JOËL URRUTY (born 1968)

Between September 19, 2015 and February 28, 2016, HMA welcomes back Hickory artist Joël Urruty in an exhibition that includes gilded sculptures and wall hangings of woven wood strips. Urruty won Best of Show in the Museum’s 2013 Road Trip: A Juried Exhibition, in conjunction with HMA's First AutoLawn Party in 2013.

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Wink Gaines

"I have always found peace and solace in the outdoors and in nature. Wildlife photography combines many skill sets including ruggedness, patience, knowledge of the subject, knowledge of your camera, composition and noting the way light does its magic within your preconceived image." A selection of Hickory native Gaines' photographs will be on display at HMA between September 26, 2015 and January 10, 2016.

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Wiili Armstrong (1956-2003)

"He was on medication, but art was a significant part of his therapy also." He loved the bipolar highs which was when he did much of his painting. In his own words, he was a “junk assembler, a garbage collector … a waking sleeper. A regular-kind-of-guy who just happens to know for certain he is an artist.”

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History of the Hickory Museum of Art

The Hickory Museum of Art was the fulfillment of the vision and ambition of Paul Whitener, Hickory resident, Duke University journalism student and football player, and accomplished painter of portraits and the North Carolina mountains.

In the 1940’s, Hickory was a leading cultural center for a city of its size, and Paul felt that the city needed a visual arts center. A group of “conscientious citizens,” in Pauls’ own words, assembled in September of 1943 to discuss the possibility of organizing an art association in Hickory. By November of that year, though it did not yet have either a collection or a physical location, the Hickory Museum of Art Association held its first exhibition in a vacant office building (the Bradshaw Building) in downtown Hickory. In February of 1944, still without either a building or a collection, a celebratory ceremony was held in the ballroom of the Old Hickory Hotel where the Museum was publicly recognized and chartered by North Carolina Governor Clyde Hoey. And that was the beginnings of the second oldest art museum in North Carolina (after Charlotte’s 1936 Mint Museum).

Paul and his artistic contacts in New York City, chief among them the painters Wilford S. Conrow and Henry Hobart Nichols, concentrated on American art which at the time was not favored by collectors and thus was affordable. This was also consistent with Paul’s vision which, in his own words, was to first and foremost "embrace all the arts and crafts of the upper Piedmont region of North Carolina." 

Within a year, the Museum had bought a dozen paintings and had outgrown the Bradshaw Building and moved into the white clapboard W.W.Bryan house on Third Avenue. This was the Museum’s home for the next 14 years. It served that function well for the most part, except perhaps the time when the floor of the main gallery (which, according to Pauls' niece Julie Cline "would probably hold 50 people packed in like sardines") caved during a crowded reception. As Paul's wife Mickey reminisced in 1984, "Suddenly, the floor collapsed and we were standing two feet lower. ... The whole floor was leaning to one side like an earthquake had hit the house. It was something to see." Fortunately no-one was hurt.

 Mickey late 1940's.

Mickey late 1940's.

Mickey was steadfast supporter of her husband’s interest in the arts, and held paid employment to supplement their income so that he could focus on painting. Mickey also worked tirelessly with Paul to get the museum up and running, often traveling with him on museum business. When he developed a brain tumor in the mid-1950’s, she spent two years nursing him while his father managed the Museum. After Paul’s death, Mickey agreed to be acting director until a new director could be found; but she remained as director for 38  active years.

In 1960 HMA moved into its third home, the former office building of Shuford Mills on the corner of 3rd Street and 1st Avenue NW. “I thought it was heaven when I moved into that third location” remembered Mickey in 1994. “It was warm in the winter, cool in the summer and gorgeous year ‘round.” Here HMA was able to further develop its programs, including art classes which had already been initiated modestly before the move. The Museum was also able to expand the annual School Art Show, an early project of Paul’s. “Paul thought that the show would develop the children’s interest in art early on, so that they would continue to have an appreciation of the arts as adults. … [The show also] promotes parental awareness of the Museum because if their child has a picture in the show, the parents, the grandparents, sometimes even the great-grandparents are all coming to see it.”

By the early 1980’s, the Museum again was in need of still-larger quarters, and to that end raised $650,000 towards building its own free-standing space. At that same time, however, the Hickory School Board announced that it intended to demolish the former Claremont High School building (by then re-named Hickory High School). Instead, Buck Shuford led a group of other civic-minded Hickory men and women to turn the building into the arts center it is today by spearheading a drive to raise 2.6 million dollars towards its renovation.

The Hickory Museum of Art continues its mission to inspire, educate, and transform our community and region through the visual arts. The focus of our collection continues to be American art.  HMA aims to be cultural center, educational resource, tourist destination, and economic development tool for the Catawba County region and the state of North Carolina.  

HMA is accredited by the American Alliance of Museums, which means that it operates according to the highest established museum standards. HMA is one of only a small percentage of all American museums so distinguished.

More blog stories about HMA's beginnings:
       Paul and Mickey Whitener
      The Museum's first painting
      The Museum celebrates its 70th anniversary

Post by Karin Borei, HMA Project Coordinator, writer and editor as needed, and HMA blogger since our blog's inception in March 2015.

Elizabeth Catlett (1915-2012)

"Printmaking for [Elizabeth] Catlett is a consciously political practice. At the same time, however, her prints – some intricately detailed and others elegantly spare – manifest her understanding that the power of an image resides in the artist’s command of form, sensitivity to materials and technical proficiency."

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Philip Moose (1921-2001)

The unassuming but quietly charming Blowing Rock resident Philip Anthony Moose was a world traveler, Army veteran, Pulitzer Prize winner (for art, in 1948) and a prolific painter. Born in Newton, N.C. as the fifth of seven children, Moose studied art at ...

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Jacob Armstead Lawrence (1917-2000)

When Jacob Lawrence died in Seattle in 2000, the New York Times described him as "One of America's leading modern figurative painters" and "among the most impassioned visual chroniclers of the African-American experience." His North Carolina connection was his first teaching job, at Black Mountain College in 1946, after having served in the U.S.Navy recording in paint the life on board the first integrated ship in the naval services during World War II.

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Ella E. Richards (active 1st half of 20th cent.)

Ella E. Richards "has just completed two important portrait commissions, one [of which is] a full-length presentment of Nell Morgan Nash, violinist. The subject is shown in a full standing pose, wearing a black velvet gown, cleverly handled to enhance the brilliancy of her complexion. In one hand her violin is gracefully held and the composition is able and interesting. It is also an excellent likeness." (American Art News June 21, 1913, p.3)

Information about Ella Richards is sparse, but ...

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Frank Stanley Herring (1894-1966)

Frank Stanley Herring was a friend of the family of Mickey Coe (Mildred McKinney, Paul Whitener’s future wife) and his first paintings of that family was of Mickey and two of her sisters. From left to right, with approximate ages: Thelma Anne McKinney (15), Ida Jones McKinney (17), and Mildred Missouri McKinney (14). There was a fourth sister, Edith, who was 12 at the time and had brown hair and eyes.  From a reminiscence by Edith's daughter Pat Turner about her mother, “She must have been devastated to be left out.”

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