, 103 min., drama, NR

After discovering she is pregnant by her abusive boyfriend, a fallen-away musician must decide between freeing herself or remaining a relic of her driveby Southern town.

Gregory Harrington

Performance Lecture

Sunday, March 9, 2–3:30 pm

Ticket purchase required

Internationally renowned Irish violinist

Gregory Harrington explores the interplay between classical music and works from the NCMA’s European paintings collection, illustrated with performance examples.

ncma sacred song series

Persian Nowruz (New Year)

Celebration: Music, Dance, and Discussion

Sunday, April 6, 5 pm

free with registration

Welcome in spring and celebrate the Persian New Year. A presentation on the role of women in Persian art and music is followed by a concert of folk music by Sayeh Ensemble.

Gregory Harrington; Photo: Michael Walter

ncma family movie night

Sirocco and the Kingdom of Winds

Saturday, April 12, 6–8:30 pm

Ticket purchase required

Directed by Benoît Chieux, 74 min., anime, NR

This family movie night features a psychedelic fairy tale of two sisters who fall into an enchanted book. Come at 6 pm for hands-on mask making, sweet treats, and a story swap.

ncma indoor films

The Queen of My Dreams

Saturday, April 26, 8 pm

Ticket purchase required

Directed by Fawzia Mirza, 99 min., comedy/drama, NR

Azra is worlds apart from her conservative Muslim mother. Following a tragedy, Azra finds herself on a Bollywood-inspired journey to Pakistan guided by memories of her mother’s youth in Karachi and her own coming of age in rural Canada.

Holocaust Remembrance Concert

Sunday, April 27, 1 pm free with registration

A poignant concert re-embraces Holocaust memory through contemporary classical music. Chamber musicians perform works reflecting on loss, resilience, and hope.

PARK

The Museum Park lends itself to unique experiences designed to deepen connections to nature, art, and people.

Tickets, registration, and additional events: ncartmuseum.org/parkprograms

Adaptive Tai Chi in the Park: Mindful Movement for Everyone

Thursday, April 3, May 1, 6–7 pm free with registration

The ancient Chinese martial art of Tai Chi combines slow and gentle movements with focused attention. During this accessible class, participants are guided through visually and vocally descriptive cues and have the option to sit or stand throughout.

Spring Service Project in the Park

Saturday, April 12, 9–11 am free with registration

Help steward the Museum Park by supporting staff in their restoration initiatives. Volunteers will plant native species around the Park to increase biodiversity and provide habitat for wildlife.

FAMILIES

There’s always something new for families to discover at the NCMA! Family programs allow artists of all ages to experience the power and wonder of arts and nature. Tickets, registration, and additional events: ncartmuseum.org/familyprograms

Maker Afternoon at the Museum

Sunday, March 2, 2–3:30 pm

Ticket purchase required

Join us for a special family workshop as we celebrate community helpers and you! Enjoy stories, move mindfully, and create art inspired by the exhibition JP Jermaine Powell—Leadership Reimagined: Share Your Journey

ncma to go activity kits

Silhouette in Silver

Saturday, March 8, 10 am–noon free with registration

Reserve an activity kit in English and Spanish for a complete hands-on project. This kit provides the materials to put a powerful portrait of yourself on a large-scale coin, inspired by ancient Greek and Roman sculpture traditions.

What’s in the Box?

Wednesday, March 12, April 2, May 7, 10–11 am

Wednesday, May 7, 2–3 pm

Ticket purchase required

Meet a work of art, enjoy movement and play, and get your creative juices flowing in this artful workshop for 3- to 5-year-olds and their caregivers.

Pop-Up Art

Sunday, March 16, May 18, noon–3 pm free

Enjoy the fun of drop-in art-making activities for all ages popping up across the Museum galleries and Museum Park. Check ncartmuseum.org for specific activities and locations.

Artful Story Time

Wednesday, March 26, April 16, 10:30–11 am free with registration

Story time with an artful twist! Come look, listen, and move as we make connections with original works of art and children’s books. Rotating featured readers mean there’s always a new perspective to enjoy.

Family Studio

Saturday, April 5, 10 am–noon or 1–3 pm

Ticket purchase required

Guided by expert artists, look closely at original works of art and find inspiration to create your own projects during these twohour studio workshops. Best for families with children ages 5–11.

ncma to go activity kits

Midnight Mobile

Saturday, May 10, 10 am–noon free with registration

Reserve an activity kit in English and Spanish for a complete hands-on project. This kit provides the materials to create a celestial wall hanging, inspired by Skunder Boghossian’s Night Flight of Dread and Delight.

