painting of an African woman and child
Central to Their Lives: Southern Women Artists in the Johnson Collection

On view now – October 13, 2019
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by the Johnson Collection

Spanning the decades between the late 1890s and early 1960s, this exhibition examines the particularly complex challenges female artists confronted in a traditionally conservative region during a period in which women’s social, cultural, and political roles were being redefined and reinterpreted. Whether working from dedicated studio spaces, in spare rooms at home, or on the world stage, the artists showcased made remarkable contributions by fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo.

Central to Their Lives: Southern Women Artists in the Johnson Collection features the works of forty-two women artists working in and inspired by the American South, including works by such diverse artists as Kate Freeman Clark, Loïs Mailou Jones, Ida Kohlmeyer, Adele Lemm, Augusta Savage, Alma Thomas, and Helen Turner. The exhibition encompasses a variety of media including painting, sculpture, and works on paper.

This comprehensive endeavor is drawn from the holdings of the Johnson Collection, located in Spartanburg, South Carolina.  The Johnson Collection was founded in 2002 as a private collection for public good with the goal of illuminating the rich history and diverse cultures of the American South. Spanning the eighteenth century to the present day, the collection seeks to emphasize the dynamic role of the art of the South within the larger context of American art.

Sponsored by: 

Kate and Michael Buttarazzi | Karen and Preston Dorsett | Andrea and Doug Edwards | Rose M. Johnston | Anne and Mike Keeney | Ellen and William Losch | Nancy and Steve Morrow | Irene Orgill | Gwen and Penn Owen | Irene and Fred Smith | Adele Wellford | Vance and Willis Willey | Barbara and Lewis Williamson

Loïs Mailou Jones (1905-1998), Africa, 1935. Oil on canvas board. The Johnson Collection 2016.10.02

Kate Freeman Clark

On view now – October 13, 2019
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by Dixon Gallery and Gardens

This exhibition brings together nearly forty paintings by Southern-born Impressionist Kate Freeman Clark (1875-1957). Working mostly in New York, Clark produced an impressive and varied body of work between the years of 1893 and 1923. In the fall of 1894, Clark, born and raised in Holly Springs, Mississippi, enrolled at the Art Students League of New York, where she studied painting under William Merritt Chase. Between 1896 and 1902, Clark spent consecutive summers at Chase’s Shinnecock Hills Summer School of Art, creating over three hundred paintings during her time there. Nearly all of the works Clark produced at Shinnecock were impressionistic landscapes created en plein air using unexpected materials like burlap to reinforce the rustic scenery she painted.

Kate Freeman Clark spent the first decade of the twentieth century submitting her paintings to prestigious juried exhibitions, using the name “Freeman Clark” to hide her identity as a woman artist. Despite these successful showings, Clark never sold any of her paintings, out of respect for her family’s disapproval of women’s involvement in business. Clark abandoned painting, along with her artistic career, when she returned to her native Mississippi in 1924. Her oeuvre, as well as her talent, was virtually unknown to her Mississippi community during her lifetime. It was not until her death in 1957 that her paintings were located in New York’s Lincoln Warehouse. Clark willed her entire body of work, approximately one thousand paintings and drawings, to her hometown, along with funding and plan to build a gallery dedicated to her life and work. Established in Holly Springs in 1963, the Kate Freeman Clark Art Gallery is the result of her bequest.

Kate Freeman Clark highlights the artist’s rich body of work, defined by her intimate portraits of family and friends, bucolic landscapes, and compelling still life paintings.

Sponsored by: 

Kate and Michael Buttarazzi | Karen and Preston Dorsett | Andrea and Doug Edwards | Rose M. Johnston | Anne and Mike Keeney | Ellen and William Losch | Nancy and Steve Morrow | Irene Orgill | Gwen and Penn Owen | Irene and Fred Smith | Adele Wellford | Vance and Willis Willey | Barbara and Lewis Williamson

Kate Freeman Clark, Bishop Barns, ca. 1896–1902. Oil on canvas. Collection of the Kate Freeman Clark Art Gallery.

abstract oil painting with blues and reds  
Elizabeth Alley: Place Shapes 

On view now – October 6, 2019
Mallory/Wurtzburger Galleries

*Elizabeth Alley will be giving the Tours at Two on Sunday, October 6. 
To watch Elizabeth's Insights video please click here

Native Memphian Elizabeth Alley has been carefully observing and recording the world around her for the entirety of her career.  Producing work ranging from intimate yet incisive sketches to beautifully rendered paintings in both watercolor and oil, she has been a leading force in the twenty-first-century Memphis arts community. 

Alley’s exhibition in the Mallory/Wurtzburger Galleries this summer will highlight her most recent work—brilliant, expressive oil paintings that capture the diverse and sometimes extreme landscapes she has experienced in her travels to Iceland, Newfoundland, and Portugal.  These paintings reveal her interest in discovering and capturing the way humans interact with nature around the world.  Equally studied and spontaneous, Alley’s paintings from each location coalesce to form a continuous narrative of her personal experience in the landscape and more universal panoramic view of some of the most remote yet majestic parts of the world.

Elizabeth Alley, View from the Grotto, 2019; Courtesy of the artist. 

