Unwritten Memoir

Athenia painting

Athenia, 2014


August 22–December 9, 2017

Reception: Thursday, September 14, 2017, 6–8:00 p.m.

part of the Annual Membership Party

The art in Unwritten Memoir is a survey of work created by Randy Hayes from 2004 to present. In that time, he began to live part-time, then full-time, in Mississippi. His art is also influenced by travel to Turkey and Japan during that same period. The art reflects his visual memory of three very different cultures and environments: Mississippi, Turkey, and Japan.

Recollections refers to a group of photographs and objects which have a specific connection to one another. This series, included in this exhibition, began about twenty years ago but has never been exhibited before. Also on exhibit is an associated series of small paintings of objects.

Love = Love

By Kent Rogowski

May 23—September 16, 2017

Opening Reception: Tuesday, May 23, 2017, 6–8:00 p.m.

Part of Oxford Arts Crawl

Love=Love is a series of collages that were created using pieces of over 60 store bought puzzles. Although puzzle pieces are unique, and can only fit into one place within a puzzle, they are sometimes interchangeable within a brand. These puzzles were cut using the same die, but depict unrelated images.

Using only the flowers and skies from each of the puzzles, I created a series of entirely new compositions by recombining the puzzle pieces. These spectacular, fantastical and surreal landscapes sit in direct contrast to the banal and bucolic images of the original puzzles.


Lasting Impressions: Restoring Kate Freeman Clark

My First Sky, Shinnecock, no date


March 28—July 22, 2017

Reception: Tuesday, March 28, 2017, 6–8:00 p.m.

In the spring of 1896, twenty-year-old Kate Freeman Clark, originally from Holly Springs, Mississippi, enrolled in an oil-painting class offered by William Merritt Chase, one of America’s most well-known impressionists and the owner of the Chase School of Art. Clark studied with him over the next two decades and became a proficient painter in her own right. She produced hundreds of paintings in various genres and media, including pastoral landscapes in oil and watercolor, lyrically inspired scenes, and Munich school–influenced portraiture.

Kate Freeman Clark accumulated an impressive exhibition record showing at the Boston Art Club, the Pennsylvania Academy of Fine Arts, the Corcoran Gallery, the Carnegie Institute, the New York School of Art, the National Academy of Design, and the Society of American Artists among others. She worked at a time when female artists often used a gender-ambiguous pseudonym to receive serious professional attention. Thus, when she began submitting her paintings to juried exhibitions, she often signed simply as “Freeman Clark.” Many of her canvases remain unsigned and almost all of them are undated.

Her painterly impressions of the Shinnecock Hills in upstate New York testify to a deep enjoyment of and immersion in the experience of plein air painting. Of this landscape she said, “This is the most ravishingly beautiful picturesque place I have ever been & I am having such a fascinating time that I feel as if I should like to spend a year here and explore every nook in this charming country.”

In 1923, Kate Freeman Clark stored her entire collection of paintings in bales at a warehouse in New York City and returned to her family homestead in Holly Springs, where she lived until her death in 1957. After her death, her canvases, many of them damaged from years of storage, were recovered, and a gallery in her memory was built in her hometown. Clark’s work stands as a testimony to her talent, pleasure, and mission in painting. As she said, “The artist’s mission [is] to open the eye of the unseeing to the beauties that are all about them.”

Out of her numerous paintings, only two are set in Mississippi. The astonishing uniqueness of the entirety of the Kate Freeman Clark art collection lies in its compendious scope. Art collector Howard Stebbins estimated that “the Clark group [is] perhaps the largest art collection in the world painted by a single artist.”

This exhibition pays tribute to a prodigious and prolific female artist from Mississippi. It seeks to reintroduce Kate Freeman Clark’s work to the history of American painting by drawing attention to the ongoing restoration of her career and her canvases.


Lester and Susan Fant III

Bank of Holly Springs, David B. Person, First State Bank, Tim and Lisa Liddy, Tyson Drugs Inc., and, Ellis Stubbs State Farm Insurance

Special thanks to: Kate Freeman Clark Art Gallery and Walter Webb, Curator

Dunhuang through the Lens of James and Lucy Lo


January 10—April 29, 2017

Reception: Tuesday, January 31, 2017, 6–8:00 p.m.

James and Lucy Lo photographed the intricately painted and sculpted Mogao and Yulin Caves from 1943-44. Their images transcend the standards of documentary photography into pure artistry.

