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Telfair Museums, Jepson Center
February 3, 2012 - June 3, 2012
The Exhibition
Students visiting Telfair Museums Leo Villareal exhibition will be introduced to the aweinspiring work of the most prominent light sculptor of this generation and a pioneer in
the use of light-emitting diodes (LEDs) and computer-driven imagery. The magic of
Villareal’s work lies in its sequencing. Thousands of tiny white LEDs may resemble a
shimmering starry night, while tubes of colored LEDs masked by a diffuser suggest
drifting soft-focus Impressionist landscapes.
Algorithms, the system of rules written into the computer code that governs the
behavior of individual LEDs, are what make Villareal’s work come to life. As Villareal
explains, ―
The essence of the piece is the code; colored light is the manifestation.‖ The
spectator engages primarily with those colored lights, which means the ―
Villareal refers to remains off-screen somewhere. As viewers watch pixels move and
shift in color, they instinctively try to detect the underlying patterns and predict their
movement. The hidden rules are surprisingly difficult to decipher, because what
happens on the surface level is an example of emergence: increasing levels of
complexity arising out of simple rules. The resulting patterns appear to pulse and
swarm, conjuring biological, lifelike behavior from straightforward mathematical
Leo Villareal traces the development of the artist’s work over the past decade, from his
earliest experiments with light and sequencing using a limited number of strobe lights
activated by the artist’s custom software programming, to his most recent works that
feature thousands of tiny pinpoint LEDs firing in hypnotic and transportive patterns.
Villareal’s work reflects our contemporary experience—complex, quickly changing and
fundamentally informed by and integrated with technology.
Leo Villareal was organized by the San Jose Museum of Art.
Sponsored by the Andy Warhol Foundation for the Visual Arts,
the Walter and Karla Goldscmidt Foundation,
and Bank of America.
Metatron, 2002 (A.P., ed. 2)
Plexiglas, incandescent light bulbs, custom
software, and electrical hardware
60 x 60 x 6 inches
Courtesy the Artist
Big Bang, 2008 (A.P., ed. 3)
LEDs, aluminum, custom software, and
electrical hardware
59 x 59 x 8 inches
Courtesy the Artist
Flag, 2008
LED tubes, custom software, and electrical
75 x 144 x 4 inches
Courtesy Gering & López Gallery, New York
The Artist
Leo Villareal was born in Albuquerque, New Mexico in 1967 and raised in El Paso, Texas and northern Mexico.
He studied stage design and art as an undergraduate at Yale University. In the early 1990s, he entered the
graduate program in Interactive Telecommunications at New York University’s Tisch School of the Arts.
Between completing his undergraduate and graduate degrees, Villareal interned at the Peggy Guggenheim
Collection in Venice, Italy, where he was widely exposed to contemporary art, including such artists working
with light as Dan Flavin and James Turrell, who were important influences on his later work. In 1994 he earned
an additional graduate degree in Professional Studies, also from NYU. Following the completion of his
graduate schooling, Villareal interned and later worked for the Palo Alto, California-based technology think tank
Interval Research Corporation. This was also the first year that Villareal attended the Burning Man festival, in
which he has participated every year since.
The Burning Man Festival is an annual week-long gathering held on an
empty lakebed in Nevada’s Black Rock Desert. It is an experimental
community dedicated to art, self-expression, and self-reliance. One
evening, in the midst of this temporary city, Villareal lost his bearings.
I had a child-like feeling of panic and found it extremely interesting
that that could happen to me at age twenty-seven.‖ In the absence of
trees or landmarks, he was compelled to relearn how to navigate in
this new place with completely different rules. Something about his
experience recalled to him the look of virtual reality, of computer
graphics and early video games, which were characterized by
rudimentary, flat, featureless landscapes and sky.