Countess de Castiglione: The Allure of Creative Self-Absorption

April 28, 2019 – July 14, 2019
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by Dixon Gallery and Gardens

In 1854, a sixteen-year-old newlywed named Virginia Oldoini Verasis (1837-1899) assumed the title of the Countess of Castiglione, and made that new identity her own. A great beauty, grande horizontale, and mistress to Napoleon III, the Countess was an iconic figure of the glamorous Second Empire. In an era when the average person might be photographed once in his or her lifetime, the Countess commissioned more than 400 images of herself from the Parisian studio photographer Pierre-Louis Pierson and others. She spent much of her fortune, even going into debt, in pursuing this creative endeavor.

Countess de Castiglione: The Allure of Creative Self-Absorption features over thirty of these photographs surrounding the Dixon Gallery and Gardens’ own rare 1864 terracotta bust of the Countess by the French sculptor Albert Ernest Carrier- Belleuse (1824 – 1887). In extending this concept of feminine creative self-representation, the exhibition also includes examples of four important twentieth-century artists who shared the Countess's proclivity for self examination, Cindy Sherman (b. 1954), Francesca Woodman (1958-1981), Gillian Wearing (b. 1963), and Nikki Lee (b. 1970). The Countess herself recorded obsessively from early beauty to much later in life, leaving an important body of work that continues to inspire artists today.

An exhibition catalogue authored by guest curator Robert Flynn Johnson will be available for purchase in the museum store.

Sponsored by: Kate and Michael Buttarazzi | Karen and Preston Dorsett | Rose M. Johnston | Anne and ike Keeney | Nancy and Steve Morrow | Irene Orgill | Gwen and Penn Owen | Irene and Fred Smith | Adele Wellford | Barbara and Lewis Williamson

Pierre-Louis Pierson, The Eyes, 1863-66. Gelatin silver print, ca. 1930s. Private collection

William McGregor Paxton and Elizabeth Okie Paxton: An Artistic Partnership

April 28, 2019 – July 14, 2019
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by Dixon Gallery and Gardens

William McGregor Paxton (1869-1941) is best remembered for his involvement with the Boston School, which included American Impressionists Edmund Tarbell, Frank Benson, Joseph DeCamp, and others. Inspired by Dutch art of the seventeenth century, their work focused on the domestic interior and featured young women reading, sewing, cleaning, cooking, and entertaining friends.

Elizabeth Okie Paxton (1882-1972) met her husband while studying in Boston at the Cowles Art School where he served as an instructor. From a prominent New England family, Elizabeth became engaged to the artist when she was only eighteen. For the next decade, she became his muse and favorite model, and put her own painting on hold. However, by 1910, she returned to art, maintaining a studio in the couple’s home, and specializing in still life paintings. These works reveal her talent and her keen understanding of the spaces and objects that make up domestic life. She exhibited her work in national and regional exhibitions, winning a silver medal in 1915 at the Panama Pacific Exposition in San Francisco. After William Paxton died in 1941, Elizabeth devoted the next thirty years to maintaining her husband’s legacy.

William McGregor Paxton and Elizabeth Okie Paxton: An Artistic Partnership is the first examination of the work of William Paxton in nearly four decades and is the first comprehensive study of Elizabeth Paxton and her career. The exhibition is accompanied by a full color catalogue, written by Jane Ward Faquin, guest curator and former Dixon Curator of Education. She was the organizer of the Dixon originated exhibitions Helen M. Turner: The Woman’s Point of View (2010) and Charles Courtney Curran: Seeking the Ideal (2014). The accompanying catalogue (available in the museum store) includes essays on Elizabeth Paxton, as well as the couple’s relationship, both artistic and personal. The Dixon’s partner on this project is the Butler Institute of American Art in Youngstown, Ohio, where the exhibition will travel as a part of the museum’s centenary celebration.

Sponsored by: Arthur E. and Alice F. Adams Foundation | Kate and Michael Buttarazzi | Karen and Preston Dorsett | Rose M. Johnston | Anne and Mike Keeney | Nancy and Steve Morrow | Irene Orgill | Gwen and Penn Owen | Irene and Fred Smith | Adele Wellford | Barbara and Lewis Williamson

William McGregor Paxton, 'The Sisters', 1904. Oil on canvas. Gerald Peters Gallery, New York

artwork hanging on walls in gallery, mother and two children looking at art
Education Exhibition: Made in Dixon 

April 27 – June 23, 2019 
Liz and Tommy Farnsworth Education Building

Made in Dixon/Made at Dixon features works of art from numerous Dixon programs. This window to more than twenty programs offered onsite and through outreach initiatives, presents the talent of hundreds of participants of all ages and all walks of life. The exhibition also offers hands-on components that allow visitors to add their work to the exhibition on the spot.

