to view the 25th Anniversary Brochure

B E A U F O R D D E L A N E Y (Knoxville 1901-1979 Paris) | U N T I T L E D , C I R C A 1 9 4 5 (detail) | Watercolor on paper
15 1/2 x 22 1/2 inches | Knoxville Museum of Art, purchase with funds provided by the KMA’s Collectors Circle, 2014
C E L E B R AT I N G T H E PA S T A N D E M B R A C I N G T H E F U T U R E
KMA 25TH
ANNIVERSARY
LUNCHEON
AT L O N G L A S T
5
10
W E D N E S DAY, M A R C H 2 5 , 2 0 1 5
11:30AM – 1:30PM
H I G H L I G H T S 1 9 9 0 – 2 0 1 5
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KNOXVILLE MUSEUM OF ART
ANN AND STEVE BAILEY HALL
T H O U G H T S O N T H E K M A’ S 2 5 T H A N N I V E R S A R Y
ACK NOWLE DGM E NT S
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28
3
C E L E B R AT I N G T H E PA S T A N D E M B R AC I N G T H E F U T U R E
Twenty-five must be a magic number. On March 25, 1990, the Clayton Building opened to the public! On March 25,
2015, we celebrate our 25th Anniversary in this restored, renewed and remarkable museum!
It has been my privilege and honor to serve as Chair of the Committee for this celebration as well as Chair of the Board of
Trustees. We set out to accomplish several goals: organize a celebration; begin the organization of an archive to include
an oral history project, cataloguing documents, photos, etc., and begin to write a more formal narrative of the KMA. I
am proud to say that we have been able to achieve our goals. Carlton Long agreed to chair the celebratory luncheon and
Barbara Apking stepped up to work with her. Barbara Apking, Barbara Bernstein, Alan Solomon, and Joan Ashe provided
unique perspectives and memories of the beginnings and identified those who were instrumental in bringing the idea of
the museum building to fruition. Shirley Brown and Terry Wertz took on the heroic task of collecting materials for the
archives, drafting a museum chronology that is the basis for what is included in this souvenir program. Terry and the
committee developed the guiding questions for collecting anecdotes. As part of the oral history project, Bob Legg and
Michael Wiseman of the UT School of Journalism and Electronic Media volunteered to do the video documentation of
interviews with many of the people involved with the creation of the Clayton Building and edit them into a short film.
Their contribution is immeasurable. I had the great pleasure to serve as the interviewer for the 15 people who were
available: Marie Alcorn, Barbara Apking, Victor Ashe, Barbara Bernstein, David Butler, Jim Clayton, Julie Warren Conn,
Rebecca Massie Lane, Sylvia Peters, Pat Rutenberg, Jim Smith, Caesar Stair, III, Alan Solomon, Ron Watkins, and Stephen
Wicks. We collected approximately 8 hours of video that will become part of our archive. It is hoped that someday all
of the information collected will serve as an important resource for writing the complete history of the KMA! I want to
say a huge thank you to our committee; it was fun and a labor of love for all. Robin Easter and her team energetically
took on the creative task of designing all of our printed materials and this program; it must be noted that Robin designed
the program for the original dedication at an early stage in her career. My gratitude to David Butler for his extraordinary
commitment of time and great talent for helping to make all of this possible and for the creation of this souvenir program.
As plans for this anniversary celebration evolved I was struck by the extraordinary vision, courage and dedication of all
of the people who created this great Clayton Building of the Knoxville Museum of Art. Also, it became very clear that the
evolution of the KMA was an instrumental part of the cultural development and growth of Knoxville and the surrounding
region. Equally clear was the keen sense of commitment and love that the founders had for Knoxville and our region. We
hope that we have been able to capture the passion, energy, sense of purpose, and tireless effort of the KMA pioneers.
This twenty-fifth anniversary represents the recognition of all who preceded us and the beginning of an even more
glorious future. Thank you all for showing us how to celebrate the past and how to embrace the future.
B E R N A R D S . R O S E N B L AT T, P h D
|
CHAIR, KMA BOARD OF TRUSTEES
C A T H E R I N E W I L E Y (Lake City, Tennessee 1879-1958 Knoxville) | M O R N I N G , 1 9 2 1 (detail) | Oil on canvas
47 x 41 inches | Knoxville Museum of Art, gift of the Women’s Committee of the Dulin Gallery, 1972
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AN AMBITIOUS COMMUNITY EFFORT RAISED $11 MILLION
F O R A S TAT E - O F -T H E - A R T FA C I L I T Y O V E R L O O K I N G T H E S I T E
O F TH E 1982 WO R LD’ S FAI R I N DOWNTOWN K N OX VI LLE .
7
James L. Clayton
DE SIG N ED BY R EN OWN ED A M ER IC AN ARCH IT EC T EDWAR D L AR R AB EE
B A R N E S , T H E B U I L D I N G I S N A M E D I N H O N O R O F J I M C L AY T O N , T H E
LARGEST SINGLE CONTRIBUTOR TO ITS CONSTRUCTION.
9
Later, the Knoxville Lyceum and Art Museum was
an unusual monument to art and culture on Walnut
Street until it was bulldozed for the new post office
building in 1931.
AT LO N G L A S T
Generations in the making, the Knoxville Museum of Art
has been a cultural catalyst for the city in ways its first
advocates, more than a century ago, dreamed it could.
The Knoxville Museum of Art was the culmination of a
century-old dream. It was back in the Edwardian era that
the dynamic Nicholson Art League, a group of talented
and enthusiastic artists including Lloyd Branson, Charles
Krutch, Adelia Lutz, Catherine Wiley, Hugh Tyler, and
several others, were flourishing, with eye-catching
exhibitions and greater aspirations for their shared
hometown. Even before the era of radio and automobiles,
the group’s success with reaching an audience suggested
the promise of a permanent art museum.
In fact, several tried. One multi-purpose arts building
on Main Street hosted arts exhibits and professional
artists’ studios, until it went up in flames when some
stray Christmas holiday fireworks hit it in 1906.
Meanwhile, the NAL had also established the Melrose
Art Center, in an antebellum Italianate mansion west
of UT’s campus. The Melrose was an artistic idyll, an
esthetic refuge available “to all people, that they may
enjoy the very best art, music, and literature that the
world affords.” Accomplished artist Hugh Tyler painted
its interior, and iron sculptures browsed on its lawn.
It was all the last gasp of a progressively idealistic
generation that was passing from the scene. Early in
the Depression, the Melrose went bankrupt.
For the first time, Knoxville began to depend on its
university for cultural opportunities. In the tower of its
new Hoskins Library, UT made room for the Audigier
Gallery, endowed by the bequest of Eleanor Audigier,
the NAL patron who died in Rome in 1931 and left her
dazzling collection of European and Asian artworks.
The Audigier Gallery occasionally offered shows of
new art. But with limited space, it was rarely referred
to as an art museum.