For 1997’s Burning Man Festival, Villareal constructed a wooden grid
framework to which he attached sixteen strobe lights programmed with
Strobe Matrix, 1997 (ed. 2/3)
a microcontroller to turn on or off in sequence. Villareal mounted the
Plexiglas, strobe lights, custom software, and electrical hardware
60 x 60 x 12 inches
structure atop his camper. Visible from miles away, it functioned as a
Collection of James Healy
way-finding device, and yet was much more. It projected sequences
that ―
expressed a desperate need to communicate in a language that begged to be decoded.‖ Along with many
other people, Villareal was taken by the effect of the apparatus, finding it compelling and hypnotic. Later that
fall, he encased those same lights in a translucent acrylic box to form Strobe Matrix, his first formal attempt at
light sculpture.
The Technology
The LEDs Villareal uses, dancing in patterns
too swift for the eye to differentiate, are driven
by microcontrollers (small, simple computers
on a chip) or on Mac mini-computers running
custom software. Collaborating closely with
engineers, Villareal constructs the exacting
codes that propel his kinetic light sculptures.
One of Villareal’s inspirations is the Game of
Life, a cellular automaton devised in 1970 by
mathematician John Conway. The Game of
Life demonstrates how simple components can
result in higher-level systems. Ant colonies,
traffic patterns, and nomadic communities such
as Burning Man are all examples of
emergence‖—the term for how complex
systems arise from simple interactions. The
Leo Villareal
Amanecer, 2010
LEDs, diffusion material, custom software, and electrical hardware
7 x 20 feet x 15 inches
Private Collection, Courtesy Galeria Javier López, Madrid
game has attracted the interest of computer scientists, physicists, biologists, economists, mathematicians,
philosophers, and artists—such as Leo Villareal—who find its parallels in the realm of living organisms.
Conway’s Game of Life simulates the life and death of cells, based on their proximity to other live cells. Using a
grid, you create an initial pattern of tiles, or ―
cells,‖ then apply the following rules that Conway developed:
Every cell interacts with its eight
neighbors, which are the cells
above, below, and diagonally
adjacent to it.
Watch a video of Diamond Sea at
Any live cell with fewer than two
live neighbors dies.
Any live cell with more than three
live neighbors dies.
Any live cell with exactly two or
three live neighbors lives.
Any dead cell with exactly three
live neighbors becomes a live cell.
When the rules are applied to the
initial pattern, or ―
generation,‖ they
result in a second generation, to which
the rules are applied again. As
through the ―
birth‖ and ―
death‖ of cells,
they ―
move‖ across the surface of the
As Leo Villareal explains, ―
Inspired by
mathematician John Conway's work
with cellular automata and the Game
of Life, I seek to create my own sets of
rules. Central to my work is the
element of chance. The goal is to
create a rich environment in which
emergent behavior can occur without
a preconceived outcome. I am an
active participant, serving as editor in
the process through careful selection
of compelling sequences. These
selections are then further refined
through combination with other
sequences through simple operations
such as addition, subtraction and
multiplication. The sequence's opacity,
speed, and scale can all be
manipulated through custom software.
Ultimately, complex compositions are
formed and then displayed in random
order and for a random amount of time
in the final artwork.‖
Leo Villareal
Diamond Sea, 2007
LEDs, circuitry, mirror finished stainless steel, transformers
120 x 180 x 6 inches, Unique
Courtesy Gering & López Gallery
Visitors to the exhibition Leo Villareal may interact with an LED
version of the Game of Life, developed by San Jose Museum of
Art and Evil Mad Scientist Laboratories. To create a live cell,
users turn the light on; to create a dead cell, they turn the light
off. Pressing ―
next step‖ allows users to see one generation.
Press ―
run‖ and the patterns continue to evolve.