Sponsored by: 

several open sketchbooks laying on a sidewalk, photo from above
First Saturdays: Memphis Urban Sketchers

April 14 – July 7, 2019
Mallory/Wurtzburger Galleries

Memphis Urban Sketchers is the Mid-South chapter of an international network of artists whose drawings reflect the cities in which they live and travel. Working in a variety of media, including graphite, watercolor, pen, and colored pencil, the more than twenty artists featured in First Saturdays capture honest observations of everyday life. When showcased together, their works document a particular time and place in Memphis history and create a shared narrative that speaks to the collective experience of the group, and Memphians alike. 2019 marks the two hundredth anniversary of the founding of the city of Memphis in 1819. Coinciding with Memphis in May International Festival's salute to Memphis, the Dixon joins various Memphis institutions in celebrating this historic moment through First Saturdays, which offers a creative interpretation of the places and landmarks that make our city unique.

Artists participating: Elizabeth Alley (guest curator), Mary Baddour, Phyllis Boger, Linda Boswell, Eric Clausen, Jeff Craig, Alison England, Carl Fox, Glenn Fuqua, Sandra Hill, Christina Huntington, Martha Kelly, Vicki Less, Nancy Mardis, Gabriela Martinez, Mary Ann May, Janis McCarty, Tom Pellett, Richard Reed, Mary K. VanGieson, Julie Wiklund, and Mark Williams

Sponsored by: Suzanne and Neely Mallory | The Estate of Mary and Charles Wurtzburger

Eye to Eye: A New Look at the Dixon Collection 

January 20, 2019 - April 14, 2019

Presented by the Joe Orgill Family Fund for Exhibitions
Organized by Dixon Gallery and Gardens

The Dixon is one of the more dynamic fine art museums in the country. Just as our exhibitions are constantly changing and growing, so too are our collections continuing to grow and mature. In recent years, various gifts and acquisitions have been transformative in shaping the Dixon’s collection for the future, helping to position us as one of the nation’s leading centers for the study of late nineteenth and early twentieth century art. Over the years, we have used the Dixon’s renowned permanent collection to tell a variety of stories, from the history of the Dixon itself to the story of Impressionism. This winter, we will be examining our collection of fine and decorative art through a different lens. Eye to Eye: A New Look at the Dixon Collection considers our permanent collection through the themes that inform its subject matter. This exhibition highlights some of the major ideas that influenced art produced in Europe and the United States from the eighteenth through the early twentieth century. Artists returned again and again to timeless subjects that continue to inspire us to this day, including scenes of modern entertainment, views of the landscape in all its variety, and images of contemporary men, women, and children. The artists who created the works that addressed these themes employed many techniques, but they all stressed a sense of immediacy and a willingness to explore new approaches to art-making.

Come revisit your old favorites in the Dixon permanent collection and see them contextualized and showcased in a completely new way.

Sponsored by: Karen and Preston Dorsett | Nancy and Steve Morrow | Gwen and Penn Owen | Chris and Dan Richards

Fernand Lungren, American (1859-1932), In the Café, 1882/84. Oil on canvas. Collection of the Dixon Gallery and Gardens, Museum purchase with funds provided by the estate of Cecil Williams Marshall, 2018.2

Annabelle Meacham: The Stories We Could Tell

January 20, 2019 - April 7, 2019

Mallory/Wurtzburger Galleries

Memphis artist Annabelle Meacham’s work is most often a visual recording of her vivid dreams. Using bright colors and detailed patterns, she depicts familiar objects like fruit, animals, insects, and human figures, but in surprising combinations and always with a sense of the surreal. Meacham is a gifted and eager storyteller, a quality that is made manifest through her fantastical paintings.

Although she has lived in various cities around the world and has a true love of travel, Meacham has called the Mid-South home for many years. Wherever she is, Meacham is constantly observing the world around her. Even the Dixon’s lush gardens have served as the inspiration for work in The Stories We Could Tell.

Annabelle Meacham, The Untold Story, 2018; Acrylic on canvas; Courtesy of the artist. 

El Taller de Gráfica Popular: Vida y Arte

October 13, 2018 – January 6, 2019

The Georgia Museum of Art in Athens presents El Taller de Gráfica Popular: Vida y Arte (The Popular Graphic Workshop: Life and Art), an exhibition that examines the group's contribution to the Mexican printmaking tradition. Through the production of posters, pamphlets, books, and newspapers, the artists who worked in El Taller de Gráfica were committed to their craft and sought to bring social and political awareness to mass audiences.

Alberto Beltrán, Vida y drama de Mexico (Life and Drama of Mexico), 1957. Poster with linoleum cut in two colors and type/lettering. Collection of Michael T. Ricker. © Artists Rights Society (ARS), New York / SOMAAP, Mexico City

From Marne to the Rhine: Forain and World War I

October 13, 2018 – January 6, 2019

This fall, the Dixon will celebrate the 100th anniversary of Armistice Day with a selection of Jean-Louis Forain’s striking press illustrations of the Great War. With more than 200 war cartoons published in weekly and daily newspapers, Forain became the spokesman for the common soldier on the western Front, the main theatre of war approximately located between the Marne and the Rhine rivers. 

Showing the drama underneath the comedy, the drawings give with emotion, irony, pity, sorrow, indignation and compassion, a priceless testimony of how military and political events affect populations. From the Marne to the Rhine: Jean-Louis Forain in World War I will encapsulate the artist’s unique style and incredible science of composition, which undoubtedly contributed to the evolution of the art of the editorial cartoon.