For the next 30 years, the distracted city contented
itself with temporary “art centers” and occasional
exhibits in cafeterias or schools.
Enabled by the unexpected gift of a gorgeous house,
the Dulin Gallery of Art opened in 1962, at the former
home of Hanson L. Dulin, the successful business
executive — who, perhaps coincidentally, had assisted
the Nicholson Art League with the purchase of Melrose
almost 40 years earlier.
Designed in 1915 by John Russell Pope, who also
designed the Jefferson Memorial, the house was a work
of art in itself. Although it was a spacious and luxurious
residence, the scale of its rooms and walls, not to
mention its parking, traffic, and pedestrian-access
issues, was as limiting to audiences as it was to many
potential shows.
The city that greeted the 1982 World’s Fair was one
of America’s largest cities without a proper public art
museum. The exposition offered a small art gallery,
including a large Murillo and an alleged Rembrandt,
and perhaps suggested that the old Second Creek
valley could be a site for that central art museum
long wished for.
Something needed to happen. By the mid-1980s, the city
was facing some embarrassing national press about the
fact that most of its plans to reuse the site of the World’s
Fair had failed to bear fruit. There was no Knoxville
Convention Center, no STEM academy. Some buildings
were empty, and a few concrete features from the Fair
no longer served a purpose, and the Sunsphere was
closed to the public — permanently, it seemed. No one
called it World’s Fair Park. It didn’t seem like a park, but
an assemblage of odd leftovers, slouching back into the
blighted eyesore it had been before the fair.
The investment in the Knoxville Museum of Art was
a stake in the ground that seemed to guarantee this
World’s Fair’s setting was becoming something more
than that. The landmark building by famous modernist
architect Edward Larrabee Barnes, who had made
something of a specialty of art museums in several
major cities, took the space remembered mainly as the
former site of the World’s Fair’s Japan pavilion, and
made it a centerpiece for a park that was no longer just
the site of a big exposition.
11
Meanwhile, downtown Knoxville was, functionally, an
office park, with few residences, little shopping, and no
museums. Consultants presented appealing visions of
a future that Knoxvillians politely pretended to believe.
The KMA was one of the first reasons to believe
something might really happen. It was a turning point
for downtown, and for Knoxville.
Knoxville’s lack of an art museum wasn’t just a matter
of municipal chagrin. Without an art museum, one with
multiple galleries and walls long and tall enough to
properly display a variety of art, and a knowledgeable
and energetic staff to bring it life, Knoxville had no
access to witness, in person, inspiring new works from
around the world.
All art museums serve that purpose, of offering a forum
for fresh ideas. In Knoxville’s case, there’s more to it
than that. Before 1990, Knoxville couldn’t witness the
artistic culture of Knoxville itself.
Without access to the works of artists like Catherine
Wiley and Beauford Delaney — important Knoxville
artists the KMA has highlighted in interesting
comprehensive exhibits — it was too easy to believe
the truism that Knoxville was indeed a provincial and
limited place, whose residents did not expect much, or
strive for much.
In its 25 years, the KMA has introduced Knoxville to
the world, and to itself.
Beyond that, the KMA has served purposes usually
outside the realm of an art museum. Beginning in
the 1990s, the KMA played an unexpected role in
how Knoxville socializes. In the late 20th century, it
was understood, nightlife was for single people, and
mainly single people so young they were still getting
used to freedom from their parents. Most Knoxvillians
over 30 stayed in, evenings, or went out only in
structured circumstances, like a movie, a concert,
or a meal at a restaurant.
Offering quality live jazz and blues and food and
drink in a civilized and smoke-free environment, the
museum’s Alive After Five series drew people of all
ages, married couples, parents and children, young,
old, black, white. It became a subtle phenomenon
beyond its original intent, and undermined the habits
of homebodies as it undermined cultural barriers.
Of the first generation who dreamed of a permanent
Knoxville Museum of Art a century ago, none lived to see
it happen. In celebrating its 25th anniversary, the KMA is
proving itself more durable than any of its predecessors.
The modern KMA honors its original dreamers.
J A C K N E E LY
|
EXECUTIVE DIRECTOR,
KNOXVILLE HISTORY PROJECT
B E A U F O R D D E L A N E Y (Knoxville 1901-1979 Paris) | S C A T T E R E D L I G H T , 1 9 6 4 (detail) | Oil on canvas
36 5/8 x 28 3/4 inches | Knoxville Museum of Art, purchase with funds provided by the Rachael Patterson Young Art Acquisition Reserve, 2015
13
0N MARCH 25, 1990, THE KNOXVILLE MUSEUM OF ART
C E L E B R AT E D I T S G R A N D O P E N I N G I N T H E N E W B U I L D I N G .
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H I G H L I G H T S 1 9 9 0 – 2 0 1 5
1 9 9 0 The KMA opens to the public on March 25 amidst great
Collection; Red Grooms: The Graphic Work from 1957 to 1985;
1 9 9 6 The beloved ancient elm at the center of the North
Another Time, Another Place: Photographs by Eudora Welty; and
Garden, damaged by weather and disease, is removed. The
Independence, 1947–1997; Trashformations: Recycled Materials
Asian Art from the Collection of the Birmingham Museum of Art .
KMA is accredited by the American Association of Museums,
in Contemporary American Art and Design ; Contemporary Art
a distinction shared by only 10% of all U.S. museums. Notable
from the Marc and Livia Straus Collection ; The Lamps of Tiffany:
fanfare and celebration. The new facility, designed by acclaimed
1 9 9 9 Notable exhibitions include India: A Celebration of
museum architect Edward Larrabee Barnes, is named in honor
1 9 9 3 Alive After Five, a popular series of Friday-evening
exhibitions include Paintings and Sculpture from the Eli Broad
Highlights from the Neustadt Collection ; European and American
of James L. Clayton, who made the largest single gift toward its
concerts, begins. Notable exhibitions include Forest of Visions; East
Family Foundation; International Lathe-Turned Objects; Patchwork
Drawings from the Arkansas Arts Center ; East Tennessee Art
construction. The museum opens with a very modest collection,
Tennessee Women Artists; Three Centuries of Japanese Painting
Souvenirs of the 1933 Chicago World’s Fair; A Photographic Essay
Currents II (a series showcasing East Tennessee artists); Works
consisting mostly of the Thorne Miniature Rooms and prints
from the Chester Beatty Library, Dublin; Paintings by Hubert
by Christine Patterson; Social Commentary Art 1930–1970, from
on Paper from the Knoxville Museum of Art’s Permanent
acquired through the annual Dulin Works on Paper competition,
Shuptrine; Photographs by Carl Van Vechten; and African American
the Schiller Collection; Yoruba Art: Past and Present ; Six Centuries
Collection ; Encaustic Art in America ; and Abstract Art from
but with a breathtakingly ambitious first-year exhibition program.
Images, 1927–1987, from the Fisk University Collection .
of European Painting: Masterworks from the Blaffer Foundation
the Haskell Collection .
