Around Atlanta
Major Rodin Exhibition at the High Museum of Art This Fall
Auguste Rodin (French, 1840-1917) is one of the most celebrated sculptors of the modern age, represented in museums and private collections across the globe. However, this was not always the case. From his first sculpture to enter an American museum in 1893 and culminating with his popular revival in the 1980s, “Rodin in the United States: Confronting the Modern” — on view at the High Museum of Art Oct. 21, 2022-Jan. 15, 2023 — follows Rodin’s rise to eminence in America due in large part to the collectors, critics and curators who helped make it happen. The exhibition will also reveal Rodin’s incredible daring and inventiveness as he continually pushed against and beyond traditional notions of sculpture.
“Though now holding pride of place in major American museum collections, and renowned for its distinctive aesthetic, it’s perhaps only in the last 40 years that Rodin’s work has become recognized as among the greatest achievements in Modern art,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., Director of the High. “This exhibition takes the audience on a journey, as Rodin’s reputation builds, declines and rises again. It’s a fascinating story, illustrated by many of Rodin’s most striking and beautiful works.”
The 45 sculptures and 25 works on paper in the exhibition encompass many of Rodin’s best-known compositions, including “The Thinker,” “Monument to Balzac” and “The Kiss,” as well as less-familiar subjects and an exceptional number of his expressive and probing drawings. The works show Rodin working across an array of media — from terracotta and plaster to bronze and marble — and illuminate his creative process, from studies and maquettes to completed works.
“All of us have stood awestruck in front of Rodin’s more-than-life-size figures, like the 9-foot ‘Monument to Balzac’ or the massive, 2,000-pound ‘Thinker’,” said Claudia Einecke, the High’s Frances B. Bunzl Family curator of European art. “But it is a testament to Rodin’s unsurpassed power of evocation that even diminutive figures, such as the 5-inch ‘Female Torso’ or a 6-inch portrait head of the actress Hanako, can impress us with the same physical energy and monumental presence. Visitors will be delighted to see the breadth of Rodin’s work in this exhibition and to learn how he came to be among the 20th century’s most revered artists.”
Rodin’s path to acceptance in the United States was a complicated, winding one, and the stories of the collectors and institutions that embraced his work reveal a desire to look beyond the conventional to confront, and embrace, the modern.
Rodin first gained significant attention in the United States in 1893, when the Metropolitan Museum of Art made the first acquisition of his artwork by an American institution. That same year, he made his controversial debut at Chicago’s World’s Columbian Exposition with three marble sculptures, which were quickly judged too provocative and moved to a private space that was only accessible by request. As the exposition progressed, however, the censorship propelled public interest in his work.
This notoriety sparked an early-20th-century collecting frenzy, promoted by noted philanthropist Katherine Seney Simpson, avant-garde performer Loïe Fuller, and collector Alma de Bretteville Spreckels, among others. The exhibition details the intriguing confluence of these Rodin enthusiasts and the roles they played in generating interest in his art.
In the 1920s and 1930s, many American museums made important acquisitions of Rodin’s work, further fueling avid interest in the artist. However, these institutions tended to display his more finished, narrative subjects. The majority of his seemingly unfinished, fragmented or more “erotic” works — appreciated today for their daring and modernity — were consigned to storage, where they languished for years. By the Second World War, enthusiasm for his work had waned and critical sentiment regarding his art shifted, leading museums to relegate his sculptures to less prominent places or remove them from the public eye.
In 1954, Museum of Modern Art Director Alfred H. Barr Jr. requested a bronze cast of Rodin’s “Monument to Balzac” for the museum’s collection, which spurred scholars and critics to reappraise Rodin’s works. Nearly 30 years later, the National Portrait Gallery’s 1981 exhibition “Rodin Rediscovered” ushered in a resurgence of appreciation for Rodin’s art in the United States, which continues today.
“Confronting the Modern” traces these ebbs and flows of Rodin’s American popularity and includes loans of key works from more than 30 museums and private collections across the country. These works include:
- The Metropolitan Museum of Art’s “Bust of St. John the Baptist” (bronze, original model 1880, cast 1883), the first Rodin work to enter an American museum collection.
- The marble bust “Katherine Seney Simpson” (1903), which immortalized Rodin’s early advocate, who was instrumental in developing the Met’s Rodin collection and donated her private collection of his art to the National Gallery of Art upon her death.
- Bronze sculptures “The Thinker” (cast 1928) and “The Kiss” (cast 1888) from the Baltimore Museum of Art’s collection. “Rodin in the United States” marks the first time that the Baltimore Museum of Art has loaned “The Thinker” to an exhibition.
- The Museum of Modern Art’s “Monument to Balzac” (cast 1954), which instigated renewed interest in Rodin’s work.
- Drawings related to some of Rodin’s most famous compositions, such as “The Thinker” and “Ugolino and His Sons.”
- A group of diminutive plaster studies exploring the expressive power of the human hand, which were gifts from the artist to the Met’s Rodin Gallery, established in 1912.
