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A melon baller and bottle opener posed as people; a glove with two fingers walking

Collection Spotlight: Janet Nolan

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Everything from squashed aluminum cans to plastic packaging finds its way into the work of Janet Nolan (B.V.A., 1968). As a young girl in Montgomery, Alabama she absorbed the aesthetic of repurposing objects into new contexts from a beloved uncle who reconstructed ”everyday broken things into useful objects; like old metal coffee pots into lamps with colander shades.”

Inspired by Louise Bourgeois’ feminist perspective and Robert Rauschenberg’s assemblages, Nolan began sculpting with broken umbrellas she collected from Manhattan streets after a thunderstorm in 1976. Nolan’s art-colorful, playful and thought-provoking has been exhibited at universities, art centers, galleries, museums and corporate headquarters across the nation. Cheerfully, Nolan asks us to shift our expectations of redemption, recycling, rescue and revival.

(L to R)

I Do, 1995
Kitchen utensils, glass case, painted wood
Gift of the artist’s estate

Cruella, 2000
Fur and suede glove, wood base,
glass dome
Gift of the artist’s estate

Installation of Apollo the Healer

Collection Spotlight: Nancy Grossman

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Nancy Grossman, a New York City native, created this life-size etching, “Apollo the Healer,” in 1995. The Olympian god is associated with medicine and healing, and in this piece, the artist focuses our attention on a contorted collage figure of him, pieced together and made anew.

Grossman considered collage—the cutting and pasting of visual elements into a new form—as “the only way to make the disparate and ill-fitting parts of a life, an identity, an elegantly seamless experience. It satisfies both the urgent and the substantive thirst.” The museum, joining the world-wide chorus, offers thanks to all providing medical assistance during the pandemic, with hopes that this art provides a path away from suffering and toward restoration.

Contributed by staff

Edition: 3/20
65 in x 39.5 sheet
Spit-bite color etching
Museum purchase with funds provided by the 1072 Society, 2018

#MuseumFromHome: Frank Myers Boggs

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After forging a successful career painting marine landscapes and exhibiting them as well as cityscapes in the Paris Salon, Frank Myers Boggs became a French citizen in 1923. Settling in Montmartre, a bohemian neighborhood in the north of Paris, he renders a lone figure walking up the winding Rue Lepic in this painting. The pronounced diagonal brushstrokes behind the walking figure and the directional lines on the street and clouds give his movements a sense of speed.

Boggs was connected with the neighborhood art world, including art dealer Theo Van Gogh, who lived in an apartment on this street with his brother for some time. Two of Boggs’s paintings are depicted on the wall in the background of Vincent’s portrait of Scottish art dealer Alexander Reid, reproduced here. Boggs inscribed one of these paintings to “my friend Vincent.”

Michael Harding, Class of ’20
Excerpt from “Impressionism: Translating the Modern World”

Frank Myers Boggs, (French, b. United States, 1855–1926), Paris, 1915, oil on wood panel, lent by the Montgomery Museum of Fine Art, Montgomery, Alabama; bequest of William Pelzer Arrington in memory of his mother, Ethel Pelzer Arrington.

Portrait of art dealer Alexander-Reid sitting in an easy chair

Vincent Van Gogh, Portrait of Alexander Reid, ca. 1887, oil on canvas, Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, OK.

Portrait of a small Jack Russell Terrier

#MuseumFromHome: Color the Collection!

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San Francisco artist Beth Van Hoesen (American, 1926–2010) began a remarkable career in printmaking in the mid-1940s. Working alongside other Bay Area artists such as Elmer Bischoff, Richard Diebenkorn, Wayne Thiebaud, and her teacher David Park, Van Hoesen was an integral figure among a group of Californians at mid-20th century who rebelled against the prevailing New York-based Abstract Expressionism. Although she remains less well known in the general public than her male colleagues, Van Hoesen’s work has long been admired and collected by fine print connoisseurs and important institutions.

Take a look at some of the works from our permanent collection. She explored these themes throughout her long career: portraits of friends, still life compositions (often treating unorthodox subjects), landscapes, and portraits of animals and pet companions.