Jean-Louis Forain, Les Pessimistes, 1915. Lithograph on paper. Gift of John and Lynn Murray in honor of William and Mary Murray, 2016.3.31

Extension: Artists’ Books, Prints, and Zines

October 14, 2018 – January 13, 2019
Mallory/Wurtzburger Galleries

Temporary Services and Kione Kochi, SELF-PUBLISH TO BYPASS GATEKEEPERS, 2017; Risograph printed poster. Image courtesy of Temporary Services 

In the Garden 

July 8, 2018 – September 30, 2018

Drawn from the vast George Eastman House collection, the photographs in this exhibition explore uses of gardens and how humans cultivate the landscapes that surround them. From famous locations such as Versailles to the simplest home vegetable garden, from worlds imagined by artists to food production recorded by journalists, the subjects in this exhibition broaden our understanding of photography and how it has been used to record gardens.

Andrew Buurman, from the portfolio Allotments, 2009. Chromogenic development print, printed 2012. George Eastman Museum, purchase with funds from Charina Foundation Endowment. © Andrew Buurman. 2011.0414.0032

In Our Garden: The Dixon through Your Lens

July 22 – October 7, 2018
Mallory/Wurtzburger Galleries

For over forty years, the Dixon’s seventeen acres of gardens have provided photographic inspiration to visitors from across the Mid-South and all over the world. This spring, we invite you share how our gardens have featured in your photography through In Our Garden. From close-ups of individual plants and flowers to sweeping garden views, we look forward to seeing how both amateur and professional photographers have captured the unique beauty of the Dixon Gardens throughout our history and today. 

Richard Lou: "IN LAK’ECH ALA K’IN," Tú eres mi otro yo, You are my other self

May 6, 2018 – July 15, 2018
Mallory/Wurtzburger Galleries

With his exhibition "IN LAK’ECH ALA K’IN," Tú eres mi otro yo, You are my other self, Memphis artist, educator, and activist Richard Lou transforms the Mallory/Wurtzburger Galleries into a work of art that centers around the idea that we as a human species respond best when we work together, create bridges, and seek common purpose. "IN LAK’ECH ALA K’IN,” Tú Eres Mi Otro Yo, You Are My Other Self is a Mayan concept about community that gives voice to humanity's interdependence. Lou's conceptual centerpiece is to explore this idea of mutuality rather than separateness. 

Richard Lou, Nancy Trenthem (Executive Associate) and Penn Owen (Chair, Board of Trustees), 2018. Digital print. Courtesy of the artist.

Contemplating Character: Portrait Drawings & Oil Sketches from Jacques Louis David to Lucian Freud

April 22, 2018 – June 24, 2018
Organized by Landau Traveling Exhibitions, Los Angeles, California, in association with Denenberg Fine Arts, West Hollywood, California.

This exhibition features works from two and a half centuries and includes over one hundred and fifty portraits resulting from the collaboration between the individual who contemplates (the artist), and the subject who exhibits character (the sitter). The featured works display a wide variety of expression ranging from beauty and dignity to wit and satire, profound sadness, and even the macabre. Contemplating Character attempts to broadly answer the question—what exactly constitutes a portrait? 

Clotilde Martin-Pregnard, (French, 1885–1945), Self-Portrait (detail), 1910. Black crayon. Private collection.

Made in Dixon

April 8, 2918 – 29, 2018
Mallory/Wurtzburger Galleries

This yearly exhibition features the colorful, joy-filled works of art produced through the Dixon’s many educational and outreach programs. Led by a dedicated staff, these programs reach thousands of people each year, including children in their first year of life, school groups, at-risk teenagers, adults of all ages and backgrounds, and seniors with memory care needs. The remarkable works of art produced in these diverse programs bring an appreciation for horticulture and fine art to the entire Mid-South.

The Real Beauty: The Artistic World of Eugenia Errázuriz

January 28, 2018 – April 8, 2018
Organized by Dixon Gallery and Gardens

Jacques-Emile Blanche, Portrait of Eugenia Huici Arguedas de Errázuriz, 1890. Pastel on fine-wove linen. Collection of Dixon Gallery and Gardens. 

Dixon Dialect: The Susan and John Horseman Gift

January 28, 2018 – April 1, 2018
Organized by Dixon Gallery and Gardens

Elizabeth Nourse, Mère et Bébé, ca. 1912. Oil on canvas. Collection of Dixon Gallery and Gardens; Gift of Susan and John Horseman in honor of Kevin Sharp, 2017.3.28. 

Paula Kovarik

January 14, 2018 – April 1, 2018
Mallory/Wurtzburger Galleries

Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger

Paula Kovarik, Shattered, 2015. Fabric, thread. Collection of the artist. 

Isabelle de Borchgrave: Fashioning Art from Paper

October 15, 2017 – January 7, 2018
Organized by Dixon Gallery and Gardens with the Oklahoma City Museum of Art, Society of the Four Arts, Frick Art & Historical Center, and Artis-Naples, the Baker Museum. 

Isabelle de Borchgrave, Costume of the Princess of Condé, Charlotte Marguerite de Montmorency (1594–1650),’ 2017. Inspired by a portrait by Peter Paul Rubens, ca. 1609. Mixed media: paper, cut, folded, and molded with acrylic paint, ink, metallic powder, and adhesive; mounted on mannequin. Frick Art & Historical Center, Pittsburgh. Photograph by Travis Hutchison.