Sponsors: Photos courtesy of the Lo Archive and the P.Y. and Kinmay W. Tang Center for East Asian Art and exhibition made possible by a generous donation from The Diana Davis Spencer Foundation



August 9—December 10, 2016

Opening Reception: Tuesday, August 23, 2016, 6–8:00 p.m.

Part of Oxford Arts Crawl

Apocrypha loosely translates as “hidden writings”. The original significance of the objects in Jason “Twiggy” Lott’s assemblages has been hidden or lost to time. They were lost but now are found and must be granted new life and new significance.


Our Faith Affirmed—Works from the Gordon W. Bailey Collection

Angels Playing Music by Purvis Young

Angels Playing Music by Purvis Young

September 10 2014 – August 8 2015

The University of Mississippi Museum of Art presents Our Faith Affirmed—Works from the Gordon W. Bailey Collection. Curated by the Los Angeles-based, scholar and collector Gordon W. Bailey the important exhibition features works by 27 artists, born between 1900 and 1959. Many of the artists are widely known and several, most notably, Thornton Dial Sr, Roy Ferdinand, Bessie Harvey, Lonnie Holley, Robert Howell, Joe Light, Charlie Lucas, Jimmy Lee Sudduth, and Purvis Young are considered self-taught masters.

The powerful exhibition underscores the significance of Southern vernacular artists whose influence extends far beyond the realm of aesthetics. The artworks exude an authority of experience and directness of expression that bears witness to the considerable weight of Southern history, the saga of American politics, and, most clearly, to their faith and clarity of vision. Bailey suggested: “The arts are our cultural mortar. They solidify the bridges connecting diverse communities. Though the region is rooted in conflict, there are many good people of all races, genders, and socio-economic levels pulling, or in some cases, pushing in the same direction.”

Image: Angels Playing Music, Purvis Young

Gods and Men: Iconography and Identity in the Ancient World


May 10–August 24, 2016

Reception: Tuesday, May 24, 2016, 6–8:00 p.m.

This exhibit takes a closer examination of the image of ancient gods, kings, and the common man. Their depictions contain a visual language, once easily understood throughout the ancient world.

Part of the Oxford Arts Crawl

Exhibition support from the Friends of the Museum.

Friends of the Museum

The Beautiful Mysterious: The Extraordinary Gaze of William Eggleston

Dates Extended!


September 13, 2016–February 18, 2017

Opening Reception: Thursday, October 6, 2016, 7–9:00 p.m.

A series of stunning color and early black-and-white photographs, some never exhibited before, by the world-renowned, Memphis-born photographer. Guest Curated by novelist Megan Abbott.

Marie Hull: Mastery of Color and Form


Sail Shapes, 1964

March 1–June 25, 2016

Opening Reception featuring a Marie Hull inspired
Cocktail and Book Signing by Bruce Levingston
Thurs., Apr. 14, 2016, 6:30–8:30 p.m.

Marie Hull combines her mastery of landscape painting with a unique and powerful synthesis of color and form. These daring works show her boundless sense of exploration and experimentation and continue to have profound impact on art in the South and beyond.

Of Rivers: Photography by Young Suh, Poetry edited by Chiyuma Elliott and Katie Peterson


February 16–July 9, 2016

Poetry Reading: March 3, 2016, 3:30–4:30 p.m.
Poetry reading with Jericho Brown, Chiyuma Elliott, Derrick Harriell, and Katie Peterson.
Opening Reception: March 3, 2016, 4:30–6:00 p.m.

Part of the 2016 Conference of the Book

We began with Langston Hughes’s 1921 award-winning poem “The Negro Speaks of Rivers,” and asked people to write something in response. We invited poets of very different styles and sensibilities: F. Douglas Brown (Los Angeles), Jericho Brown (Atlanta), Katie Ford (Los Angeles), Rachel Eliza Griffiths (Brooklyn), Derrick Harriell (Oxford, MS), Dong Li (Nanjing, China and Stuttgart, Germany), Sandra Lim (Cambridge, MA), and Michael C. Peterson (Cincinnati). We wanted to see what each of these writers would make. We also asked the artist Young Suh (El Cerrito, CA) to visually respond to all of these poems. What you see in the gallery is the result of that collaboration—a literary and visual call and response.

Chiyuma Elliott, University of California, Berkeley

Katie Peterson, University of California, Davis

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