“Rodin in the United States: Confronting the Modern” will be accompanied by a fully illustrated, 260-page catalogue edited by exhibition curator Antoinette Le Normand-Romain, with contributions by Christina Buley-Uribe, Patrick R. Crowley, C. D. Dickerson III, Laure de Margerie, Véronique Mattiussi, Elyse Nelson, Jennifer A. Thompson and Nora M. Rosengarten. The book is published by the Clark Art Institute and distributed by Yale University Press, New Haven.
The exhibition will be presented in the Cousins Family Special Exhibition Galleries on the Second Level of the High’s Wieland Pavilion.
Exhibition Organization and Support
“Rodin in the United States: Confronting the Modern” is organized by the Clark Art Institute, Williamston, Massachusetts, and guest curated by independent scholar Antoinette Le Normand-Romain.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Funding for this exhibition is provided by Troutman Pepper.
The special exhibition of the Medford and Loraine Johnston Collection will run January 17 through May 25, 2025
In the mid-1970s, artist and Georgia State University professor Medford Johnston, along with his wife and collaborator Loraine, began collecting works by artists who were in the vanguard of contemporary art. Today, they hold one of the finest collections of postwar American drawings and related objects of its kind, now numbering more than 85 works.
In 2025, the High Museum of Art will present Thinking Eye, Seeing Mind: The Medford and Loraine Johnston Collection, featuring their collected works, which is a promised gift to the museum. Featuring artists such as Sol LeWitt, Brice Marden, Elizabeth Murray, Martin Puryear, Ed Ruscha, Al Taylor, Anne Truitt, Stanley Whitney and Terry Winters, among others, the exhibition will demonstrate how establishing the parameters of an art collection requires infinite patience, focus, discipline and a keen eye.
“The Johnstons have been friends of the High for a very long time. They’ve also built an impressive collection featuring works by many of the 20th century’s most significant abstract artists,” said the High’s Director Rand Suffolk. “We are honored that they have promised to leave their collection to the Museum where it will be preserved for future generations — and we are delighted that they are sharing it with our audiences now, hopefully inspiring the next generation of art collectors and supporters.”
A curated collection
The Johnstons’ story is a testament to, in the words of the High’s Wieland Family Senior Curator of Modern and Contemporary Art, Michael Rooks, “knowing the difference between what is right and what is almost right” when building a collection.
Although the Johnstons acquired several paintings and objects when they first began collecting in 1972, they quickly narrowed their focus to drawing, primarily by artists working on the frontlines of abstraction in the mid-1960s during a time of great innovation and experimentation.
Rooks added, “Med and Loraine’s collection struck me at once by its single-minded focus on a specific moment in time, which was essentially the time of their contemporaries. The artists in their collection are like close friends to the Johnstons — in fact many are or were. What is equally astonishing about the collection is the Johnstons’ dogged pursuit of quality. Their in-depth knowledge of each artist’s practice combined with their understanding of specific qualities to look for — or more appropriately, to hold out for — will be a revelation to emerging collectors.”
The Johnstons have built their collection with the High in mind as the benefactor of their passion and discernment. For them, their collection “is a labor of love, pursued over more than 50 years, and we are delighted to be able to help the High Museum document and celebrate these important artists working during the same decades as our lives.”
About the exhibit
Thinking Eye, Seeing Mind: The Medford and Loraine Johnston Collection will be presented in the Special Exhibition Galleries on the second level of the High’s Stent Family Wing.
The exhibit is organized by the High Museum of Art and made possible through the generosity of sponsors:
- Premier Exhibition Series Sponsor Delta Air Lines, Inc.
- Premier Exhibition Series Supporters Mr. Joseph H. Boland, Jr., The Fay S. and W. Barrett Howell Family Foundation, Harry Norman Realtors and wish Foundation
- Benefactor Exhibition Series Supporters Robin and Hilton Howell
- Ambassador Exhibition Series Supporters Loomis Charitable Foundation and Mrs. Harriet H. Warren
- Contributing Exhibition Series Supporters Farideh and Al Azadi, Mary and Neil Johnson, Mr. and Mrs. Baxter Jones, Megan and Garrett Langley, Margot and Danny McCaul, Wade A. Rakes II and Nicholas Miller and Belinda Stanley-Majors and Dwayne Majors.
Support has also been provided by the Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, RJR Nabisco Exhibition Endowment Fund and USI Insurance Services.
About the High Museum of Art
Located in the heart of Atlanta, the High Museum of Art connects with audiences from across the Southeast and around the world through its distinguished collection, dynamic schedule of special exhibitions and engaging community-focused programs.
Housed within facilities designed by Pritzker Prize-winning architects Richard Meier and Renzo Piano, the High features a collection of more than 19,000 works of art, including an extensive anthology of 19th- and 20th-century American fine and decorative arts; major holdings of photography and folk and self-taught work, especially that of artists from the American South; burgeoning collections of modern and contemporary art, including paintings, sculpture, new media and design; a growing collection of African art, with work dating from prehistory through the present; and significant holdings of European paintings and works on paper.
