By Theresa Moir
As a curatorial intern this winter, I had the pleasure of witnessing the installation of one of the museum’s newest acquisitions: Sam Gilliam’s Rotunda Unwound, 2005. I knew from previous conversations with the curatorial staff that the installation of this muslin piece would differ from that of a framed painting, but I didn’t know what to expect walking into the contemporary gallery the morning it was to go on view. One of Gilliam’s studio assistants, Joseph Everett, traveled from Washington DC to install the piece and to educate museum staff about the process. Everett has worked with Gilliam for over 20 years, and is experienced with the installation of the artist’s Drape paintings, which Gilliam began making in the late 1960s.