A greatly abbreviated list includes Catherine Wiley, American
Impressionist; Chinese Ceramics: The Koger Collection; Dutch,
Collection; and Highlights from the Knoxville Museum of Art’s
1 9 9 4 Summer Art Academy begins (as Summer Art Workshops).
Permanent Collection .
2 0 0 0 For the first time, the KMA devotes space permanently
Flemish, German Paintings from the Blaffer Collection; Depression
Notable exhibitions include Recent Acquisitions and Promised
Era Quilts of Tennessee; Art of the 1980s from the Whitney Museum
Gifts; The Eye of Jazz: Photographs by Herman Leonard; Australian
1 9 9 7 Two important exhibitions, both organized by the KMA,
to showing its small but growing collection, with an emphasis on
modern and contemporary American art. Popular and memorable
of American Art ; Selections from the Philip Morris Corporation
Aboriginal Art from the Collection of John Kluge; Paintings by
feature Tennessee artists Bessie Harvey and Red Grooms. The Spirit
exhibitions of M.C. Escher and Dale Chihuly attract large crowds.
Collection of Contemporary American Art ; The Sculpture and
William Russell Briscoe; The Arts of India: Selections from the
of Ancient Peru: Treasures from the Museo Arqueologico Rafael
Beyond the Frame exhibitions feature new work by John W. Ford,
Robert Van Vranken, Willie Cole, Reneé Stout, Catherine McCarthy,
Drawing of Gaston Lachaise; Associated American Artists Prints
Samuel P. Harn Museum of Art ; Paintings by Robert Longo; British
Larco Herrera swells attendance and operating costs. Other notable
from the Robert R. Van Deventer Collection; Selections from the
Watercolors from the West Foundation; Sculpture by Rhonda Roland
exhibitions include Charles Griffin Farr: American Realist and
and Pam Longobardi. Other notable exhibitions include Works on
Janos Scholz Collection of Italian Old Master Drawings; and New
Shearer; Selected Acquisitions from the Dulin National Print and
Contemporary Selections from the Hunter Museum of Art.
Paper from the Permanent Collection; Niki Ketchman: Fabrications;
Southern Photography: Between Myth and Reality.
Drawing Competition; and American Art Pottery from the New
Orleans Museum of Art .
1 9 9 1 A wide-ranging and eclectic exhibition schedule includes
On the Road with Thomas Hart Benton: Images of a Changing
1 9 9 8 The KMA Foundation is incorporated to nurture, manage,
America; and Photographs by Walker Evans .
and protect the museum’s fledgling endowment. A mortgage-
African art, quilts, jazz photographs, soup tureens, Faberge silver,
1 9 9 5 Collectors Circle is formed to support the museum’s art
shredding ceremony celebrates the elimination of construction
2 0 0 1 In the wake of 9/11 and as part of a long-term movement
Appalachian artists, crafts from Arrowmont, and monographic
acquisition efforts and for the first time provides designated funding
debt. The annual James L. Clayton Award is established to honor
toward greater financial stability, the KMA institutes a financial
shows by Carl Sublett, William Briscoe, Senator Howard Baker,
for art purchases. A support auxiliary, the Guild of the Knoxville
“the individual, family, or business whose support of the museum
stabilization plan that reduces expenses and produces greater
Carolyn Plochmann, and Wolf Kahn. The collection grows slowly
Museum of Art, is formed and will play an important role in
has been both uncommonly generous and sustained.” The KMA
efficiencies over the next several years. Notable exhibitions
in the museum’s first decade through gifts of works of art and is
stabilizing the museum’s finances. The Passion of Rodin memorably
Guild launches Artscapes , a perennially popular art sale and
include The Roots of Racism: Ignorance and Fear and Tibetan Art
featured in temporary exhibitions most years.
kicks off a series of blockbuster exhibitions into the early 2000s.
fundraising event. Notable exhibitions include monographic
of Wisdom and Compassion , the latter of which brought Buddhist
A Gilded Age: Knoxville Artists, 1875–1925 examines the influence
shows of Beauford Delaney and Ansel Adams; Witness & Legacy:
monks to the museum to create a sand mandala. Contemporary
1 9 92 The new museum struggles financially in its first years but
of Knoxville’s most prominent early 20th-century artists. Other
Contemporary Art About the Holocaust; the first East Tennessee
artists James Dustin, Alison Moritsugu, Hung Liu, and Whitfield
nevertheless establishes its value to the community, emphasizing
notable exhibitions include Confluence: Objects by Andrew Saftel;
Regional Student Art Exhibition, which becomes a cornerstone
Lovell are featured in Beyond the Frame exhibitions. Other notable
education, outreach, and service. Howard Tibbals generously makes
German Expressionist Art from the Fischer Collection; Lithographs
of the museum’s regional educational outreach and a much-
exhibitions include The Art of the Story, from the Kelly Collection
his miniature circus available for display through 1994. Other notable
by June Wayne; Rembrandt Etching from the Carnegie Museum
anticipated annual event; Masterworks of American Art from
of American Illustration; The Illustrations of Catherine Wiley;
exhibitions include Barry Spann: Mountain Landscapes; Visions
of Art ; A Decade of Images by Baldwin Lee; and Let Us Now Praise
the Munson-Williams-Proctor Institute; Contemporary Paintings
and The Prints of Andy Warhol (From A to B and Back Again).
from the Landscape: Late Watercolors by Walter Hollis Stevens;
Famous Men: Photographs by Walker Evans .
from the Knoxville Museum of Art’s Permanent Collection; Lynn
Folk Treasures of Mexico: Highlights from the Nelson A. Rockfeller
Chadwick: Sculpture from Ursinus College; and From Blast to Pop:
Collection; Art by American Women: Selections from the Sellars
Aspects of Modern British Art, 1915–1965 .
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2 0 02 The KMA hosts its largest-ever “Family Fun Day,”
by the museum and its most important acquisition to date. Notable
on regional art, the museum continues to celebrate contemporary
2 0 1 2 Thanks to the generosity of many donors, the museum purchases
emphasizing learning and art-making activities kids can do with
exhibitions include a selection of works by Beauford Delaney,
developments near and far with such notable exhibitions as Gee’s
a 1913 masterwork by Knoxville Impressionist Catherine Wiley. A new
their parents, which attracts nearly 3,000 people. Lure of the
Francisco Goya’s Los Caprichos and Surrealism from the Levy
Bend Quilts and Beyond (which brought the Gees Bend quilters to
permanent installation, Currents: Recent Art from East Tennessee and
West: Treasures from the Smithsonian’s Museum of American Art
Collection . The Design Lab series features Liz Collins and co-lab*;
Knoxville); Tradition and Innovation: American Masterpieces of
Beyond , examines developments in international contemporary art
represents the last of the “blockbuster” exhibitions that characterized
SubUrban, Claire E. Rojas and Tam Van Tran.
