About the Museum

Director’s Welcome

Gail AndrewsAs I write this letter, we are receiving daily news reports of the horrific war in Syria and the loss of life, home, and country as millions of individuals migrate, or attempt to migrate, to safety. Against the backdrop of these human assaults there is the massive destruction of some of the world’s greatest monuments of civilization. Most recently and most specifically, the ancient Syrian city and UNESCO World Heritage site of Palmyra has been
pummeled by ISIS, destroying what they see as idolatrous
buildings and symbols. Archaeologists, scholars, and
other experts have called it an “irreversible loss.”

Destruction of cultural artifacts and architecture is not new and much has been lost throughout the globe over the centuries through war as well as political and religious zealotry. The question is, why does this matter? Why is it important for these objects and edifices to remain? They matter because these sites, and objects that survive, are crucial components of the cultural identity of communities. They communicate the story of a time, place, and culture in a unique and powerful way. They give tangible understanding and insight about a people, a way of life, and a worldview that cannot be otherwise obtained. When libraries with ancient texts are set on fire, statues hacked from their entrance gates, and the Buddhas of Bamiyan dynamited from their centuries-old perch, our inheritance of world knowledge is diminished. Recognizing the necessity, or at least trying to structure protection for cultural treasures in times of war, the Convention for the Protection of Cultural Property was issued by the Hague in 1954 stating, in part, “damage to cultural property belonging to any people whatsoever means damage to the cultural heritage of all mankind, since each people make its contribution to the culture of the world.”

What is especially distressing is that these acts of destruction and looting only seem to be increasing when the need for appreciating our shared cultural heritage is more important than ever. Furthering our knowledge of each other can lead to greater connections, tolerance, and perhaps peace. And then, of course, there is the beauty, wonder, and awe that so many of these places and objects inspire. Museums are important repositories for many objects that have left their places of creation. Our institution is rich in precious treasures that serve as material representations of cultural practices that have been obliterated by war, such as our collection of ceramics from Mali. Yet nothing replaces seeing these individual objects in their original context.

Continuing this line of thinking may challenge us as we face the question of what to save and what to erase in our own communities—from statues and murals to parks and buildings. We now appreciate the importance of preserving even the most vile aspects of our history as a part of our civic responsibility. Over time, we learn how to properly interpret historical events for the benefit of current and future generations, by placing them in a context where they stimulate dialogue and give us insight by understanding the past. As the Museum continues to collect objects for the preservation and appreciation of cultural heritages around the world, perhaps our approach can inform or inspire how Birminghamians memorialize important, if painful, events from our storied history. I hope you will join us this fall for exhibitions and collection-based programming designed to offer new perspectives of a shared cultural heritage that can teach us more about ourselves and each other.

Gail Andrews
The R. Hugh Daniel Director

The Collection

1991.879_p01The Birmingham Museum of Art, one of the finest regional museums in the United States, houses a diverse collection of more than 26,000 paintings, sculpture, prints, drawings, and decorative arts dating from ancient to modern times. The collection presents a rich panorama of cultures, featuring the Museum’s extensive holdings of Asian, European, American, African, Pre-Columbian, and Native American art. The mission of the Birmingham Museum of Art is to provide an unparalleled cultural and educational experience to a diverse community by collecting, presenting, interpreting, and preserving works of art of the highest quality.

Mission Statement

The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art.

Museum Facts

  • Founding Date: 1951
  • Location: 3.9 acres in the heart of the cultural district, 2000 Rev. Abraham Woods, Jr. Blvd (formerly 8th Avenue North), Birmingham, AL 35203-2278
  • Owner: City of Birmingham, Birmingham Museum of Art
  • Governed: Museum Board of the City of Birmingham
  • Present Building: Erected in 1959. Designed by Warren, Knight & Davis; Birmingham, AL
  • Major Additions: 1965, 1967, 1974 and 1980 by Warren, Knight & Davis
  • Major Renovation: Completed 1993; Designed by Edward Larrabee Barnes
  • Expansion: Edward Larrabee Barnes/John M.Y. Lee & Partners; New York, New York
  • Museum Facility: 180,000 gross square feet (150,000 square feet three-story structure; 30,000 square feet outdoor sculpture garden)

Museum Boards

The Museum is grateful to the members of the community who serve on our Board of Trustees, Advisory Board, and Members Board.

