Carl Holty Memorial Exhibition April 20 May 11

Includes entries for maps and atlases.

Provides image and full-text online access to back issues. Consult the online table of contents for specific holdings.

This catalogue of the Georgia Museum of Art's permanent collection is both a tribute to Alfred Heber Holbrook, the museum's founder, and a record of his legacy, which began in 1945 when he gave one hundred works of American art to the people of Georgia through its flagship university. These works formed the foundation of the museum's current collection of more than 8,000 art objects. Published to coincide with the museum's grand reopening in January 2011 after a 30,000-square-foot expansion, this catalogue features one hundred significant American paintings that, for the first time, will be on continual display in the building's new permanent-collection galleries. This publication is supported in part by a grant from the National Endowment for the Arts.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings’ highly visible and well-traversed threshold spaces. The parameters of these spaces—atriums, lobbies, plazas, and entryways—led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art’s ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era’s most notable spaces—Philip Johnson’s Four Seasons Restaurant in Mies van der Rohe’s Seagram Building, Max Abramovitz’s Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius’s Pan Am Building—would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture’s relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.

Li'l Dan, a slave on a Southern plantation, loves to play his drum. When a company of Union soldiers announce that the slaves have been set free, Dan has no place to go, so he follows the soldiers, who make him their mascot. But Confederate soldiers attack, and Dan discovers that he is the only one who can save his friends. The only children's book ever written and illustrated by legendary American artist Romare Bearden, Li'l Dan, the Drummer Boy was just recently discovered. Dr. Henry Louis Gates Jr. has written a personal introduction to the book, describing his own memories of the artist while Bearden created this memorable tale. On an accompanying CD, Dr. Maya Angelou, three-time Grammy Award winner for spoken word recordings, reads the text.