the museum’s programming through much of the 1990s. A Painting
Southern Craft & Traditional Art ; Michael Light: 100 Suns; Video
using the KMA’s growing collection. The 25th Anniversary Campaign
Art/3 Visions: Jenny Perlin, Peter Sarkisian and Hiraki Sawa; and
is launched to raise $10 million to fund the comprehensive renovation
Size Matters: XS- Recent Small-Scale Paintings .
and repair of the Clayton Building, the rebuilding of the North Garden,
for Over the Sofa (That’s Not Necessarily a Painting) signals an
2 0 0 6 The KMA is reaccredited by American Association of
increasing focus on exhibiting and collecting the work of emerging
Museums. The Rogers Transportation Fund is established to
contemporary artists. Other artists shown this year include Joseph
assist local schools in visiting the museum. In acknowledgment
2 0 0 9 The KMA Board of Trustees accepts Ann and Steve Bailey’s
operating endowment; the KMA Board of Trustees pledges $1 million
Delaney and Richard Jolley, the latter in a retrospective exhibition
of the importance of volunteers to the museum’s success, the
gift of Richard Jolley’s as-yet-untitled monumental glass and steel
to kick off the campaign. Notable exhibitions include Fischli and Weiss:
that travels to museums around the country over the next few years.
chair of the Volunteer Advisory Council is given a voting seat on
installation. To complement and supplement the regional themes
The Way Things Go; Beverly Semmes: Starcraft; Streetwise: Masters
Other notable exhibitions include 50 Years of Polaroid Photography
the Board of Trustees. The Thorne Miniature Rooms are restored
in Higher Ground , the KMA inaugurates Contemporary Focus , an
of 60s Photography; Several Silences; Liquid Light: Watercolors from
the KMA Collection; and After the Fall.
the establishment of an acquisition fund, and enhancement of the
1947–1997; Spotlight on Photography from the Permanent
and permanently installed through the generosity of Sherri Lee.
ongoing series celebrating new work by emerging artists who live
Collection; 9/11 Landscape of Sorrow: Photographs by Baldwin Lee;
Notable exhibitions include Quantizing Effects: The Liminal Art of
and work in East Tennessee. On a Mission: KMA Collectors Circle
and Victorian Visionary: The Art of Elliott Daingerfield .
Jim Campbell (from which Collectors Circle acquires the museum’s
Acquisitions spotlights the many additions to the collection made
2 0 1 3 Repair and cleaning begin on the exterior of the Clayton
first example of electronic art); Shoot the Family; By the Light of the
possible by this vital support group. Other notable exhibitions
Building in January, and excavation begins for the new North
2 0 0 3 Exhibitions increasingly focus on contemporary art and the
Butterlamps: Himalayan Devotional Painting; and Seaman Schepps:
include Anton Vidokle: Exhibition as School; Made in Hollywood:
Garden. Before the building closes for construction at the end
KMA’s growing holdings. SubUrban, a series of KMA-organized
A Century of New York Jewelry Designs . The Design Lab series
Photographs from the John Kobal Foundation; Arms, Legs, Feet,
of August, the museum presents Thornton Dial: Thoughts on
exhibitions devoted to the work of emerging artists, begins with an
features Deborah Littlejohn and Santiago Piedrafita, Yee-Haw
Heart & Soul: The Cumberland Furniture Guild ; and Josh Simpson:
Paper and Tradition Redefined: The Larry and Brenda Thompson
installation by Charlotta Westergren (acquired by the museum),
Industries, and Stephen Burks; SubUrban, Johanna Billings, Tomory
A Visionary Journey in Glass .
Collection of African American Art . The museum opens partially in
along with Design Lab, focusing on architecture and design.
Dodge, and Tim Horn.
2 0 1 0 Innovative exhibitions like Anne Wilson: Wind/Rewind/
Regional Student Art Exhibition .
Other notable exhibitions include A Century of Progress: 20th
November just in time for the opening of the annual East Tennessee
Century Painting in Tennessee; Myth, Object and the Animal: Glass
2 0 07 Notable exhibitions include New Directions in American
Weave , and Uncertain Terrain: Selections from the KMA Collection
Installations by William Morris; and Michiko Kon: Still Lifes .
Drawing; Candida Hofer: Architecture of Absence; Sordid and
illuminate the relationship between local practice and developments
Sacred: The Beggars in Rembrandt’s Etchings; Jun Kaneko; and
in the wider world. Other notable exhibitions include Jane South:
complete, Richard Jolley’s epic Cycle of Life: Within the Power
New Photography from the KMA Collection . In the series’ final year,
Shifting Structures ; Vision, Language, and Influence: Photographs
of Dreams and the Wonder of Infinity is unveiled with a festive
2 0 0 4 The KMA Guild launches L’Amour du Vin, which has grown
2 0 1 4 With museum renovations and the new North Garden
into the Southeast’s finest food and wine event, and Holiday Homes
Design Lab features Tim Thyzel and C.A. Debelius; SubUrban, Tim
of the South by Baldwin Lee, Walker Evans, and Eudora Welty ; and
celebration in early May. The KMA acquires its first works by legendary
Tour, which has become a favorite seasonal activity. The KMA
Davis and Seonna Hong.
Devorah Sperber: Threads of Perception . Bloom: Brown+Scofield
Knoxville-born artist Beauford Delaney, from the artist’s estate. Facets
and Bill FitzGibbons: Knoxville Colorline bring art to the museum’s
of Modern and Contemporary Glass provides context for the Jolley
outdoor areas.
installation; several important works by prominent artists are acquired
continues to promote new artists, presenting the work of John Simon,
Michael Raedecker, and Sara Hobbs (her first museum show). Eva
2 0 0 8 The KMA signals a shift in focus with the opening of Higher
Zeisel: The Playful Search for Beauty is remembered for a visit by the
Ground: A Century of the Visual Arts in East Tennessee , the first-
legendary designer. Other memorable exhibitions feature the work of
ever permanent installation dedicated to the art and artists of the
2 0 1 1 Notable exhibitions include FAX ; Kwang-Young Chun
My Home: Danny Lyon Photographs; Leonardo Silaghi: 3 Paintings;
Andy Goldsworthy, Chuck Close, and Edward Weston.
region. The new policy of free admission is promoted with the “Open
Aggregations, new work ; Ai Weiwei: Dropping the Urn (Ceramic
and Sight and Feeling: Photographs by Ansel Adams .
Your Eyes” campaign that features banners with giant eyes on the
Works, 5000 BCE–2010 CE); Anne Wilson: Local Industry; Xiaoze
for the collection. Other notable exhibitions include This World Is Not
2 0 0 5 Kenneth Snelson’s monumental “Dragon II,” purchased
back of the building. A new lecture series honoring the memory of
Xie: Amplified Moments ; Peter Sarkisian: Video Works, 1996–
2 0 1 5 The 25th Anniversary Campaign wraps up with a total $12
with funds raised in honor of Dr. Alan Solomon, is unveiled in the
Sarah Jane Hardrath Kramer and her education work at the Dulin
2008 ; and David Bates: The Katrina Paintings .
million raised (including estate commitments), and a milestone
South Garden. This is the first large-scale outdoor work acquired
Gallery and the KMA is established. Along with a new emphasis
anniversary is celebrated with a gala luncheon on March 25 in the
beautifully renovated and renewed Clayton Building.
