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Title
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1981 PAFA Press Release
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Format
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PDF
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Rights
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Digitized archival materials are accessible for purposes of education and research. We have indicated what we know about copyright and rights of privacy, publicity, or trademark.
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Publisher
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The Pennsylvania Academy of the Fine Arts' Archives
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Language
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English
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extracted text
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PENNSYLVANIA AC
BROAD AND CHERRY STREETS
DEMy OF THE FINE ARTS
PHILADELPHIA, PA, 19102
215 972-7600
NEWS
FOR IMMEDIATE RELEASE:
MORRIS BLACKBURN: A RETROSPECTIVE
A retrospective of works by the late Morris Blackburn will
-7 open
,-z..
January~,
1981 and continue until January 30 at the Peale
House Galleries, 1811 Chestnut St., Philadelphia.
Long hailed as one of Philadelphia's foremost artists,
Blackburn's success is expressed in his statement"I am deeply involved in this eternal struggle for possible
excellence."
Blackburn was accomplished in etching, engraving,
lithography and serigraphy as well as in painting.
He exhibited
his works ' in42 one-man shows, the last one being at the Hahn
Gallery in Chestnut Hill.
Among his many awards were the Academy's Cresson European
Traveling Scholarship in 1928 and 1929 and a Guggenheim Fellowship
in 1952.
He studied both a.t the Pennsylvania Academy of the Fine
Arts and privately with Arthur B. Carles, Jr.
Blackburn taught
painting and drawing for 27 years at the Academy, from 1952 until
his death in July, 1979.
A beloved teacher, he stressed to his
students the value of experience and the need to surpass
mediocrity.
In a career spanning 60 years, Blackburn focused on representing
scenes of his native Philadelphia and the Jersey shore.
Often
called an abstractionist, he did not view art as an improvement on
nature but rather felt that "the canvas itself is the starting
-30-
)
. t •"
p01n
Emphasizing the visual experience, he developed a
disciplined control of spatial relations and color dynamics.
This retrospective presents to the public works by an artist
. '.
..«;.:"'1
I
who has "always been concerned with creating continuums which
are intended to give a sense of completeness and wholeness to
the observer."
An 18 page soft-cover catalogue accompanies the exhibition.
A checklist, short biography, nine reproductions and essays by
Richard Boyle and Ephraim Weinberg, Dean of the Academy School,
are included.
Curator for the exhibition is Richard Boyle,
Director of the Pennsylvania Academy.
-Special EventBen Wolf, a noted Philadelphia artist and teacher, will
speak about Morris Blackburn in the North Gallery of the Peale
House on Wednesday, January 21 at sPM.
The public is cordially
invited to attend.
Peale House Galleries are open: Sun l-sPM and Tues.-Sat.
10AM- SPM.
Admission is free.
release written by Eve Guth
contact: Susan Rappaport
Public Information
(215) 972-4200
-30-
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972-7600
NEWS
PENNSYLVANIA ACADEMY OF THE FINE ARTS PUBLIC SERVICE ANNOUNCEMENT
CONTACT:
SUS&~
FOR RELEASE:
RAPPAPORT -- PUBLIC
(215) 972-7642
INFO~~~TION
TODAY THROUGH JANUARY 18, 1981
-60 SecondsDISCOVER ART AMERICA AT THE PENNSYVLANIA ACADEMY OF THE FINE ARTS
DURING THE HOLIDAYS. / 'A MAGNIFICENT CHRISTMAS TREE STANDS AT THE
TOP OF THE GHAND STAIR HALL AND THE STAIRS THEMSELVES ARE BANKED
WITH RED AND PINK POINSETTIAS. TREAT THE WHOLE FAMILY TO THE
CURRENT EXHIBITION, TREASURES FROM THE PER.M/I~ENT COLLECTION,
A PANORAMA OF AMERICAN ART RANGING FROM THE ORIGNAL PENN'S TREATY
WITH THE INDIANS, GILBERT STUART'S EVER POPULAR, GEORGE VJASHINGTON,
LOVELY WINTERY SCENES IN SEASON, TO ABSTRACT CONTEMPORARY PAINIl'INGS
.A_ND SCULTPURE. THE PENNSYLVANIA ACDAEMY IS OPEN TUESDAY THROUGH
SATURDAY, FROM 10 TILL 5, AND ON SUNDAY FROM 1 TILL 5. AN
ENERGY SAVING ~ND MONEY SAVING OUTING, THE ACADEMY IS LOCATED
JUST TWO BLOCKS NORTH OF CITY HALL ON BROAD STREET AND IS NEAR
ALL PUBLIC TRANSPORTATION AND PARKING. IT COSTS JUST $1 FOR
ADULTS AND 50¢ FOR STUDENTS AND SENIOR CITIZENS. THK:J:~ATI0NAL
HISTORIC LANDMARK AND YOUR OWN LOCAL TREASURE WISHES YOU A
HAPPY HOLIDAY. PHONE: 972-7600.