The following link walks viewers step-by-step, with still photos
and a video, through the process of creating the Game of Life
interactive that accompanies the exhibition:
installing Diamond Sea
When a museum hosts an exhibition, often the art work must travel from another location. The art must be
specially crated and handled very carefully while traveling, then uncrated and placed in the museum with the
same care. For Villareal’s work, installing his pieces in the Telfair Museums is a much more involved process
than is typically the case when hanging, for example, a painting. Diamond Sea, for instance, is comprised of 6
large LED and stainless steel panels which are bolted together. The panels, which each weigh 350 pounds,
are also bolted to the wall and floor. Custom electronics and a computer power the piece.
Leo Villareal
Diamond Sea, 2007
LEDs, circuitry, mirror finished stainless steel, transformers
120 x 180 x 6 inches, Unique
Courtesy Gering & López Gallery
120‖ x 180‖ x 27‖
13.64 Amps / 1500 Watts
Uncrating a panel.
Side view of Diamond Sea.
Bolting panels together.
Each of the 6 panels has an Ethernet
cable which is plugged into a switch.
The cables and switch allow the
separate panels to coordinate their
Bolting panels to the wall.
A Mac mini computer contains the
code that directs each of the 2,400
LED lights when to turn on and off.
curriculum connections
Algorithmic Thinking
To prepare to understand the nature of computer science and its place in the modern world, the Computer
Science Teachers Association (CSTA) recommends that K-8 students learn to incorporate the idea of
algorithmic thinking into their daily problem-solving vocabulary.
Except in the context of mathematics education, this particular topic area is not a conventional part of the K-8
curriculum. That is, the concept of algorithm is used only to teach students the steps of arithmetic and other
mathematical ideas. These algorithms generally involve repeating a series of steps over and over, as in the
borrowing and carrying algorithms and in the long multiplication and division algorithms. However, the notion of
algorithm includes a rich array of real-life situations.
In its simplest form, an algorithm is a method for achieving an outcome in a step-by-step
manner. Students learn about algorithms whenever they discover a collection of steps used
to accomplish a task. These steps should follow a sequence and accommodate variables
(using conditional, or ―
if‖ statements) and repetitions (using loops or ―
while‖ statements).
Here are a few examples appropriate for the K-8 level: recipes, board game rules, shampoo
instructions, online map directions, and cpr guidelines. Students can create their own
algorithms for activities like reading a book, preparing a sandwich, or sorting markers into
non-working and working groups, then subdividing the working markers by color.
Educators may wish to investigate traditional math algorithms vs. alternative methods at the Everyday
Mathematics Resource and Information Center Here you will find a variety of alternative algorithms for addition, subtraction,
multiplication and division. Current research indicates that students learn more about numbers, operations, and
place value when they explore math using different methods. The site includes procedures that have come
from children’s mental arithmetic efforts, as well as different countries. Each is a legitimate algorithm, that is, a
set of rules that if properly followed yields a correct result.
Systems and Complexity Theory
American Association for the Advancement of Science and their Benchmarks for
Science Literacy states in The Nature of Mathematics, Patterns and Relationships that
―…mathematics enable people to make sense of a universe that otherwise might
seem to be hopelessly complicated…it is important for students (1) to understand in
what sense mathematics is the study of patterns and relationships, (2) to become
familiar with some of those patterns and relationships, and (3) to learn to use them in
daily life. …in pursuit of the goal of understanding the nature of mathematics, students
should have an opportunity in mathematics to reflect on the nature of patterns and
relationships in a purely abstract way.
Integrating Multi-Disciplinary Information and Skills
Georgia Performance Standards: Fine Arts-Visual Arts Education, Domain C:
Students make connections to other disciplines and to the world around them
through the visual arts (National Standard 6).
Students make connections from the world of art to other areas of learning and personal
endeavor. Students derive inspiration for art from a variety of content areas. They
inform their study and production of art by integrating information and skills from
other disciplines and areas of knowledge such as math, reading, English Language
Arts, social studies, science, world languages, music, dance, theater, physical
education, career awareness, and technology into his or her artwork.
teacher and classroom resources
Much of the information in this guide is adapted from the
exhibition catalogue. Leo Villareal, is authored by San
Jose Museum of Art Chief Curator JoAnne Northrup, with
contributions by Sara Douglas Hart, Steven B. Johnson,
Susan Krane, Michael Rush, and Mark Van Proyen.