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T H O U G H T S O N T H E K M A’ S
2 5 T H A N N I V E R S A RY
Partly by design and partly by extreme good fortune,
the twenty-fifth anniversary of the 1990 opening of
the Knoxville Museum of Art in its current home tops
off an exceptionally eventful and productive period
at the KMA. The May 2014 unveiling of Cycle of Life, a
monumental glass and steel art installation by Knoxville
artist Richard Jolley, also marked the completion of the
comprehensive $6 million restoration, preservation,
and improvement of the KMA’s landmark Clayton
Building. Approximately $12 million (including plannedgiving commitments and the value of the Jolley
installation) was raised under the umbrella of the 25th
Anniversary Campaign to fund building improvements,
establish a dedicated art acquisition fund, and add to
operating and program endowments.
Ann and Steve Bailey’s transformational gift of Cycle
of Life was the catalyst for the ambitious renovation
and renewal of the Clayton Building, a modernist
masterpiece by Edward Larrabee Barnes and the
museum’s most important and visible asset. It was
clear that the museum facility, approaching its twentyfifth birthday, needed major work inside and out before
it could properly receive Jolley’s epic masterwork.
The imperative to accommodate Cycle of Life and
a looming chronological milestone provided the
motivation needed to embark on a major fundraising
effort, appropriately designated the 25th Anniversary
Campaign. The success of the capital campaign,
the first since the late 1980s, speaks well of the
community’s confidence in the museum’s future and
its strategic direction, as well as the extent to which
the KMA is valued by a broad base of stakeholders. It
is particularly gratifying that so many major gifts came
from those who supported the original construction
campaign. There is much to celebrate in 2015!
Technically, the museum’s twenty-fifth anniversary
has already come and gone: the Knoxville Museum of
Art was incorporated on April 1, 1987, months before
ground was broken on what would become the Clayton
Building. In 2012 we were neck-deep in planning for
the Jolley installation and fundraising for facility
renovations, and (wisely, I think) let the museum’s
“real” twenty-fifth anniversary slide by without fanfare.
For just about everybody, the Clayton Building is the
KMA. It is the March 25, 1990 opening of the KMA in
the Clayton Building that we celebrate this year as the
KMA’s “birthday.”
In 1987 the Dulin Gallery of Art, which had served the
community since 1961, had just decamped from its
previous home on Kingston Pike and set up shop in
the building on World’s Fair Park known as the Candy
Factory. The move to temporary quarters downtown
represented a shift in how the museum viewed its
role and mission, and a significant jump in the scale of
21
David Massengill
Knoxville’s cultural aspirations. The first manifestations
of the impulse to improve and uplift the community
through the arts date back to at least as far as the
late nineteenth century, as Jack Neely sketches out so
vividly elsewhere in this publication. It was not until
the Folger family generously made available the Dulin
House, their mother’s childhood home, that Knoxville
had a permanent public art gallery. Several generations
of Knoxvillians had their first encounter with the
visual arts at the Dulin Gallery, where they could see
works of local artists of merit, traveling exhibitions
of European Old Master and contemporary American
artists, as well as the annual juried exhibitions of
prints that formed the nucleus of the future museum
collection. Baby Boomers who grew up in Knoxville
share fond memories of childhood art classes and
visits to the Thorne Miniature Rooms, one of the
Dulin’s first acquisitions, now beautifully restored and
installed on the ground floor of the Clayton Building as
a tangible connection to the museum’s early history.
While the elegant Dulin House, a 1915 John Russell
Pope masterpiece, had obvious drawbacks as a public
art museum space, it was here that the institutional
“DNA” of the KMA as an outwardly-focused,
education-oriented, community-rooted organization
took shape. The late Sarah Kramer, who was in charge
of educational programming first at the Dulin and
subsequently at the KMA, and in whose memory an
annual lecture series has been established, worked
tirelessly to make sure that art experiences were
available and accessible to everyone, regardless of
background, experience, or level of education. That is
still a core institutional value.
By the early 1980s it was evident that, in order to
reach out to and serve a growing community, the
Dulin would have to expand, or move its operations
to more ample quarters. The location in a residential
neighborhood was seen by some as an obstacle to
visitors; parking was limited and increasing traffic on
Kingston Pike made access difficult. For several years
the leadership of the Dulin debated passionately about
whether to grow in place or move to a more central
location. Ultimately, the need for more building space
and a more accessible site won out, not without some
hard feelings. It bears pointing out that the Dulin
dilemma strongly parallels the situation downriver in
Chattanooga, where the city art gallery was founded
in a mansion perched, like the Dulin, high above the
Tennessee River. What eventually became the Hunter
Museum of American Art, sited much closer to the
downtown core than the Dulin, stayed in and added on
to its original home, creating a densely-built campus
of considerable architectural interest and distinction.
Knoxville took a different course and the Clayton
Building on World’s Fair Park is the happy result.
As difficult and momentous as the decision to relocate
downtown might have been, it was just a baby step
compared to the superhuman effort and determination
required to raise the money to build a museum facility
worthy of the name. I marvel at the tenacity, drive,
and sheer audaciousness it took to make the leap from
a 7,000- square-foot mansion to a 50,000-squarefoot, state-of-the-art facility. As we celebrate this
twenty-five-year milestone, we recognize the vision,
courage, and commitment of those who made it
happen, against all odds. At the risk of leaving out so
many who labored, sacrificed, and kept the faith, we
cannot let this occasion pass without noting a few key
individuals without whom the KMA might not even
exist, or would exist in quite a different form. Caesar
Stair, III was one of the main drivers of the effort to
move the museum downtown and then to raise the
millions — approximately $12 million, a staggering
sum even now — needed to build there. He refused
to take “no” for an answer, and never gave up, even
when no one else believed that Knoxville could build a
first-class art museum facility. Alan Solomon, inspired
by memories of his boyhood visits to the museums
of New York, pushed tirelessly to get an architect of
international renown, convincing Edward Larrabee
Barnes that his greatest achievement would take shape
in Knoxville, Tennessee. And Jim Clayton, who stepped
in with the largest contribution of the campaign (at the
time, the largest gift ever to the arts in Tennessee) and
breathed life into what had been a flagging campaign,
propelling it to a successful completion. The new
museum building is fittingly named in his honor, and he
remains the KMA’s largest single all-time contributor.
While we celebrate on March 25, 2015 the silver
anniversary of the opening of the KMA in a spectacular
new building, we should also celebrate the less
glamorous but no less important achievement of
supporting and sustaining the institution that was
so grandly installed on World’s Fair Park. The new
museum was a great source of community pride,
but struggled financially through its first decade and
beyond. As is often the case with such ambitious
projects, construction costs consumed so much that
there was little left over for day-to-day operations.