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA , 19102
215 972-7600
NEWS
January 9, 1981
FOR:
FOR:
IMMEDIATE RELEASE
ALL ART WRITERS AND WRITERS ABOUT PHOTOGRAPHY
PHOTOGRAPHS BY MARK COHEN ARE ON VIEW IN THE MORRIS GALLERY OF THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS STARTING TODAY, JANUARY 9,1981
An exhibition of photographs by artist MARK COHEN opens to the
,
public today, January 9, 1981, in the Morris Gallery of the Pennsylvania
Academy of the Fine Arts.
The exhibition continues through February 22, 1981
The exhibition includes 43 black and white photographs, l6"X20" and
20"X24",.
The subject matter is varied, dealing with all aspects of life.
The artist says: "Each subject at each time has some psychological impact
on my imagination.
My fascination with a particular subject gives me the
stimulus to make a photograph."
MARK COHEN notices with his
camera~s
eye what we all see but do not
observe, and transforms it into art.
The photographs, although of seemingly antithetical subjects, are
iinked through a subtle sensuality and through contrasts of light and dark.
colo~
The use of black and white, rather than
intensifies the mood. One
photograph poses three shiny apples oo' a Sunday Cross-word puzzle, and another
shows a young woman wearing thigh-high sox and shorts.
The three apples
carefully placed in a triangle stand out from the light background, while
the young woman emerges from a dark velvet infinity.
These and other photographs in the exhibition exemplify the spontaneous
reaction between photographer, camera, and object.
In a recent monograph by Michael Sigrin (Camera, July, 1978), Cohen
is called "one of the three most important personalities and talents of
this decade."
Sigrin notes that " ....... in ten years' time we shall find
a new talent that really shoots from the hip, and it was this that came
into my memory as I scrutinized the work of Mark Cohen."
BIOGRAPHICAL
INFORM~TION,
MARK COHEN
Mark Cohen was born in 1943 in Wilkes-Barre, Pennsylvania, where he
lives and maintains his studio today.
He was educated at Penn State
University and at Wilkes College and now teaches part-time at Cooper Union
in New York City.
He received Guggenheim Fellowships in 1971 and 1976 and
a National Endowment for the Arts Fellowship in photography in 1975.
work has been shown at many museums, including a one-man show at the
Museum of Modern Art in New York in 1973.
Castelli Graphics in New York City in 1978.
His
His most recent show was at
Since that time he has been
making pictures for the Morris Gallery exhibition, his first in Philadelphia.
PUBLIC COLLECTIONS
The Museum of Modern Art, New York City
International Museum of Photography at George Eastman House, Rochester
(more)
Cohen Photographs/2
Fogg Art Museum, Cambridge, Mass.
National Gallery of Canada
Arts Council of Great Britain
University of New Mexico Art Museum
Art Institute of Chicago
Seagram Collection, New York City
National GAllery of Victoria, Melbourne, Australia
Emily Lowe Gallery, Hofstra University, New York
Australian National GAllery
University of Massachusetts, Amherst, Mass.
The Minneapolis Institute of Arts
Morris Gallery exhibitions are made possible through grants from
the Pennsylvania Coupcil on the Arts, Provident National Bank, and
Reliance Insurance Company.