Board of Trustees

Mr. James K. Outland, Museum Board Chairman, New Capital Partners
Ms. Myla E. Calhoun, Secretary, Alabama Power Foundation
Mr. Joel B. Piassick, Treasurer & Finance Chair, Harbert Management Corporation
Mrs. Maye Head Frei, Governance Chair, Ram Tool and Supply Company
Mr. Houston Brown, Retired Presiding Jefferson County Circuit Court Judge
Mr. Mark L. Drew, Protective Life Corporation
Dr. George T. French, Miles College
Mr. Braxton Goodrich, Timberline Investments
Mr. John O. Hudson III, Alabama Power Company
Mrs. Joyce Crawford Mitchell
Mr. G. Ruffner Page, Jr., McWane Inc.
Mr. Sanjay Singh, CTS
Mrs. Nan Skier
Mrs. Kelly Styslinger
Mr. Larry D. Thornton, Thornton Enterprises
Mrs. Patricia Wallwork, Milo’s Tea Company

Chairmen Emeriti:
Mr. Thomas N. Carruthers, Jr., Bradley Arant
Mrs. Margaret Livingston

Advisory Board

Mrs. Philippa Bainbridge
Ms. Dalton Blankenship
Ms. Kay Katherine Blount
Mr. William A. Bowron, Jr., Red Diamond, Inc.
Mr. Brian H. Bucher, PNC Financial Services Group, Inc.
Mrs. Catherine Cabaniss
Ms. Jane Comer
Mr. Donald L. Cook
Mrs. Jane Emily Crosswhite
Mr. H. Corbin Day, Jemison Investment Company
Mrs. Rebekah Elgin-Council, Blue Cross and Blue Shield
Mrs. Carolyn Featheringill
Mrs. Kelley Fitzpatrick
Mrs. Ellen Gillespy
Mr. T. Randolph Gray
Mrs. Melanie Grinney
Mr. Thomas L. Hamby
Mr. Wyatt R. Haskell, Haskell Slaughter & Young
Ms. Pauline Ireland
Mr. Donald M. James, Vulcan Materials Company
Ms. Cathy Sloss Jones, Sloss Real Estate Group
Ms. Jennifer R. McCain, Maynard Cooper & Gale
Dr. Dannetta K. Thornton Owens, Kennon Family Investment and Properties
Mrs. Penny Page
Mrs. Katharine Patton
Dr. John W. Poynor, ENT Associates of Alabama
Mr. William Ritter, Regions Bank
Mrs. Marilyn Smith
Mr. James D. Sokol
Mrs. Patricia Sprague
Mrs. Catherine Styslinger
Mr. Crawford Taylor, Merrill Lynch
Mrs. Carolyn Wade
Mr. Alan K. Zeigler, Bradley Arant Rose & White

Affiliated Leadership:
James K. Outland, Chairman, Board of Trustees
William J. Cabaniss, Chair, Endowment Trust Committee
Alice Thigpen, President, Members Board
Michael Straus, President, Art Fund Inc.
Jim Sears, President, Junior Patrons Board

Members Board

Mrs. Alice Thigpen, Co-President
Mrs. Beth Adams, Co-President
Ms. Eleanor Allen
Ms. Bebe Barnard
Mr. Patrick Cather
Mrs. Judy Cook
Mr. V.J. Graffeo
Mrs. Barbara Huntley
Mrs. Elizabeth Koleszar
Mrs. Mindy Lalor
Mrs. Margaret Livingston
Mrs. Sumner Starling
Mrs. Mary Beth Wood


updated October 2016