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From the Director

Virginia Anne Sharber

Here at the Hunter Museum of American Art, we are firm believers that art and creativity are forces for personal growth and positive community change, and we are honored to serve as a cultural resource for our community. As we strive to better engage our diverse audiences in active dialogues about the importance, meaning, and relevance of American art, the Hunter continues to re-imagine and re-interpret American art through compelling programs for every age and through diverse and interactive exhibitions. These programs and exhibitions are shaped by our commitment to representing a variety of experiences, cultures, and perspectives in hopes that visitors see art with new eyes as way to better understand the many facets of American history and to learn more about what makes us Americans today. As stewards of the museum, we are constantly working towards its improvement, and we are grateful for your support, your ideas and your suggestions as we strive to ensure that your experience is exciting and thought-provoking. I invite you to come and explore all the museum has to offer, and I look forward to seeing you at your Hunter!

Portrait of Virginia Anne Sharber, the Director
Mission Statement

The Hunter Museum of American Art collects, preserves, and presents American art and connects the community through inspiring educational and visitor-focused experiences for all.

Vision Statement

The Hunter Museum is a national model exemplifying how art museums can transform the communities they serve. With its iconic campus, exceptional collection of American art and engagement in and with the community, the Hunter is an essential space where all people are welcomed to experience creativity, connect, and share ideas.

Our People

Board
Andrea Crouch

Chair

Todd Womack

Vice-Chair

BettyeLynn Smith

Secretary

Dan Norton

Treasurer

Trustees

Quintin Alford
Kelly Arnold
John Bode
Charlie Brock
Chanda Chambers
Allison Cromie
Ward Davenport
Kim Gavin
J.D. Hickey
Terri Holley
Karen Hutton
Amanda Jackson
Ken Jones
Carley McGee-Boehm
Pam McKenney
Johnny O’Brien
Dana Perry
Daniela Peterson
Janelle Reilly
John Shearburn
Angie Supan
Reese Veltenaar
Steve Zabel

Honorary Trustees

Hacker Caldwell
Gary Chazen
J. H. Davenport III
R. Craig Holley
Norma Mills
Paul Neely

Executive Director
Virginia Anne Sharber

Executive Director

Administration
Rob Majors

Director of Operations

Rob Parker

Administrative Assistant

Brad Bohl

Operations Manager

Curatorial
Nandini Makrandi

Chief Curator

Lauren Nye

Associate Curator

Elizabeth Le

Collections Manager and Registrar

Jon Newman

Head Preparator

John Reed

Preparator

Hannah Wimberly Lowe

Curatorial and Registration Assistant

Development and Membership
Daisy Maurya Ballard

Director of Development

Susan Day

Development Manager

Education
Adera Causey

Curator of Education

Christine Bespalec

Manager of School and Family Programs

Athena Buxton

Manager of Outreach and Access Programs

Marketing and Communications
Cara McGowan

Director of Marketing and Communications

Savannah Smith

Design and Web Specialist

Hannah Brawley

Digital Marketing Coordinator

Special Events
Amber Goodman

Special Events Department Manager

Allison Wade

Special Events Coordinator

Molly Wholihan

Special Events Associate Coordinator

Guest Services and Museum Store
Cynthia Boucher

Manager of Guest Services

Gracie Morse

Assistant Manager of Guest Services

Operations
Lynn Hicks

Facilities Manager

Michael Lynch

Facilities Assistant Manager

Security
Barrot Rendleman

Security Lead

Tammy Zani

Security Assistant Manager

Financial Information

DEAI Statement

The Hunter Museum of American Art champions policies and practices that value diversity, foster equity, and empower an accessible and inclusive environment. As an institution and as individuals, we are dedicated to dismantling systemic and institutional inequities by breaking down barriers and advancing inclusion and equitable practices for traditionally marginalized people including but not limited to people of color, LGBTQ+ communities, and differently-abled individuals. The Hunter is embedding these DEAI principles in all aspects of the museum’s work and organizational culture.