Hardcover, 192 pages, 528 color illustrations, Publisher:
Hatje Cantz, ISBN 978-3-7757-2656-6
ARTnews interview with Villareal, conducted
the summer after Multiverse was installed in
the National Gallery and prior to the opening
of Leo Villareal in San Jose.
C-NET NEWS interview with Leo Villareal and
San Jose Museum of Art curator JoAnne Northrup.
Includes embedded videos of Villareal’s work in
motion, and a slide show
A brief interview by Architectural Digest,
plus a link to 15 slides.
A 12-minute film from Nova demonstrating how the coordinated
movement of a school of fish or a flock of birds is not controlled
by any leader. It emerges naturally as each individual follows a
few simple rules, such as ―
go in the same direction as the other
guy,‖ ―
don’t get too close,‖ and ―
flee any predators.‖ This
phenomenon, known as emergence, may someday help experts
explain the origins of consciousness and even life itself.
A collection of learning activities, adaptable for all ages, that
teaches computer science without the computer. Games and
puzzles introduce underlying concepts such as binary numbers
and algorithms, isolated from the distractions and technical
details that can arise on a computer.
An online activity from the National
Gallery of Art allows users to
transform 4 different portraits to
pixels or work from a blank canvas:
choose among brushwork effects,
pixel sizes, colors, and transparency.
An intuitive, engaging interface.
From the National Gallery of Art, an
educational guide on the subject of the
light sculptor Dan Flavin, who was a
major influence on Villareal. Contains a
light poetry‖ activity compatible with the
Leo Villareal exhibition.
WikiHow’s 5-step procedure for making throwies, tiny glowing
led lights combined with a magnets that can be assembled into
patterns or simply ―
thrown‖ to latch onto any metal object.
A clear, comprehensive exploration of the Game of Life,
including applets (pop-out interactive features) that
demonstrate the patterns and ―
objects‖ that emerge from the
Game of Life.
See also
for SimpleLife, an ipad/ipod compatible app that allows users
to generate their own patterns.
just for educators
Villareal Preview Tour for Educators
Thursday, February 2, 2012
5 pm, Jepson Center
Please join our Telfair education staff, together with your colleagues
from across the city, for light refreshments in the Jepson Center’s Luck
Boardroom at 5 pm, followed by an exclusive preview tour of the
Villareal exhibition at 6 pm. Admission to the Jepson Center is free to
Educators on this evening; just call 912.790.8821 to r.s.v.p.
Educator Resources
Visit for downloadable support
materials and call 912.790.8821 for additional resources available for
loan, assistance in developing tours to fit your curriculum, or to join our
mailing list.