Justin Bowles: Boukay

October 15, 2017 – January 7, 2018

Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger.

Justin Bowles, A 'Forest Floor' Still Life of Flowers, 2014. Mixed media. Image courtesy of the artist.

Fidencio Fifield Perez and Vanessa González: Location, Location, Location

July 30, 2017 – October 8, 2017

Fidencio Fifield-Perez, No One Touches the Nopal Until it Bears Fruit, Acrylic on envelopes. Courtesy of the artist. 

Vanessa González, Yo Soy From, 2017; Thread. Courtesy of the artist. 

Power & Piety: Spanish Colonial Art

July 16, 2017 – September 24, 2017

This exhibition was drawn from the Patricia Phleps de Cisneros collection and co-organized by the Museum of Biblical Art, New York, and Art Services International, Alexandria, Virginia. 

Juan Pedro López, Our Lady of Solitude, 18th Century. Oil on canvas. Coutrtesy of the Colección Patricia Phelps de Cisneros. 

Edward Giobbi: An Artist Comes to Memphis

July 16, 2016 – September 24, 2017

Edward Giobbi, Nancy Pregnant, 1960. Oil on canvas. Collection of Nancy McFadden Copp. 

Jason Miller: objets de mèmoire

May 7, 2017 – July 23, 2017

Local artist and curator Jason Miller photographs everyday objects that have meaning to him. Through this series of photographs, he recounts his memories of these objects, linking one relationship to the next.

Jason Nicholas Miller, Ornaments for Miniature Ceramic Light-up Tree, 2017. Pigment ink on canvas. Courtesy of the artist. 

Scent and Symbolism: Perfumed Objects and Images

April 6, 2017 – July 2, 2017 

The experience of scent brings to the forefront one of humankind’s most powerful yet enigmatic senses. Scent and Symbolism: Perfumed Objects and Images will consider the role of scent in the history of art through a collection of 140 scent bottles from the seventeenth through twentieth century from the collection of the Umi-Mori Art Museum in Hiroshima, Japan. The exhibition will also reveal how the sense of smell has been described by painters over time: woven into allegory and literal experience, medicinal and spiritual use, as a tool of seduction, and a product for consumption.

The Smellery: an interactive room for kids and families is included in the exhibition. Experience hands-on activities related to scent in art and nature in this room reserved for learning and discovery. 


State of the Art: Discovering American Art Now

January 29, 2017 – March 26, 2017
Organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas

Over the course of one year, Crystal Bridges Museum of American Art’s curatorial team logged more than 100,000 miles, traversing the United States to visit nearly 1,000 artists. Traveling to communities large and small, the museum found artists whose work engages broad audiences, demonstrates a high level of skill, and sparks conversation about important issues of our times. This one-of-a-kind exhibition, drawing from nearly every region, offers an unusually diverse and nuanced look at contemporary American art. State of the Art brings together works in a variety of mediums, including painting, photography, fiber, sculpture, video, ceramics, installation, and more. The exhibition examines how today’s artists are informed by the past, innovate with materials old and engage deeply with issues relevant to our community. 

Sheila Gallagher, Plastic Lila, 2013; Melted plastic on armature; Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas; Photo: Stewart Clements Photography

Wayne Edge: A Sense of Wonder

October 23, 2016 – January 15, 2017
Mallory/Wurtzburger Galleries

“Nature gives up its bounty and piles it at my house…where they become stars and streaks of light in my sculptures.” Welcome to the world of Wayne Edge—a world where mussel shells become stars and wooden sticks become swooping blackbirds. Edge, a native Memphian, has long made sculptural works out of natural objects that reference organic elements of Earth and its atmosphere. Edge translates the scientific phenomena that fascinate him, like physics and astronomy, into sculpture. A Sense of Wonder features Edge’s most recent work, including sculptures made from objects found at regional landmarks like Pickwick Lake. Rocks, shells, stones, and glass bound to thin wooden sticks transform into dynamic sculptures. Edge bends the sticks and lashes them together into wild, energetic movements that even with their tension retain a sense of lightness and humor. Works such as Milky Way out West represent celestial concepts, while others like Blackbirds Buggin draw directly from wildlife. Taken as a whole, the works on view give the impression of tranquility and reverence for the power of nature.

Sponsored by: Suzanne and Neely Mallory | Mary and Charles Wurtzburger

Wayne Edge, Baby Budda Smile, 2016; Painted wood, mussel shells and obsidian; Courtesy of the artist.

Wild Spaces, Open Seasons: Hunting and Fishing in American Art 

October 23, 2016 – January 15, 2017 

Wild Spaces, Open Seasons: Hunting and Fishing in American Art celebrates artists’ captivation with hunting and fishing. It will be the first major art exhibition to explore the multifaceted meanings of such outdoor subjects in both painting and sculpture, ranging from the Colonial era to World War II. The exhibition encompasses a wide variety of portraits, landscapes, still lifes, and genre scenes, including iconic works by Thomas Cole, Thomas Eakins, and Winslow Homer, Alfred Jacob Miller, and Arthur Fitzwilliam Tait. In one important example after, these representations of hunting and fishing do more than merely illustrate subsistence or diverting pastimes, they connect a dynamic and developing American nation to its past and its future.