Because the museum lacked significant collections,
its spacious new quarters were conceived originally
as a venue for traveling “blockbuster” exhibitions, and
some memorable and important shows were brought
to Knoxville. The “blockbuster” model was expensive,
risky, and, ultimately, unsustainable, but over the years
the KMA has adjusted its offerings and has gradually
found more secure financial footing. So many donors
and volunteers gave so much over the years to nurture
and sustain the fledgling KMA, and it is hard to express
the depth of our gratitude adequately. The Guild of the
Knoxville Museum of Art, founded in 1996 and modeled
after a similar support organization at the Dulin, has
been particularly effective at harnessing the energy and
skills of volunteers, to the great benefit of the museum.
The museum’s collecting and programming focus
has now settled on the visual culture, old and new, of
the Southern Appalachians. Higher Ground: A Century
of the Visual Arts in East Tennessee, opened in 2008.
This permanent exhibition of works from the midnineteenth to the late-twentieth century spotlights
the compelling and heretofore largely unknown
visual arts legacy of Knoxville and the region. In
order to bring this story up to the present, another
permanent exhibition, of modern and contemporary
art, opened in 2012. Currents: Recent Art from East
Tennessee and Beyond features a selection of objects
by emerging and established artists from the KMA’s
growing collection and represents a chronological and
geographic expansion of Higher Ground that allows
23
viewers, particularly younger ones, to consider the
achievements of area artists within a global context.
At the end of 2014 a third permanent exhibition,
devoted to the museum’s growing holdings in modern
and contemporary glass, opened to showcase a
growing and increasingly rich area of the collection.
These permanent exhibitions are complemented
and supplemented by a lively schedule of temporary
exhibitions that explore additional aspects of East
Tennessee’s regional artistic legacy, international
contemporary art, and how the region connects to
the wider world.
The KMA’s more focused mission, along with rigorous
financial oversight (the museum has half as many staff
as when it first opened) and endowment growth over
the past decade have stabilized finances over time.
The museum begins its second quarter century in
sound financial condition, with a beautifully renovated
facility, a powerful sense of identity, and deep roots in
the community. The KMA’s permanent and temporary
exhibitions, the education and outreach programs
that grow from them, and a policy of free admission
for everyone (instituted in 2008) nurture a strong
connection with local audiences, familiarize them
with the area’s rich visual culture past and present,
and showcase the region’s substantive contribution to
and dialogue with the wider currents of world art. A
community that recognizes and values its own creative
history is more likely to support its current creative
endeavors and institutions. We want the KMA to
change the way our community thinks of itself: that
is the true significance of the anniversary we observe
this year. The successful effort to fund and build an
art museum on World’s Fair Park was itself a triumph
over the naysayers and those who doubted Knoxville’s
ability to achieve greatness. The museum’s own
struggle to define who it is parallels and grows out of
an ongoing and lively conversation about identity in
our community. When the museum opened in 1990,
its geographic location and the negative associations
of Appalachia were something to be overcome and
transcended. Locally-grown content was not part of
the business plan. A generation later, as the world
has changed, “local” and “regional” are equated with
authenticity and quality. As Knoxville has rediscovered
its history, heritage, and distinctive culture, reveling
in what makes it unique and authentic, the KMA has
embraced the art history in its own backyard while
maintaining a viewing window on the wider world.
It has been my unmatched privilege, as a relative
newcomer to Knoxville, to build on the ambition and
hard work of so many who gave so much to realize the
lofty vision of a great art museum for Knoxville and
East Tennessee. None of what has happened in the past
few years would have even been remotely conceivable
without the monumental achievement represented
by the construction of the Clayton Building. Future
generations who benefit from the presence of a vibrant,
engaged, and relevant cultural organization like the
KMA will forever be in the debt of those who dared to
dream and build big.
DAV I D B U T L E R
|
EXECUTIVE DIRECTOR
K A R E N L A M O N T E (New York 1967; lives and works in Prague, Czech Republic) | C H A D O , 2 0 1 1 | Kiln-cast glass | 39 x 33 x 37 inches
Artist’s proof (edition of 3) | Knoxville Museum of Art, purchase with funds provided by Mary Hale Corkran in memory of her husband Blair
25
A F T E R A C O M P R E H E N S I V E , T O P -T O - B O T T O M R E S T O R AT I O N , I N 2 0 1 4 T H E M U S E U M
U N V E I L E D A P E R M A N E N T, M O N U M E N TA L G L A S S I N S TA L L AT I O N B Y A C C L A I M E D K N O X V I L L E
A R T I S T R I C H A R D J O L L E Y. C YC L E O F L I F E : W I T H I N T H E P O W E R O F D R E A M S A N D T H E W O N D E R
O F I N F I N I T Y I S T H E L A R G E S T F I G U R A L G L A S S I N S TA L L AT I O N I N T H E W O R L D .
Elizabeth Felicella
27
19 9 0
A V I S I O N R E A L I Z E D I N WO R L D ’ S
FA I R PA R K : H O N O R R O L L O F D O N O R S
TO THE CONSTRUCTION OF THE
J A M E S L . C L AY T O N B U I L D I N G
FOUNDERS
James L. Clayton
State of Tennessee
City of Knoxville
County of Knox
Anonymous
Lucille S. Thompson Family Foundation
G R A N D B E N E FAC T O R S
First American National Bank
Dulin Gallery of Art
The William B. Stokely Jr. Foundation
First Tennessee Bank
ALCOA Foundation
Mr. & Mrs. Ross N. Faires
H. Christopher Whittle
Pilot
Aztex Energy Company
Frank & Virginia Rogers Foundation
The Junior League of Knoxville
Anonymous
Anonymous
B E N E FAC T O R S
Valley Fidelity Bank & Trust Company
Partners & Associates Incorporated
Vulcan Materials
Roddy Coca-Cola Bottling Co., Inc.
Plasti-Line, Inc.
Third National Bank in Knoxville
Joanne S. Freeman
Mr. & Mrs. Harwell Proffitt
Dr. & Mrs. Edward J. Eyring
Dr. & Mrs. Aubra D. Branson
G R A N D PAT R O N S
Home Federal Bank of Tennessee, F.S.B.
Robertshaw Tennessee Division
Mr. & Mrs. Lee Congleton
Mrs. Robert A. Culver
Mr. & Mrs. L. Caesar Stair, III
The Robert H. & Monica M. Cole Foundation
Mr. & Mrs. Kent Withers
South Central Bell Telephone Company
White Stores
Dr. & Mrs. Jefferson Chapman
Dr. & Mrs. Alan Solomon
Mr. & Mrs. James F. McDonough
Anonymous
Carrier Corporation, Division of United Technologies, Inc.
Philip Morris Companies, Inc.
