Black Flag (For Elizabeth's)
@NasherMuseum no. 217 / Hope . . . Maybe, if, or Prob'ly
High Yella Masterpiece: We Ain't No Cotton Pickin' Negroes
Opening Party!
Southern Accent: Seeking the American South in Contemporary Art

Wednesday, August 31, 7-10 PM
Join us for the opening party for Southern Accent: Seeking the American South in Contemporary Art, an exhibition that questions and explores the complex and contested space of the American South.

7:15-8:15 PM - Musical performance by Justin Robinson
7:30-8:30 PM - Artist Sonya Clark, gallery performance
8:30-9 PM - Musical performance by shirlette ammons
9 PM - DJ set with producer 9th Wonder

Cash bar and southern fare available for purchase.

For more art and information:

Southern Accent artist Fahamu Pecou
What does it mean to be southern?
From his studio in Atlanta, Southern Accent artist Fahamu Pecou talks about southernness and his own identity. YouTube.

"I don't really know what it means to be southern, beacuse southern is not a monolith." -Fahamu Pecou

Open Studio podcast
Open Studio Podcast: Southern Accent artist Tom Rankin
What does it mean to be southern? In this episode of Nasher Museum: Open Studio, Tom Rankin, one of 60 Southern Accent artists, talks about the first time he really felt southern. Listen on Soundcloud or iTunesU.

High Yella Masterpiece: We Ain't No Cotton Pickin' Negroes
The South in Color: Conversation and Book Signing (and Gin Tasting)
Thursday, September 1
5:30 PM Cash bar and gin tasting with Cathead Distillery of Mississippi
6 PM Highlights Tour
7 PM Author Bill Ferris discusses his new book The South in Color with Southern Accent artist Tom Rankin, who wrote the foreword. Ferris is Joel R. Williamson Eminent Professor of History at the University of North Carolina at Chapel Hill and a former chairman of the National Endowment for the Humanities. With Ferris's two previous books, Give My Poor Heart Ease and The Storied South, The South in Color completes an informal trilogy of Ferris's documentation of the South's tumultuous 20th century.

Race, Justice, Empathy
Race, Justice and Empathy: A conversation inspired by Just Mercy
Friday, September 9, 1 PM
The Nasher Museum hosts an interdisciplinary conversation about race, justice and empathy with Duke faculty:

Kathryn Webb Bradley, Professor of the Practice of Law, Director of Legal Ethics
Christena Cleveland, Associate Professor of the Practice of Reconciliation, The Divinity School
James E. Coleman, Jr., John S. Bradway Professor of the Practice of Law, Director of the Center for Criminal Justice and Professional Responsibility, and Co-Director of the Wrongful Convictions Clinic
William Darity, Jr., Samuel DuBois Cook Professor of Public Policy, African and African American Studies, and Economics, and Director of the Samuel DuBois Cook Center on Social Equity
Charles D. Thompson, Jr., Professor of the Practice, Cultural Anthropology and Documentary Studies

Bryan Stevenson's memoir, Just Mercy, is the 2016 Common Experience summer reading book for incoming first-year students at Duke. An installation inspired by the book is on view in the Nasher Museum's Academic Focus Gallery from August 6 - October 2.

The conversation will take place in the Nasher Museum lecture hall. Free and open to the public. 

Sketching in the Galleries
Three-part sketching in the galleries series with Laura Frankstone
Artist Laura Frankstone leads a three-part sketching series. $40 for all three. Space is limited. Registration: email

Series dates:
September 10, 2016
September 17, 2016
September 24, 2016

Lavender Country
Lavender Country: Live Performance and Film Screening
Thursday, September 8
5:30 PM Cash Bar

6 PM Highlights tour

7 PM Meet Patrick Haggerty, author of Lavender Country, the world’s first openly gay country album (1973), now enjoying a resurgence of popularity since its reissue two years ago on the Paradise of Bachelors label, based in Chapel Hill. Haggerty will share music and stories about his experiences as an openly gay country music artist and lifetime political activist.  The “unplugged” performance, featuring Nashville-based backup band Promised Land Sound, will be preceded by a free screening of “These C*cksucking Tears,” a documentary short film by Daniel Taberski about the Lavender Country story, which won best documentary short at South by Southwest 2016 in Austin, Texas.

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Walter Inglis Anderson, Father Mississippi, 1953. Watercolor on paper; 8.5 x 11 inches (21.59 x 27.94 cm). Courtesy of the Family of Walter Inglis Anderson. © Walter Inglis Anderson. Photo by Peter Paul Geoffrion.

Amy Sherald, High Yella Masterpiece: We Ain’t No Cotton Pickin’ Negroes, 2011. Oil on canvas; 59 x 69 inches (149.86 x 175.26 cm). Collection of Keith Timmons, ESQ, CPA. Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. © Amy Sherald.

Fahamu Pecou, Hope . . . Maybe, if, or Prob'ly (detail), 2013. Acrylic, spray paint, and oil stick on canvas; 58 x 58 inches (147.32 x 147.32 cm). Collection of E. Markwalder. Image courtesy of the artist and Conduit Gallery, Dallas, Texas. © Fahamu Pecou. Photo by Branton Ellerbee.

Tom Rankin, Baptism of Cheronda Brown by Reverend Crabtree, Stamps Lake, Perthshire, Mississippi, 1990. Gelatin silver print, edition 1/5; 15 x 15 inches (38.1 x 38.1 cm). Courtesy of the artist. © Tom Rankin.

George Bellows, Benediction in Georgia, c. 1915. Pencil on paper, 15 7/8 x 20 3/8 inches (40.3 x 51.8 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Mr. and Mrs. Harry L. Dalton, 1976.46.1. Photo by Peter Paul Geoffrion.

Photo by J Caldwell. Sketching photo courtesy Laura Frankstone.

Nasher Museum exhibitions and programs are generously supported by the Mary Duke Biddle Foundation, the late Mary D.B.T. Semans and James H. Semans, the late Frank E. Hanscom III, The Duke Endowment, the Nancy Hanks Endowment, the Courtney Shives Art Museum Fund, the James Hustead Semans Memorial Fund, the Janine and J. Tomilson Hill Family Fund, the Trent A. Carmichael Fund for Community Education, the Neely Family Fund, the E. T. Rollins, Jr. and Frances P. Rollins Fund for the Nasher Museum of Art at Duke University, the Marilyn M. Arthur Fund, the Sarah Schroth Fund, the George W. and Viola Mitchell Fearnside Endowment Fund, the Gibby and Michael B. Waitzkin Fund, the K. Brantley and Maxine E. Watson Endowment Fund, the Victor and Lenore Behar Endowment Fund, the Margaret Elizabeth Collett Fund, the Nasher Museum of Art General Endowment, the Friends of the Nasher Museum of Art, and the Office of the President and the Office of the Provost, Duke University.

The Collection Galleries is made possible by Nasher Annual Fund donors with special support from Anita and John Schwarz.

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