The High is dedicated to reflecting the diversity of its communities and offering a variety of exhibitions and educational programs that engage visitors with the world of art, the lives of artists and the creative process.
For more information about the High or to purchase tickets, visit high.org.
Top image: (from the collection) Terry Winters (American, born 1949), Orb, 2020, oil on paper, The Johnston Collection. © Terry Winters, Courtesy Matthew Marks Gallery, New York.
This holiday season, Atlanta’s Center for Puppetry Arts is proud to present groundbreaking displays highlighting how puppetry — an ancient form of storytelling — brings together diverse religious and cultural traditions.
Running from November 12 to December 29, this special holiday exhibition invites visitors to experience a global celebration of unity — all under one roof.
Two remarkable exhibits at the heart of this year’s holiday programming are Jane Henson’s Nativity Story and The Famous Chelm Players by Robert Rogers. These powerful displays bring to life Christian and Jewish traditions through the art of puppetry, alongside contributions from other world cultures.
In addition to these new exhibits, the Center’s signature Rudolph the Red-Nosed Reindeer™ performance returns, making the Center for Puppetry Arts a must-visit holiday destination.
A rare display of Christian artistry: Jane Henson’s Nativity Story
Jane Henson’s Nativity Story, a masterful crèche, brings the birth of Jesus to life through puppetry. Created by the co-founder of The Jim Henson Company (and wife of Muppets creator, Jim Henson), Nativity Story adds emotion to the traditional display, making it an engaging exhibit for all ages.
The Center for Puppetry Arts is one of the few museums in the world to publicly showcase Jane Henson’s work, offering a rare chance to experience her artistry. This unique celebration of Christian tradition is also a tribute to an often-overlooked female pioneer in puppetry.
A closer look: The Famous Chelm Players
Another highlight of the holiday exhibition is The Famous Chelm Players, created by renowned puppeteer Robert Rogers. These characters, inspired by Eastern European Jewish folklore, depict the Wise Men of Chelm, a town known in Jewish stories as the “village of fools.”
The puppets bring to life the lighthearted and well-meaning — yet comically misguided — characters who share wisdom and are used to tell stories about holidays and everyday lessons. They have been a beloved part of many Jewish traditions.
Designed with intricate detail, the Chelm puppets evoke the shtetls (small Jewish towns) of the past, capturing the essence of Jewish cultural heritage. Originally performed in Rogers’ New York playhouse, the debut at the Center for Puppetry Arts marks a rare opportunity for Southern audiences to see these whimsical puppets and learn about the timeless tales of Chelm.
A global holiday experience
In addition to these special exhibits, The Center maintains a rich collection of global puppetry in its permanent collection, some include:
• Puppets of Hindu deities, crafted by Indian artist Anupama Hoskere, depict stories from Hindu epics like the Ramayana, showcasing the intricate traditions of Indian puppetry.
• Muslim folk characters from various regions illustrate how puppetry has been used to convey religious stories and community traditions from the Middle East to Southeast Asia.
• Asian puppets, including shadow puppets from Indonesia and China, show how they are used in religious ceremonies and folk storytelling.
Rudolph returns for holiday fun
No visit to Atlanta’s Center for Puppetry Arts during the holidays would be complete without Rudolph the Red-Nosed Reindeer.
Running fromNovember 13 to December 29, this family-friendly adaptation of the 1964 Rankin/Bass television special features fully staged puppetry performances that capture the timeless story of Rudolph, Santa, Yukon Cornelius and the Abominable Snowman.
An Invitation to All Faiths and Communities
The Center for Puppetry Arts is extending a warm invitation to religious and interfaith organizations to participate in this celebration of global traditions.
By bringing together these diverse stories, the Center is offering a rare chance for communities of all backgrounds to come together through the common love of art and storytelling.
Plan Your Visit
Dates: November 12–December 29; Performances of Rudolph the Red-Nosed Reindeer™ begin November 13.
Location: The Center For Puppetry Arts: 1404 Spring St NW, Atlanta, GA 30309. Parking is free.
For more information and to purchase tickets, visit: puppet.org/programs.
Rudolph performance tickets include the show, as well as admission to the Worlds of Puppetry Museum, Festive Features special exhibition and a Create-A-Puppet™ Workshop.
To purchase a membership, visit: puppet.org/visit/become-a-member.
About the Center for Puppetry Arts
The Center for Puppetry Arts is the largest nonprofit in the U.S. dedicated solely to puppetry, offering live performances, interactive workshops and a world-class museum. Home to the Jim Henson Collection, featuring original Muppets, Fraggle Rock characters and Sesame Street icons, the Center provides a rare, behind-the-scenes look at beloved TV and film favorites.
With over 4,000 puppets from around the world in the museum, the Center immerses visitors in diverse cultural traditions, making it a must-visit destination for families. Supported by local institutions, it remains a key player in Atlanta’s vibrant arts scene.
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