Persis Hawaii Foundation - The Knoxville Journal
Harold W. Pierce
PAT R O N S
Maryville Alcoa Newspapers, Inc.
Dulin Gallery Guild
Mrs. James W. Dean
Anonymous
Modern Supply Company
Mr. & Mrs. Robert S. Young
Time Controls, Inc.
Tutt S. Bradford
Bernard & Barbara Bernstein
Mr. & Mrs. Harry W. Stowers
Jim & Mimi Smith
WIVK Radio
Cherokee Distributing Company, Inc.
International Business Machines Corporation
Knoxville Art Center
Lamar Advertising Company
PAT R O N S
IJ Company
Kelsan
Mr. & Mrs. W. Robert Alcorn, Jr.
Bailey & Roberts Flooring, Inc.
Dr. A.B. Kliefoth, III
William & Virginia Morrow
Steve H. & Barbara Apking
Mrs. Robert L. Ashe
Mr. & Mrs. Albert G. Mott
Pam Beaver & Ed Smith
Southern Cast Stone
Rodgers Cadillac, Inc.
Knoxville News-Sentinel Company
Albers Drug Company
Dr. & Mrs. Fred A. Killeffer
PAT R O N S
Club LeConte
Dr. & Mrs. William G. Laing
East Tennessee Natural Gas Company
Dr. & Mrs. J. Findlay Hudgens, Jr.
Corporate Interiors, Inc.
Mr. & Mrs. Ronald M. Henry
Dr. & Mrs. William F. Gallivan
In memory of Dr. & Mrs. Yoshikuni Miyake,
Hiroshima, Japan
Drs. John & LeAnne Dougherty
Sherri & Baxter Lee
Coopers & Lybrand
Dr. & Mrs. David F. Fardon
William K. Kendrick
Dr. & Mrs. Mitchell L. Mutter
Douglas A. Horne
PAT R O N S
William F. & Julie Martin
Proffitt’s Department Stores
Mr. & Mrs. Arthur B. Long III
Dr. & Mrs. Steven A. Morris
Mr & Mrs. Warren A. Guy, Jr.
Mr. & Mrs. Earnest B. Rodgers
Barbara & Howdy Johnston
Bank of East Tennessee
Alan & Joy Greenberg
Mr. & Mrs. James L. Hilmer
Dr. William J. & Melinda McCoy
Dr. & Mrs. R. Kent Farris
Anonymous
Dr. & Mrs. Mitchell Goldman
Rick Bennett
Mr. & Mrs. T.J. Rentenbach
IN MEMORIAM
Morris Leonard Shagan
Richard J. Henderson
Rodman Townsend
Sabra Jacobs Stair
Joseph & Rita Solomon
Ray M. Hayworth, M.D.
K N OX C O U N T Y
In appreciation to Knox County for
its outstanding contributions
Executive Dwight Kessel
COMMISSIONER S
Frank Bowden, Jr.
Robert Bratton
James R. Carroll, Jr.
Mark Cawood
Jesse V. Cawood
Leo J. Cooper
Bee Deselm
Rudy Dirl
Hassel Evans
Fred Flenniken
Ray Hill
Mary Lou Horner
Frank Leuthold
Joe May
Joe McMillan
John R. Mills
Wanda Moody
Rex Norman
Howard Pinkston
Mike Ragsdale
Madeline Rogero
Ralph Teague
Billy G. Tindell
Chris Wade
Billy J. Walker
C I T Y O F K N OX V I L L E
In appreciation to the City of Knoxville for
its outstanding contributions 1987–1992
Mayor Victor Ashe
Mayor Kyle Testerman
COUNCIL MEMBER S
Ed Bailey
Larry Cox
Charlie Gaut
Ivan Harmon
Casey Jones
Hoyle McNeil
William Pavlis
William Powell
Milton Roberts
Jack Sharp
Ed Shouse
L.B. Steele
Jean Teague
Gary Underwood
201 5
THE 25TH ANNIVE R SARY
C A M PA I G N : T H E V I S I O N R E N E W E D
HONOR ROLL OF DONORS
C A M PA I G N C H A I R
Stuart R. Worden
L E A D E R S The Aslan Foundation
Ann & Steve Bailey
VA N G UA R D Clayton Family Foundation
Ms. Lane Hays
V I S I O N A R Y Nancy & Stephen Land
Caesar & Dorothy Stair
The Watkins Family Partnership
B E N E FAC T O R
Dr. & Mrs. Steve Brewington
Cherokee Distributing Company
Regal Entertainment Group
Scripps Networks Interactive
The Harry Stowers Family
G R A N D PAT R O N Kreis Beall
Betsey R. Bush
Ms. Rosemary R. Gilliam
Mr. & Mrs. Louis A. Hartley
Florence & Russ Johnston
Drs. Penny Lynch & Kimbro Maguire
Jay & Marga McBride
Ellen R. Mitchell
Alan Solomon, MD
The Rotary Club of Knoxville
Stuart R. Worden
PAT R O N Joan D. Allen
Aubrey’s Restaurants, Inc.
Mary Anne & Sam Beall
Marty & Jim Begalla
Sally S. Branson in memory of
Dr. Aubra D. Branson
David L. Butler
Camel Manufacturing, April & Stephen Harris
Central Business Improvement
District of Knoxville
City of Knoxville
Cornerstone Foundation of Knoxville
June & Rob Heller
The Jansen Family
Sharon & Joe Pryse
The Thompson Charitable Foundation
The Trust Company
Jackie Wilson
B U I L D E R Ambassador & Mrs. Victor Ashe
Blaine Construction Corporation
Jane & Kenneth Creed
Catherine & Mark Hill
Susan & Lee Hyde
Knox County
Robert S. Marquis & Elaine M. MacDonald
in memory of Gloria (Glo) Nelson Marquis
Mr. Daniel F. McGehee
Melinda Meador & Milton McNally
Jeffrey D. & Pamela D. Peters
Sylvia & Jan Peters
Prestige Cleaners & Prestige Tuxedo
Mary & Joe Sullivan
AMBASSADOR
Riley & Pandy Anderson
Barbara & Steve Apking
Bernard E. & Barbara W. Bernstein
Bobbie Y. Congleton in memory of
Lee Congleton
Charleene G. Edwards
Susan & Kent Farris
Graham Corporation
Susan & Robert Hawthorne
Ray M.* & Christine G. Hayworth
Jennifer Holder
Doug & Brenda Horne
Mrs. G. Turner Howard, Jr.
Mrs. David B. Kerr
Sherri Parker Lee
Brenda L. Madigan
A. David & Sandra Martin
Carole & Bob Martin
Dr. & Mrs. Stanley Park
Alexandra Palmer Rosen
Dr. Bernard S. & Mrs. Lesley W. Rosenblatt
Patricia & Alan Rutenberg
Mr. James Smith in memory of
Mimi Kenan Smith
Megan & Caesar Stair
John & Leslie Testerman
John Z.C. Thomas
Mimi & Milton Turner
Donna & Terry Wertz
Pat & Geoff Wolpert
Mr. & Mrs. Thomas H. Wood
C U LT I VAT O R All Occasions Party Rentals
Gary & Julia Bentley
Allen & Lisa Carroll
Chancellor & Mrs. Jimmy Cheek
Kay Montgomery Clayton
Mr.* & Mrs. Ross Faires
Wm. Gregory Hall, Jr.