Telfair Museums
Education Blog
Telfair proudly announces our new museum education blog page From 220 B,
providing you with up-to-date news, fun facts, program information, educational
resources and inspiration. Visit us at
PULSE art & technology festival
Leo Villareal is presented in conjunction with
Telfair Museums 2012 Pulse Art and Technology Festival
February 27–March 4
PULSE, Telfair Museums’ Art and Technology Festival, returns in 2012 with
exciting exhibitions, performances, lectures, workshops, and events
celebrating technology and creative innovation. PULSE includes exhibitions
and related programs by artists working within the medium of videogames,
musical performances, and a ―
Green Machine‖ Art Bike Ride, coordinated
with the Savannah Bicycle Campaign. Telfair’s education department will
present pre-PULSE youth and adult workshops the weekend before the
Top to bottom, left to right: Pamela Z, the Loud Objects, Karmetic, Machine Orchestra
featured events:
February 18-19 Pre-PULSE workshop: Developing games for the iOS (ages 18 and up)
Instructor: Andrew Hieronymi
February 18 & 26 Pre-PULSE workshops: Digital Fabrication, introduction for high school
students. Instructor: Andrew F. Scott
February 27-March 4 FREE WEEK at the Jepson Center
February 27 / 6 pm Lecture by Leo Villareal followed by Opening Reception for PULSE
February 28 / 7 pm Pamela Z solo performance
February 29 / 11 am PULSE artist panel for high school students
February 29 / 6 pm Perfect Nowhere, interactive performance by Andre Ruschkowski
March 1 / 6 pm Game Change panel featuring Ian Bogost, Mary Flanagan, Kunal Gupta, and
Greg Borenstein
March 2 / 6 pm Performance by the Loud Objects
March 2 / 7 pm Performance by the Medeology Collective
March 3 / 10 am Noise Toy workshop with the Loud Objects (ages 13-18)
March 3 / 10 am-1 pm Kinect workshop (ages 16 +)
March 3 / 1-4 pm DIY Family Day and Expo
March 3 / 6 pm Performance by the Karmetik Machine Orchestra
March 4 / 1-3 pm Art Bike workshop 2 (all ages)
Shinji Murakami; Chippewa Square,
2011; screenprint on panel
March 4 / 3 pm Green Machine Art Bike Ride
PULSE is presented FREE of charge thanks to project funding from the City of Savannah. Additional support
was provided by iTech for Business.
Teachers, please note: During the PULSE March 3rd Family Day, Georgia Tech
Savannah will present 30 minute workshops introducing children to Scratch.
Scratch is a free programming language developed by MIT that makes it easy to
create interactive stories, animations, games, music, and art -- and share your
creations on the web.
As young people create and share Scratch projects, they learn important mathematical and computational
ideas, while also learning to think creatively, reason systematically, and work collaboratively. Our PULSE
Family Day Scratch workshops are available on a first-come basis, and are scheduled at half hour intervals
between 1 and 4 pm. For more information about Scratch, visit
Visit for a complete schedule and more information. Events, lectures, and performances are free;
workshops require pre-registration and a fee. Reduced rates for workshops are available for Telfair members.
(Educator memberships start at $35.) Call 912.790.8823 to register or inquire about our classes.
exhibition tours, winter/spring 2012
 Fresh Focus: 21st Century Photography from the Permanent Collection
JEPSON CENTER December 16, 2011-July 8, 2012
Telfair Museums has greatly expanded its holdings in photography, adding nearly
300 photographs to its permanent collection since 2000. Fresh Focus includes
approximately twenty-eight works demonstrating the breadth and variety of the
Telfair’s holdings of twenty-first-century photography, including work by Jack
Leigh, Jerry Siegel, Julie Moos (work pictured at left), Sally Mann, and others.
Grades 4-12, Curriculum connections: VA/LA
 Slavery by Another Name: Paintings and Assemblages by Robert
Claiborne Morris TELFAIR ACADEMY, January 6-March 4, 2012
Morris began to re-examine his understanding of race in America after reading
Douglas A. Blackmon’s Pulitzer Prize winning book, Slavery by Another Name.