Courtesy of GKIDS

Story Time in the Garden

Wednesday, May 21, 10:30–11 am free with registration

Join us for a lively story time surrounded by nature! Look, listen, and move to children’s books with our featured readers in a beautiful outdoor garden. Ages 18 months to 4 years and their adult caregivers.

TEENS AND COLLEGE

Get involved through programming, artist workshops, conversations, and opportunities to share your own creativity.

Interested in learning more about the Teen Arts Council or the College Advisory Panel? Visit our Teens and College programs web pages.

Tickets, registration, and additional events: ncartmuseum.org/teencollegeprograms

Teens Sketch the Galleries

Saturday, March 1, April 5, May 3, noon–2 pm

free with registration

Join us to spend time sketching with other teens in the galleries. Bring a pencil and your sketchbook and follow prompts or find your favorite sketching spot with a friend. For ages 13–18.

TOURS

The NCMA offers free private tours of the People’s Collection to school, youth, and adult groups.

To select and request the right tour for you, visit ncartmuseum.org/visit/tours.

NCMA Public Tours

Thursdays and Saturdays, 1 pm free

Join us on a tour of the People’s Collection. These tours are great during a first-time visit, after lunch in the café, or if you’re curious about the 5,000+ years of art and culture exhibited at the Museum.

Museum Park Tours

Saturdays, 10:30 am (March–July) free with registration

Enjoy art and nature on a two-mile walk. These guided tours lead you through the Museum Park, past site-specific works of art and sustainable natural areas. Space is limited.

Family-Friendly Tours

Saturday, March 1, March 15, April 5, May 3, May 17, 10:30–11 am free with registration

Find new favorites alongside old friends on these playful tours. Tours are 30 minutes long and are best for kids ages 5–11 with their adult companions.

Museum Tour in ASL

Saturday, April 19, May 17, 10 am–noon free with registration

This docent-led tour in American Sign Language is intended for adults who are Deaf or Hard of Hearing; no English is spoken. It takes place in East and West buildings, and the theme varies each month.

EDUCATORS

Visit learn.ncartmuseum.org for additional information.

Spring Teacher

Tuesday: Special Exhibition Access for Educators

Tuesday, April 29, 4–7 pm free with registration

Educators enjoy exclusive access to spring exhibitions. This is a self-guided program; tickets are limited and are available on the hour at 4, 5, or 6 pm

maya brooks Associate Curator of

“If you want reality, take the bus.”

—David LaChapelle

Over the past four decades, David LaChapelle’s name has become synonymous with celebrity, opulence, and indulgence. The renowned photographer and director began his art career in the early 1980s as a protégé of legendary pop artist Andy Warhol. Since then LaChapelle has positioned himself as one of the most dominant pop-surrealist and editorial photographers. He has worked with stars such as Madonna, Michael Jackson, Amanda Lepore, Britney Spears, Angelina Jolie, and Lil’ Kim, among many others.

However, behind the oversimplified label “celebrity photographer” stands a visionary captivated by religious expression, art history, and cultural commentary. The NCMA Winston-Salem exhibition David LaChapelle: Dear Sonja,—referencing the artist’s sister—presents these themes in over 80 prints, drawings, and videos.

The exhibition starts with LaChapelle’s earliest works from the 1980s, during a time when he experienced the loss of numerous loved ones due to the AIDS epidemic. As part of his grieving process, he photographed his friends as saints, martyrs, and angels (page 22). The works express the act of mourning while exploring possible paths of a soul persisting beyond the physical realm. These first series examined the possibility of picturing the unphotographable to address supernatural subjects.

Dear Sonja, continues with LaChapelle’s various other series, including the iconic Jesus Is My Homeboy. After seeing someone wearing the phrase on a T-shirt, he created the images to ask “who Jesus would hang with if he was back,” stating that “it wouldn’t be the aristocrats or the rich people but the disfranchised.” In six photographs LaChapelle portrays scenes from the life of Jesus Christ as they occur in the Bible, changing the context to contemporary urban settings. Jesus Is My Homeboy exemplifies the intersecting of the sacred and profane found throughout the artist’s work, in which he explores evolving perspectives amid present-day experiences.