Mark & Laura Heinz
Jimmy & Debbie Jones
Tim & Vicki Keller
Cheryl Massingale
Melissa & Tom McAdams
Mr. & Mrs.* W.R. McNabb
Bert & Jennie Ritchie
Natalie Robinson
Robert & Diana Samples in memory
of Ann Adelia Armstrong Lutz &
Edward Harrison Hurst
Shafer Insurance Agency, Inc.
Dr. & Mrs. Jan F. Simek
Amy & Chris Skalet
Fred & Allison Smith
C H A M P I O N Tyler & Vee Congleton
Bob Carter Companies
Thomas A. Cervone & Susan Creswell
Mr. & Mrs. Robert Croley
M. Denise DuBose & Francis L. Lloyd, Jr.
29
Lynda Evans
Scott & Lynne Fugate
Richard & Amy Grover
Diane Hamilton
Mr. & Mrs. Rusty Harmon
Alan Jones
Joyce Jones
The Lederer Family
Rosalind R. Martin
Libby & Jeremy Nelson
Ron & Ebbie Sandberg
Mr. & Mrs. Arthur Seymour
Robin & Joe Ben Turner
Michael & Lisa Walsh
Wokie & Stephen Wicks
F R I E N D Ms. Krishna Adams
Bob Baldani
Leigh Ann Bales & Michael Jacopelle
Wayne Bismark
Deedee Blane
Regis Ann Borsari
Barbara D. Boulton
Nancy S. Campbell & William O. Moorefield
Margo Clark
Carol L. Devenski
Joyce Robinson Diftler & Harold Diftler
DeLena Feliciano
Falen & Clark Gillespie
Mrs. Abner M. Glover
Norbert Grant
Edward & Donie Green
Mary Hess
Norma K. Holmes
Sharon Hudson & Jay Mader
Jackie & Richard Imbrey
Elizabeth & Michael Jennings
KMA Volunteer Advisory Committee
Diana Crisp Lopez
Ronald C. Martin
Barbara Maxon in memory of Douglas Maxon
James, Maggie, & Nathaniel Meyers
Carla May Paré
Ann Preston
Mary Ellen Smethells
Mr. & Mrs. Harvey Sproul
Angela Thomas
Mr. & Mrs. John Von Weisenstein
Ms. Stephanie M. Walker
Lahai Wicks
Terry L. Wood in memory of Nancy E. Wood
Carole Wunderlich
* deceased
K N OX V I L L E M U S E U M O F A R T
B OA R D C H A I R S
L. Caesar Stair, III 1988–89
Glady A. Faires 1990–91
Tillman J. Keller, III 1992–93
Tom Ingram 1993–95
James F. Smith 1995–97
Barbara W. Bernstein 1997–99
J. Kimbro Maguire, Jr. 1999–2001
Barbara Apking 2001–03
Bob Sukenik 2003–05
Steve Bailey 2005–07
Susan Hyde 2007–09
Greg Hall 2009–11
Jay McBride 2011–13
Bernard Rosenblatt 2013–15
Richard Jansen 2015–17
EXECUTIVE DIRECTORS
Rebecca Massie Lane 1987–90 (Director of
the Dulin Gallery of Art 1981–87)
Leigh Hendry 1990
Richard Muhlburger 1990
Kevin Grogan 1991
Henry Flood Robert, Jr. 1992
Richard Ferrin 1993–2000
Ray Hayworth 2000–02
Todd Smith 2002–06
David Butler 2006–
PRESIDENTS—GUILD OF THE
K N OX V I L L E M U S E U M O F A R T
Connie Hutchins & Geri Muse 1995–97
Barbara Apking 1997–99
Carlton Long 1999–2000
Susan Hyde 2000–01
Carol Overbey 2001–02
Susan Hawthorne 2002–03
Sandra Trout 2003–04
Lisa Carroll 2004–06
Melanie Wood 2006–08
Jayne Ely 2008–09
Susan Farris 2009–10
Carolyn Browning 2010–11
Mimi Turner 2011–12
Rosemary Gilliam 2012–14
Sylvia Peters 2014–
B OA R D O F T R U S T E E S
Bernie Rosenblatt, Chair
Richard Jansen, Vice Chair/Chair-Elect
Melinda Meador, Secretary
Steve Bailey, Treasurer
Jay McBride, Immediate Past Chair
Daniel F. McGehee, Legal Counsel (ex-officio)
James L. Clayton, Honorary Trustee (ex-officio)
Kent Farris, Co-Chair, Collectors Circle (ex-officio)
Joan Ashe
Kreis Beall
Julia Bentley
Barbara Bernstein
Christi Branscom
Melissa Burleson
Jimmy Cheek
Kay Clayton
Cindy Compton
Tyler Congleton
Susan Farris
Lynne Fugate
Rosemary Gilliam
Richard Grover
Frances Hall
Rusty Harmon
Kitsy Hartley
Mark Heinz
Rob Heller
Jennifer Holder
Alan Jones
Debbie Jones
Allison Lederer
Kimbro Maguire
Allison Page
Hei Park
Pam Peters
Sylvia Peters
Alan Rutenberg
Amy Skalet
Fred Smith, IV
Caesar Stair, IV
Geoff Wolpert
Melanie Wood
25TH ANNIVERSARY LUNCHEON
PRESENTING SPONSOR
K N OX V I L L E M U S E U M O F A R T S TA F F
David Butler, Executive Director
Robmat Butler, Preparator
Margo Clark, Associate Director of Development, Membership & Grants
Susan Creswell, Shop Manager
Denise DuBose, Director of Administration
Donald Fain, Maintenance Technician
Michael Gill, Alive After Five Coordinator
Clark Gillespie, Assistant Curator/Registrar
Diane Hamilton, Facility Sales Manager
Mary Hess, Assistant Gift Shop Manager
Sharon Hudson, Assistant Director of Development, Sponsorships & Annual Giving
Susan Hyde, Director of Development
Joyce Jones, Director of Finance & Operations
Jeff Ledford, Facility Associate
Ron Martin, Facility Associate
Rosalind Martin, Curator of Education, K-12
Maggie Meyers, Development Administrator
Carla May Paré, Event Manager, L’Amour du Vin
Travis Solomon, Facility & Security Manager
Angela Thomas, Director of Marketing
Stephen Wicks, Barbara W. &
Bernard E. Bernstein Curator
SPECIAL THANKS TO
Robin Easter Design, who also
created the promotional materials for the
KMA’s 1990 opening celebration
31
David Massengill