The revelation that slavery continued in many forms until World War II changed
the way he saw his native South. Morris began an odyssey in search of the
images, objects, and artifacts related to this obscure chapter in American history,
incorporating these materials into his mixed media works. Grades 8-12,
Curriculum connections: VA/SS
 A Native Son: Paintings by West Fraser TELFAIR ACADEMY February 24May 5, 2012
West Fraser’s long and respected career has earned him a well-deserved place
among the top contemporary practitioners of plein-air painting in the region. The
exhibition includes serene and luminous Low Country landscapes, together with
astute and charming studies of everyday street scenes in Savannah, Charleston,
and Europe. Grades 2-12, Curriculum connections: VA/SS
 Game Change: Videogames as Medium and Inspiration JEPSON CENTER
February 27-April 1, 2012
Discover the ways in which contemporary artists have modified existing
videogames or game technology, designed games themselves, created movies
and narrative works within game worlds, or employed the visual vocabulary of
videogames in other media. Works include a series of game poems for vintage
Atari systems by Ian Bogost (work pictured at left) independent games by artists
such as Kunal Gupta (co-founder of New York arcade Babycastles); and artists
exploring recent game technology. Grades 4-12, Curriculum connections:
 Juliette Gordon Low and her Contemporaries in Savannah’s Art Scene
TELFAIR ACADEMY March 10-August 12, 2012
On the 100th anniversary of the creation of Girl Scouts, Telfair Museums takes a
look at Girl Scout founder Juliette Gordon Low’s interest in art, both as an artist
and as an art organizer. In addition to creating her own art, Low took a leading
role in the Savannah art scene as a founding member of the Savannah Art Club,
established in 1920. All Grade Levels, VA/SS
on-going tours and activities
 Art Start: Color, Texture, & Shape (Grades K-3)
The Telfair’s first youth program introduces 4–7 year-olds to color, texture, and
shape through texture grab bags, color gels, and multisensory activities related
to selected artworks in the museum’s collection and changing exhibitions. Take
advantage of this tour at the Telfair Academy, the Jepson Center, or both!
Curriculum connections: LA/MA/VA
 Girl Scouts: Women in Art (Junior)
Exploring Architecture (Cadet, Senior)
This docent-led tour examines women as the subjects of art and as artists
themselves. With an optional printmaking studio activity, the Women in Art Tour
also provides Scouts with the opportunity to work toward their visual arts
badge. Older scouts will enjoy Telfair’s new architecture program. Students
design their own museum space while learning about the Telfair’s architectural
history, styles, and architects from different eras. Following the tour, students
may create architectural plans and drawings for a personalized museum
gallery. Cadet and Senior Girl Scouts complete work towards an interest project
in Architecture and Environmental Design. Curriculum connections: LA/VA
 Thinking Through Art (Grades 4-12)
Telfair Museums offers tours of the permanent collection and selected
exhibitions, using Visual Thinking Strategies (VTS) to build observational and
language skills. By taking part in facilitated discussions, students practice
collaborative problem-solving strategies applicable to the classroom and
beyond. For selected grades, this program is offered with a writing activity that
supports Language Arts standards. Curriculum connections: LA/VA
 Toddler Third Thursday 3rd Thursday of each month, 10-11:30am (3-5yrs)
Designed especially for preschoolers and their adult companions, this program allows toddlers
to explore artwork on view in the Telfair galleries, and then visit the studio to complete an
engaging art project related to their tour. A different tour and project is offered each month.
Finish your visit with some time to play in the museum’s interactive space for kids, the
ArtZeum. Sponsored in part by JCB, Inc.
 wcwm? Thursday, Friday and Saturday, 10 am-2pm (All Ages)
Drop in on us at the Jepson Center’s Melaver Studio and accept our
wcwm? (what can we make?) challenge. Exercise your creative side
through activities featuring assortments of recycled materials and art
supplies. New to the wcwm? program is the Family Make, in which
participants are assigned a theme each month and a secret ingredient or
tool to make art from the most unexpected materials. Open to adults and
children accompanied by an adult caregiver. Always free to members and
to visitors with paid admission.
Don’t see what you are looking for? Telfair Museums staff will work
with you to create tours that meet your needs and learning objectives.
arranging your tour
Telfair Museums offers docent-guided tours for grades Pre-K through 12th. Public schools, private schools,
home schools, and youth groups all enjoy the same opportunities. Because Telfair Docents are volunteers, and
because some exhibitions are very popular, we advise you to schedule your tour as early as possible. At a
minimum, tours must be booked three weeks in advance.
To book a tour for the Jepson Center or Telfair Academy, call 912.790.8827.
To book a tour at the Owens Thomas House call 912.790.8880.