A scholarly catalogue edited by Kevin Sharp, Linda W., and S. Herbert Rhea Director of the Dixon Gallery and Gardens, and published by the University of Oklahoma Press will accompany the exhibition. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

John George Brown, Claiming the Shot: After the Hunt in the Adirondacks, 1865

Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 –1900 

July 31 – October 9, 2016
Organized by the Dixon Gallery and Gardens  

Drawn from the Dixon’s own collection, as well as public and private collections across the United States and Europe, Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 – 1900 celebrates that brief yet exciting period when the hand fan became a collective aesthetic phenomenon. Henri-Charles Guérard was probably the most gifted and prolific Parisian fan specialist of his age, producing hundreds of designs.  Guérard was so well known for his mastery of the intaglio printing process that Edouard Manet and Edgar Degas sought his advice. Degas was so enthralled by the format that he proposed that a room in the 1879 Impressionist exhibition be devoted to fans. Among the countless Parisian painters who experimented with the fan-shaped support—including Degas, Camille Pissarro, Paul Gauguin, Jean-Louis Forain, and many others whose works are in the exhibition—no artist explored the arcing form more frequently or over a longer period of time than Henri Guérard.

Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 – 1900 examines artists’ fascination with the form with a selection of Japanese fans, in addition to French examples and Guérard’s extensive contributions.

Image: Henri-Charles Guérard, Untitled (Magpie), ca. 1890 6 ⅛ x 22 inches Watercolor on silk Collection of John and Lucy Buchanan

Everyday English: The Charlotte Stout Hooker Collection of English and Continental Ceramics 

July 31, 2016 – October 9, 2016  
Organized to coincide with the publication of catalogue of the collection, The Charlotte Stout Hooker Collection of English and Continental Ceramics   

Everyday English considers the marketing and consumption of eighteenth and nineteenth century English porcelain through the Dixon’s Charlotte Stout Hooker Gift of English and Continental Ceramics. Everyday English also highlights Mrs. Hooker’s accomplishments as a collector, exhibiting both her popular useful wares and rare ornamental finds.

Fold: Mary Jo Karimnia

August 14, 2016 – October 16, 2016
Mallory/Wurtzburger Gallery

Mary Jo Karimnia is an artist, arts administrator, curator, and arts activist in Memphis. Influenced by her travels and affiliations with artists from Bolivia, she currently works for Crosstown Arts doing creative, community-based projects. Much of Karimnia’s work is steeped in the feminine, often stemming from her choice of media (beading, embroidery, fabrics such as pillow cases and aprons) that have traditionally domestic connotations. Particular ideas may be realized in intensely bright, beaded panels or embroidered onto small vintage linens. Karimnia purposely omits the faces of figures in her work, preferring the anonymous nature of costumes. Costumes, including those from cosplay conventions, dancers in Bolivia, or the Catrina figure at a local Day of the Dead Festival allow viewers to explore personae, look back to a specific heritage, or toward a fantasy.

The exhibition, Fold, is based on simple origami shapes–paper cups, houses, boats, stars, hearts, pinwheels, and birds. Karimnia photographs eye-catching patterns from various sources, folds them into origami, photographs them again, and then builds them in her desired media. Fold includes embroidery and prints on vintage fabrics and seed-beaded panels of anonymous figures in fancy dress costumes that take on a sense of magic through their embellishment.

Image: Mary Jo Karimnia, Magic Heart 3, 2016, Mixed media with seed beads on panel, 6x6x2 inches, Courtesy of the artist

Their Line Has Gone Out Through All the Earth: Spring and Summer Flower Drawings by Carlyle Wolfe

May 22, 2016 - August 7, 2016

Oxford, Mississippi-based artist Carlyle Wolfe has spent more than a decade observing the variety of plant forms that grow in the Mid-South. Their Line Has Gone Out Through All the Earth: Spring and Summer Flower Drawings by Carlyle Wolfe is a collection of line drawings that reflects the gradual and constant change in the landscape during the spring and summer months. The exhibition features plants that flower from the months of February to August. This spring found her drawing Virginia Bluebells and Native Azaleas in the Dixon’s Woodland Garden. 

Image: Carlyle Wolfe, Queen Anne’s Lace, 2014

The Impressionist Revolution: Forty Years of French Art at the Dixon   

April 24 – July 17, 2016   

The Dixon’s much lauded permanent collection returns to view in the galleries in a special exhibition celebrating forty years of French art at the Dixon. The Impressionist Revolution: Forty Years of French Art at the Dixon tells the remarkable story of Impressionism through the Dixon’s permanent collection. The Impressionist Revolution chronicles the influences and factors that led to the historic Impressionist Exhibition of 1874. Organized by the Anonymous Society of Painters, Sculptors, Printmakers, etc., a group that included Edgar Degas, Claude Monet, Camille Pissarro, and others represented in the Dixon collection, the exhibition marked the beginning of the Impressionist movement that subsequently affected the course of Western art. The works on view in The Impressionist Revolution demonstrate in how the movement was a crucible for avant-garde styles that followed.       