In undertaking this work, the Hunter defines DEAI principals as follows:

  • Diversity – Diversity is all of the factors that shape the experiences, values and perspectives of individuals.  These include but are not limited to age, mental and physical ability, gender identity, race, national origin, religion, socio-economic status, and sexual orientation.
  • Equity – Equity is the promotion of fair and just treatment, access and opportunities for all staff and members of our community.
  • Accessibility – Accessibility is the equitable access of all people to use, experience or participate in activities, resources, facilities, and services, regardless of ability or socio-economic status.
  • Inclusion – Inclusion refers to the intentional effort of creating environments in which all individuals or groups can feel welcomed, respected, empowered and valued. It is also an effort to cultivate leaders at all levels to fully participate in the museum’s work with equal agency.

To advance these principles and serve our community, the Hunter is committed to:

  • Ensuring that all exhibitions, programming, facilities and services are accessible to everyone.
  • Providing a forum for public discussion of vital community issues, including social justice, and equity for historically marginalized groups.
  • Including under-represented voices, stories and perspectives in exhibitions and programming.
  • Presenting collections, exhibitions, programming, publications and public communications that accurately represent historical facts and events; and highlighting the voices and experiences of diverse cultures in a respectful and culturally competent manner.
  • Forging meaningful and mutually beneficial relationships with diverse individuals and organizations in the community, including local BIPOC, LGBTQ+, and differently-abled serving organizations in a continual effort to ensure that all visitors feel welcomed, valued and heard.
  • Diversifying the Hunter’s Board of Trustees, leadership, staff and volunteers so that the museum is reflective of our community at all levels.  These efforts include the implementation of equitable hiring and retention practices, deliberate recruitment strategies to reach diverse candidates, and public transparency about the membership of our Board of Trustees and senior management team.
  • Conducting regular staff-wide DEAI training to develop cultural competence and strategies for identifying, preventing and responding to discrimination, including unconscious bias, on both a personal and institutional level.

Our Architecture

Three buildings representing 100 years of architecture, The Hunter Museum of American Art is one of Chattanooga’s iconic landmarks.

Our Architecture

History & Timeline

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1854

An iron smelting plant is erected on the bluff near the present northwestern corner of the museum.

The plant, known as the Bluff Furnace, was one of the South’s earliest industrial enterprises. During the Civil War, the area was used as a lookout and a garrison by both Confederate and Union forces. Although the Bluff Furnace was destroyed during the Civil War, it is now a site for archaeological research.

1905

Mansion for wealthy insurance broker Ross Faxon and his family completed. The family lived in the mansion for nine years.

The mansion was designed by architectural firm Mead and Garfield. Abram Garfield was the son of President James Garfield.

1920

The home is sold to Anne Taylor Thomas, the widow of Benjamin F. Thomas, one of the founders of the world’s first Coca-Cola bottling company and the uncle of George Thomas Hunter. George Thomas Hunter moved Chattanooga at the age of 17 to work as a clerk in his uncle’s business.

Hunter soon rose rapidly through the ranks to become secretary, president and finally, chairman of the board, of the company that franchised bottling of Coca-Cola in almost every state in the Union. He became one of Chattanooga’s most respected philanthropists.

1944

George Thomas Hunter founds the Benwood Foundation, a private charitable trust still in operation today.

1950

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1960

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Research Your Art Pathway

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Work for the Hunter Museum

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Landscape view of The Hunter Museum
Landscape view of The Hunter Museum

Internships

The Hunter Museum of American Art offers a wide variety of internship opportunities for those interested in learning more about the museum. Internships are unpaid learning experiences for college students. In addition to adding practical skills to their resumes, interns gain a sense of the overall workings of the institution. Internship positions are project-based and scheduled on a rolling basis.

While specific opportunities for placement change throughout the year, past placements have included Curatorial, Education, Membership and Development, and Marketing and Communications departments. To learn more about internships available in the upcoming semester, please reach out to Adera Causey (acausey@huntermuseum.org).

Get in touch

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