Please note: If booking for the Jepson Center/Telfair Academy and the Owens Thomas House, you must
arrange for tours separately at each of the numbers above.
Beprepared to provide the following information when scheduling
your tour:
Choice of tour program
Preferred date and time of tour, plus an alternate date and time
Name of your school, phone number, and email.
Grade level and number of students (Minimum group size is 10
students. Larger groups may be accommodated by multiple
appointments. Call for more information.)
Number of accompanying adults: Groups must include one
adult chaperone per ten students
Media release information: We often document tours by
photographing our tours in progress. These photos may be
reproduced on the Telfair website, or used in promotional
materials. We need to know if your students have
parent/guardian-signed photo release permissions on file.
Admission is $5 per student. Cost of optional studio projects may
vary. For every ten students, one teacher/chaperone is eligible for
free admission. Additional adults will be charged the group rate of
$15 (for docent-led tours) or $12 (self-guided). Payment is due on the
day of your visit, unless other arrangements are made.
Prompt notification of cancellations is essential. Our docents are volunteers who arrive specifically for your
tour. Call 912.790.8827 (If calling after hours, please leave a message).
If you are cancelling the day of the tour, call the museum receptionist at 912.790.8802 for the Jepson
Center for the Arts, 912.790.8873 for the Telfair Academy, or 912.790.8880 for the Owens-Thomas House.
The Telfair Academy (121 Barnard Street) and Jepson Center (207 West York) are on the west and south
sides of Telfair Square in downtown Savannah. The Owens-Thomas House is located within walking distance
of these two buildings, on the east side of Oglethorpe Square (124 Abercorn Street). For detailed directions,
museum hours, and parking information, please visit
preparing your students
What is a docent?
Telfair Museums docents are Savannah community members who serve on a
volunteer basis and provide tours of the museum's collections and special
exhibitions to visiting groups of all ages, ranging from toddlers to adults. Our
docents are a diverse and talented group of individuals who take part in an
intensive training course and ongoing training. Some docents some specialize in
particular tours, but they all have in common a love for art, and an enthusiastic
desire to provide you with a great experience at the Telfair Museums!
Museum Manners
Explore with your eyes, not your hands. Telfair Museums was created in order to share art and
knowledge. We take special care of the art in our collections so that it can be shared for a long, long,
time. Even gentle, small touches add up to harmful results, so our guards and staff work together to
protect the paintings, drawing, photographs, sculpture, furniture, glasswork, silver, and all the objects in
the collection. You can help by reminding others not to touch.
Point out details with words, not your finger. Even if you know not
to touch, pointing too closely to a part of a painting or sculpture can
result in accidental touches. Instead of pointing, describe what you
would like to point out using words like ―
in the center,‖ ―
at the bottom,‖
next to the corner,‖ ―
close to the edge,‖ ―
to the right,‖ ―
above,‖ and
Walk and move carefully. Follow your docent. Take your time, watch
where you are going, and hold onto handrails while using the stairs.
Listen carefully, raise your hand, speak clearly but quietly. The
museum is a place for thinking and learning. The same rules that make
learning easier in a classroom are used here too.
Photography is not allowed in the galleries. Bright camera flashes
can fade artwork over time. Also, artists and owners of artworks retain
rights to the images of that artwork; photographic copies are not
Eating, drinking, and chewing gum are not allowed.
educator memberships
As an educator, you are eligible for a special membership rate.
Our $35 Educator’s Membership entitles you to all of the following
Unlimited free admission to the Telfair Museums three sites:
the Telfair Academy, Jepson Center for the Arts, and Owens Thomas House
Invitations to special members-only events and lectures
Discounted art classes
10% discount at the Telfair Museums’ stores
Access to the Curtis and Elizabeth Anderson Art Library
Eligibility to join museum member groups
A one-time use guest pass
It pays to join! Visit or call 912.790.8866
Leo Villareal & PULSE sponsors
Leo Villareal & PULSE partners
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