Space, Abstraction and Freedom

Space, Abstraction and Freedom: Twentieth-Century Art
from the Collection of Mary and Jim Patton

Of the nearly four thousand universities and colleges in this country, barely one percent possesses a notable art collection for the enrichment of their students, faculty and community. The story of a student who finds inspiration at his or her campus museum, graduates, builds a personal collection and subsequently enriches their alma mater with works of art is familiar to great Ivy League schools like Harvard and Yale. Not until the late 1930s would students at the nation’s first public university – The University of North Carolina at Chapel Hill – enjoy the opportunity to see works of art on campus regularly. As appreciation grew in Chapel Hill of how art nourishes the academic enterprise and creative spirit, so too did plans for the Ackland Art Museum, which opened its doors in 1958. Today, with close to 15,000 works of art acquired exclusively through private philanthropy – alumni and friends enriching Carolina through gifts of art and purchase funds – the Ackland continues to mature as an art collection, a center for teaching and research, and a source of inspiration and pleasure for visitors of all ages.

This exhibition celebrates a watershed event for the Ackland and North Carolina: the promise of Mary and Jim Patton to give to our Museum their superb collection of modern and contemporary American art. The Patton collection will transform the Ackland. Its breadth and wide sweep through the last half century of American art make it an excellent vehicle for present and future generations of students and visitors to explore the personal creative path of artists like Adolph Gottlieb, David Park and John Walker. The Pattons’ generosity also includes major gifts of twentieth-century books and manuscripts to the UNC-CH Rare Book Collection housed in Wilson Library. Taken together, Mary and Jim’s gifts to Carolina express their personal commitments to provide others opportunities for discovery and inspiration.

Jim Patton graduated from Chapel Hill in 1948, while Mary attended Women’s College (now known as the University of North Carolina at Greensboro) and then the Rhode Island School of Design. Their gift testifies to the Ackland’s coming-of-age, as alumni ensure that subsequent generations of North Carolinians, and indeed, all who visit the Ackland, will experience art of highest quality. Though less than half the Patton collection will be seen in this temporary exhibition, the works of art signal the essential need for Museum expansion to accommodate not only these, but other promised gifts that will nurture Carolina.

Charles Millard, former director of Ackland Art Museum, first met Mary and Jim Patton when he was chief curator at the Hirshhorn Museum in Washington, D.C., and has since developed a lifelong friendship with these patrons. Thus, it is especially appropriate that he collaborated with them on this exhibition, curating a show of two-dozen objects from their extensive collection. We are grateful to Charlie for his many efforts on behalf of the Ackland.

Great recognition is due Barbara Matilsky, Ackland curator of exhibitions, who supervised the entire project, contributed and edited catalogue entries, and collaborated with Andy Berner, director of communications, to realize publication of the exhibition catalogue. Thanks also to Timothy Riggs, assistant director for collections, for his thoughtfully written entries. Megan Bahr, assistant curator, who undertook initial research for the project and wrote several catalogue entries, is to be recognized for her contribution as well.

Irving Sandler, esteemed historian of postwar American art, met the Pattons last year while curating the exhibition The Collector as Patron in the Twentieth Century for Knoedler and Company. We are very grateful to him for sharing his insights into the motivations animating their generosity as well as his appreciation of several of the works of art in the exhibition.

And, of course, our gratitude to Jim and Mary Patton and to Josie Patton for their support of this exhibition and publication. Finally, on behalf of all who enjoy these works of art at the Ackland today and in the future, I convey our deep appreciation.

Gerald D. Bolas
Director