Pierre-Auguste Renoir, The Wave, 1882. Oil on canvas. Museum purchase from the Cornelia Ritchie and Ritchie Trust No. 4 provided through a gift from the Robinson Family Funds, 1996.2.12

Memphis Flower Show
The Impressionist Revolution: Forty Years of French Art at the Dixon

April 15, 2016 – 17, 2016  

Presented biennially by the Memphis Garden Club, the 2016 Memphis Flower Show will exhibit exceptional horticulture, botanical photography, and brilliant floral interpretations inspired by The Impressionist Revolution: Forty Years of French Art at the Dixon.     

Thomas Cole’s The Voyage of Life 

January 17, 2016 – April 3, 2016    
Organized by Munson-Williams-Proctor Art Institute 

In the late 1820s, British émigré artist Thomas Cole emerged as a leading figure among a group of painters whose works embodied the romantic spirit of pre-Civil War America, later known as the Hudson River School. The Voyage of Life, Cole’s series of four allegorical landscapes is one of his greatest achievements. The exhibition also includes a number of important preliminary landscape and figure studies Cole made for the series, as well as a selection of drawings, prints, and photographs the series directly inspired, some of which have never previously been published or exhibited and are virtually unknown, even in the field of Thomas Cole scholarship.   A magnificent landscape by Cole’s pupil and fellow Hudson River School artist, Frederic Edwin Church, will also be on view.         

Image: Thomas Cole, The Voyage of Life: Childhood, 1839-1840, oil on canvas, St. Louis Art Museum 

Amalgamations: A Digital Reimagining of the Dixon Gallery and Gardens Permanent Collection by Joshua Brinlee 

January 10, 2016 – April 3, 2016 
Mallory/Wurtzburger Exhibition 

Amalgamations: A Digital Reimagining of the Dixon Gallery and Gardens Permanent Collection by Joshua Brinlee is a series of work that gives the Dixon permanent collection new life through digital manipulation. Brinlee combines and synthesizes the Dixon’s exemplary collection of paintings, porcelain, and sculpture into new digital collages, restoring a different sort of originality to them.  

Image: Joshua Brinlee,  A Joyous Festival of the Commedia Dell’Arte, 2015 Digital collage, C-print.   Courtesy of the artist.


Painting American Progress: Selections from the Kattner Collection and More

November 1, 2015 – April 3, 2016
On view in the Brinkley, Phillips, and Willmott Galleries and the Dixon Residence 

More than sixty paintings and pastels from the Dixon’s permanent collection traveled to Utica, New York as the exhibition Monet to Matisse: The Age of French Impressionism, which closes November 29 at the Munson-Williams-Proctor Art Institute. The overwhelming popularity of Monet to Matisse has kept our permanent collection in high demand across the country.  In fact, in the past five years our permanent collection has traveled to seven different venues—receiving enthusiastic reviews and record numbers of visitors at each one. Now, it is time for some beauty rest! All of the works will undergo a conservation assessment when they return to the Dixon. During that time, some will receive a bit of T.L.C. as they prepare to go back on view to celebrate the Dixon’s fortieth anniversary in the spring.     

The Nina and Keith Kattner Collection of American paintings, on long-term loan to the Dixon, offer incredible examples of American art. Majestic landscapes from Hudson River School artists William Sonntag, John Frederick Kensett, and Alfred Bricher and the luminous, moody works of Ralph A. Blakelock, provide an extensive back-story to the impressionist-inspired styles on view in Scenic Impressions. The works on view chart American art’s progression towards Modernism from the Hudson River School to Blakelock’s emotive canvases and the works of his Tonalist contemporaries. A survey of American painting of the nineteenth and twentieth centuries, the Kattner Collection provides an in-depth look at the development of American painting. A selection of American paintings from the Dixon’s permanent collection will also be on view in the galleries, complementing the Southern Impressionist paintings on view in Scenic Impressions

Image: Alfred T. Bricher (American,1837- 1908),  The Cliffs at Nahant, ca. 1885; Oil on canvas,  27 x 50 inches; Collection of Dr. and Mrs. Keith Kattner

Scenic Impressions: Southern Interpretations from the Johnson Collection 

November 1, 2015 – January 3, 2016

The Johnson Collection is a private art collection based in Spartanburg, South Carolina that boasts an extensive survey of artistic activity in the American South from the late eighteenth century to the present day. This unique collection illuminates the rich history and diverse cultures of the region. Scenic Impressions: Southern Interpretations from the Johnson Collection will highlight the influence of the Impressionist movement on art in the American South through landscapes and genre scenes created between 1880 and 1940. 

Image: Hattie Saussy (1890-1978), Path with Mossy Trees, ca. 1935; Oil on canvas mounted on Masonite, 18 x 26 inches; The Johnson Collection, Spartanburg, South Carolina

My Own Places: Paintings and Prints by Martha Kelly 

November 1, 2015 – January 3, 2016

Memphis native Martha Kelly is a painter, printmaker, and illustrator whose work celebrates the Southern landscape, particularly Memphis and the Mid-South.  Kelly’s paintings of open fields, spreading skies, and dominating oaks are created with large, flat planes of color with special attention to shadow and light. Her vibrant palette and restrained brushwork are echoed in her woodblock and linoleum block prints, which are punctuated by pops of bright color. All of Kelly’s work begins with sketches completed en plein air, and contain an implicit call not only to revel in the landscape around us, but to preserve it as well. 