Download and enjoy these coloring pages as a way to relax and pass the time (fun for the young or young-at-heart). Snap a picture and tag @JCSMAuburn. Let’s make a #MuseumFromHome.

Oka, 1991
Edition: 24/30
Color etching, aquatint, drypoint, and roulette

Download

Figs, 1977
Edition: 17/50
Color lithograph on Rives BFK paper

Download

Toppy, 1985
Edition: H.C.
Color etching, aquatint, drypoint, and roulette

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Drawer, 1961–72
Edition: 16/35
Etching

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Director Cynthia Malinick

Welcome to Our New Museum Director, Cynthia Malinick

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A new director and chief curator for Auburn University’s Jule Collins Smith Museum of Fine Art will begin in the role starting Feb. 11.

Cynthia B. Malinick brings more than 25 years of experience and leadership to Auburn, including serving as an executive manager of museums and cultural organizations across the arts, nonprofit and higher education sectors. She comes to the Jule Collins Smith Museum of Fine Art from the Girl Scouts of the USA, where she has most recently served as the vice president for cultural assets.

Malinick joins the museum at an important time as the university prepares to launch its creative arts district with the opening of the Gogue Performing Arts Center later this year. With an emphasis on centering innovation, creativity, programmatic excellence and increasing operational sustainability, Malinick’s extensive portfolio will advance the museum’s role as a cultural resource for the community and beyond.

“With her commitment to education and innovation, I am confident Cindi will enhance the contributions of the Jule Collins Smith Museum to Auburn’s arts district,” said Christopher Heacox, executive director of the Jay and Susie Gogue Performing Arts Center. “Her knowledge and experiences perfectly align with the museum, and I look forward to supporting her leadership.”

At the Girl Scouts, Malinick oversaw the organization’s cultural resources and managed its curatorial collection, including fine and decorative arts, furnishings, textiles and jewelry. Under her leadership, the Girl Scouts launched multiple facility upgrades and elevated its engagement experiences to include the implementation of the Girls Scouts’ first open-access online resource designed to showcase its digitized collections.

Prior to her tenure at the Girl Scouts, Malinick spent more than 10 years at the National Trust for Historic Preservation, including serving as the deputy and chief of staff in the Historic Sites Department. In this role, Malinick oversaw locations and museums across the U.S. that included specialized collections and promoted on-the-ground conservation, exhibition design and public programming work, and leveraged prominent collections that included pieces from the Tang dynasty, architects Philip Johnson and Frank Lloyd Wright and artist Frank Stella.

“I am thrilled to join the Jule Collins Smith Museum of Fine Art, especially at a time when cultural institutions across the nation are increasing their relevance and responding to a fast-changing world that yearns for places of reflection, honesty and inspiration,” said Malinick. “Collaborating with the new Jay and Susie Gogue Performing Arts Center holds tremendous potential to strengthen Auburn’s commitment to the arts and to fostering community while encouraging creativity.”

Malinick holds a bachelor’s degree in education from the College of William and Mary and a master’s degree in history from the University of San Diego. Among her many accolades, Malinick has received the Excellence in Exhibition Award from the American Alliance of Museums in addition to grants from the National Endowment for the Humanities and the Institute of Museum and Library Services.

As director and chief curator, Malinick will oversee the Jule Collins Smith Museum’s 40,000 square-foot modernist building, including six galleries, an auditorium, museum shop and café. As part of the university’s southern gateway cultural arts district, the museum offers a wide-ranging collection of works by artists including John Audubon, Elizabeth Catlett, Walker Evans, Diego Rivera, Kara Walker and Andy Warhol; Alabamians Roger Brown, Betty Grisham and John Augustus Walker; and Auburn alumni Jean Woodham and William Baggett. The museum also holds several art brutworks by southern artists such as Thornton Dial, Mary Proctor, Jimmy Lee Sudduth and Mose Tolliver. The original core of the collection — 36 modernist paintings purchased by the university in 1946 from the U.S. Department of State’s “Advancing American Art” collection demonstrating America’s artistic freedom — includes works by Romare Bearden, Jacob Lawrence and Georgia O’Keeffe.

Source: Office of Communications and Marketing, Auburn University