David LaChapelle: Dear Sonja, February 27–July 27, 2025

NCMA Winston-Salem, Main Gallery 750 Marguerite Dr., Winston-Salem, NC 27106 free for Members

$8 Adults, $6 Seniors, Military, and College Students free for Youth (17 and under) ncmawinstonsalem.gov

David LaChapelle: Picture Show

March 1–July 20, 2025

East Building, Level B, Video Gallery, Photography Gallery 1 (Julian T. Baker Jr. Gallery) and 2 (Allen G. Thomas Jr. Gallery) free

The exhibition concludes with LaChapelle’s spiritual and artistic renaissance when he left editorial photography and returned to fine art photography around 2006. In many interviews LaChapelle has expressed that he questioned everything he did up to that point and left the industry feeling like he had “nothing left to say.” Especially with the decline of print magazines and the rise of social media, photography was shifting to a different space.

LaChapelle moved to Hawaii and converted a farm on Maui into a personal and professional retreat. His practice has come full circle, returning to a saturated, theatrical style that combines his different observations about life and culture. Today, his presence within the field of contemporary photography remains substantial as newer generations of collaborators and viewers recognize his influence.

The exhibition David LaChapelle: Dear Sonja, at NCMA W-S is accompanied by a smaller survey of the artist’s work in the NCMA’s photography galleries titled David LaChapelle: Picture Show. In this presentation viewers experience many of the artist’s collaborations, including one of his most famous works, My Own Marilyn, featuring performance artist Amanda Lepore in an homage to Warhol’s Shot Sage Blue Marilyn (1964).

Membership Matters

ART & COMMUNITY

In January the NCMA welcomed the new year in vibrant style with two of its most anticipated annual events: the Patron Party and Humber Society Dinner.

This year’s Patron Party, themed Color Theory, celebrated the theories and symbolism of color in artistic expression. Guests arrived in a spectrum of hues, creating a dazzling display that brought the Museum’s galleries to life. With color-themed cocktails, music, and dancing, the night was a dynamic tribute to creativity and community. Be it neon accents or rich jewel tones, attendees showcased their unique style while honoring the Museum’s commitment to artistic exploration and innovation.

Later in the month, the Museum hosted the Humber Society Dinner, an intimate evening dedicated to honoring the organization’s most loyal donors and celebrating the power of the performing arts. The elegant affair also served to welcome the new secretary of the Department of Natural and Cultural Resources, Pamela B. Cashwell.

Together, the Patron Party and Humber Society Dinner showcased the Museum’s dedication to fostering art and community with the help of devoted supporters, setting an inspiring tone for the year ahead.

Park Packs

Borrow these free family resources to enhance your Museum Park adventure. Both the Art and Nature Packs contain five interactive activities, in English and Spanish, as well as materials to explore art and nature across the Raleigh campus. Check out Park Packs at the Welcome Center and in West Building. Best for families with children ages 3–10.

Photos: Kent Ohlman

Photo: Two Dots Studios

Plan Your Visit

ALL THE WAYS TO PLAY

HOURS

EAST AND WEST BUILDING GALLERIES, MUSEUM STORE AND EXHIBITION STORE, NCMA CAFÉ

Wednesday–Sunday, 10 am–5 pm

EAST CAFÉ

Friday–Sunday, 11 am–4 pm (closing to the public March 31)

ANN AND JIM GOODNIGHT MUSEUM PARK

Daily, dawn to dusk

WELCOME CENTER

Saturday–Sunday, 10 am–5 pm (weather permitting)

ACCESSIBILITY

The Museum seeks to make a welcoming space for all. Visit ncartmuseum.org/accessibility for details about on-site accommodations and more information.

TICKETS

Admission to the People’s Collection is free. Members receive free admission to ticketed exhibitions. For exhibition, performance, and program tickets, go to ncartmuseum.org

VISITOR EXPERIENCE help@ncartmuseum.org | (919) 715-5923

Please contact us via email during open hours for the quickest response.

NOT YET A MEMBER?

One year of NCMA membership starts at $50! ncartmuseum.com/membership membership@ncartmuseum.org | (919) 664-6754

DID YOU KNOW?

Between July 2023 and June 2024 ... 41 works were added to the People’s Collection, including those by four American Indian artists

Over one million people came to the NCMA’s Raleigh location

Visitors to the Museum represented the diversity of people living in North Carolina

The NCMA had over 14,000 members Museum programs engaged 262,000 people across all 100 NC counties

The Artist Innovation Mentorship program provided 10,620 hours of arts enrichment to NC middle schoolers

99% of visitors felt welcome at the NCMA Winston-Salem, where 5,280 people enjoyed family programs

For more visit ncartmuseum.org/series/impact-report

Grace Hartigan: The Gift of Attention

Important 128-page exhibition catalogue published by the NCMA in association with D Giles Limited

Essays by four prominent Hartigan scholars, accompanied by archival photos

Lush, full-color plates of works in the exhibition

Available at the Museum Store April 12 and on Amazon or wherever you get your books May 6