Image: Martha Kelly,  Sentinel, 2015 Linoleum block print on paper, 14 x 22 inches; Courtesy of the artist.

Jun Kaneko Sculpture at the Dixon Gallery and Gardens

May 28, 2015 – November 22, 2015

Jun Kaneko is an internationally-renowned ceramic artist specializing in large-scale, handbuilt sculptures. His work is featured in over seventy museum collections and thousands of private collections around the world. Kaneko has also designed and completed over fifty public ar t installations in the United States, Canada, China,and Japan. Twenty-four of Kaneko’s large-scale ceramic and bronze sculptures will be placed throughout the Dixon gardens, the most ambitious outdoor sculpture installation in Dixon history. 

Kaneko has been a pioneer in pushing the limits of scale in ceramic media. In 1996, he wrote, “If everything in the world was the same size, we probably would not need an idea of scale. Nothing exists by itself. Everything is influenced by other things next to it or close by or the environment which the object is in.” By creating both intimate and monumental ceramic sculpture, Kaneko challenges preconceived notions in both size, context, and composition.These hand-built and hand-glazed monolithic sculptures are colorful, approachable, and visually interactive. His massive“Dangos” (meaning “rounded form” in Japanese), whimsical“Tanukis” (also known as Raccoon Dogs in Japanese folklore),and his large Head sculptures (in both bronze and ceramic),are all breathtaking monuments that seamlessly balance a Zen-like abstraction with a defined physicality.

We invite you to interact with these monumental sculptures throughout three seasons of change in the gardens. Along with ongoing programs and events, a map will guide visitors to each sculpture, creating an experience that allows adults and children alike to discover the beauty of all seventeen acres of the Dixon Gardens through Kaneko’s sculpture.

Jun Kaneko, Untitled, 2005-2007. Glazed ceramics. Museum purchase with support from the Mr. and Mrs. Joseph Orgill III Family Fund for the Dixon Gallery and Gardens Endowment Fund, Anonymous Donors, the Theodore W. and Betty J. Eckels Foundation, Liz and Tommy Farnsworth, Jr., and Erin Riordan and Kevin Sharp, 2015.3 

Hail, Britannia! Six Centuries of British Art from the Berger Collection

January 25 – April 19, 2015  
Organized by the Denver Art Museum and made possible by the Berger Collection Educational Trust   

On size alone, the Berger Collection, on long-term loan to the Denver Art Museum, is without peer among privately-owned collections of British art in America. Hail, Britannia! Six Centuries of British Art from the Berger Collection showcases fifty examples of British art ranging in date from the fourteenth to the twenty-first centuries. The exhibition features stunning portraits, landscapes, sporting subjects, history paintings, and more by Britain’s great masters including John Constable, Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Joseph Wright of Derby.   

Image: Hans Holbein the Younger and studio (1497/8 - 1543) Edward, Prince of Wales (later King Edward VI), c. 1538, Oil on panel The Berger Collection at the Denver Art Museum, TL-17310

Rodin: The Human Experience

October 19, 2014 - January 4, 2015
Organized and made possible by the Iris & B. Gerald Cantor Foundation
Presented in memory of John Buchanan, director of the Dixon from 1986 to 1994.

Auguste Rodin (1840–1917) was arguably the most celebrated sculptor of the nineteenth century, and was regarded as the greatest sculptor since Michelangelo. The remarkable works of Rodin will make their triumphant return to the Dixon Gallery and Gardens with Rodin: The Human Experience, an exhibition of fifty-one works in bronze. 

Rodin: The Human Experience examines the artist’s multi-faceted explorations of the human figure in bronze, ranging from small scale sketches to the artist’s well-known monumental works. Alongside commissioned works of specific individuals will be Rodin’s sculptural experiments with the human figure, ranging in style from the classically-inspired to the gothic. Visitors to the exhibition will be greeted in Garrott Court by the monumental sculpture, The Three Shades, Rodin’s interpretation of the souls of the damned who stand at the entrance to hell in Dante’s Inferno.

Image: Auguste Rodin, Large Hand of a Pianist, 1885 (cast 9/12 1969); Bronze; Iris and B. Gerald Cantor Foundation

Sponsored by: First Tennessee Arts First | Campbell Clinic | RBM Ventures | Foy and Bill Coolidge | Liz and Tommy Farnsworth | Chantal and Jeff Johnson | Nell R. Levy | Nancy and Steve Morrow | Chris and Dan Richards | Susan Adler Thorp in memory of Herta and Dr. Justin H. Adler  | Doctors Susan and Bill Warner | Adele and Beasley Wellford | 20Twelve

Coming Up
Monday Closed
Tuesday - Saturday 10am - 5pm
Sunday 1pm - 5pm
Third Thursdays: Open until 8pm
Special / Holiday Hours

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