Artists are chosen from applications submitted to the curator and
to a rotating committee composed of artists, scholars, curators, and
collectors in the Philadelphia area.
Morris Gallery exhibitions were
established in 1978 to provide a showcase for primarily contemporary
artists who work in and around Philadelphia and the outlying districts.
Members for 1981 are:
Bo Bartlett, artist, PAFA student .
Dr. Milton Brutten, collector
Murray Dessner, artist, PAFA faculty member
Walter Erlebacher, artist
Charles Fahaen, artist
Dr .
Per~Ottenberg,
collector
David Pease, artist
Michael Quigley, Director, Fabric Workshop
Ann Percy, Ass. Curator Drawings, Phila. Museum of Art
Jim Repenning, artist, PAFA student
R~chel
Seymour, collector
Richard J. Boyle, Director, PAFA
Frank Goodyear, Curator, PAFA
Kathy Foster, Assistant Curator, PAFA
Ann Friedman, Coordinator, Morris
Gallery Exhibitions
For more information please call:
Susan Rappaport
Public Information
(215) 972-7642
Photographs available upon request
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
NEWS
TO:
215 972-7600
January 9, 1981
ALL LISTINGS EDITORS AND PHOTOGRAPHERS
A FOOD FOR THOUGHT GALLERY TALK
COHEN
villO:
MARK
WHEN:
TUESDAY, JANUARY 14, 1981
NOON
WHERE:
MORRIS GALLERY
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
SUBJECT:
Ml\RK
ADMISSION:
FREE, WITH MUSEUM ADMISSION OF $1 OR $.50 STUDENTS
AND SENIOR CITIZENS
For more
COHEN'S PHOTOGRAPHS ON EXHIBITION IN THE
MORRIS GALLERY
info~ation:
Please call Susan Rappaport (215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
NEWS
January 9, 1981
FOR:
FOR:
IMMEDIATE RELEASE
ALL ART WRITERS AND WRITERS ABOUT PHOTOGRAPHY
PHOTOGRA_PHS BY MARK COHEN ARE ON VIEW IN THE MORRIS GALLERY OF THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS STARTING TODAY, JANUARY 9,1981
An exhibition of photographs by art i st MARK COHEN opens to the
public today, January 9, 1981, in the Morris Gallery of the Pennsylvania
Academy of the Fine Arts. The exhibition continues through February 22, 19 81
The exhibition includes 43 black and white photographs, l6"X20" and
20"X24". The subject matter is varied, de aling with all aspects of life .
':':'he artist says: "Each subject at each time has some psychological impact
on my imagination. My fascination with a particular subject gives me the
stimulus to make a photograph."
MARK COHEN notices with his camera's eye what we all see but do not
observe, and transforms it into art.
The photographs , although of seemingly antithetical subjects, are
linked through a subtle sensuality and through contrast s of light and dark.
The use of black and white, rather than colo~ intensifies the mood. One
photograph poses three shiny apples rna Sunday Cross - word puzzle, and another
shows a young woman wearing thigh-high sox and shorts. The three apples
carefully placed in a triangle stand out from the light background, whi le
the young woman emerges from a dark velvet infinity .
These and other photographs in the exhibition exemplify the spontaneou s
reaction between photographer, camera, and object .
In a recent monograph by Michael Sigrin (Camera, July, 1978), Cohen
is called "one of the three most important personalities and talents of
this decade." Sigrin notes that " ....... in ten years' time we shall find
a new talent that really shoots from the hip, and it was this that came
into my memory as I scrutinized the work of Mark Cohen."
BIOGRAPHICAL INFORM~TION, MARK COHEN
Mark Cohen was born in 1943 in Wilkes-Barre, Pennsylvania, where he
lives and maintains his studio today. He was educated at Penn State
University and. at Wilkes College and now teaches part-time at Cooper Union
in New York City. He received Guggenheim Fellowships in 1971 and 1976 and
a National Endowment for the Arts Fellowship in photography in 1975. His
work has been shown at many museums, including a one-man show at the
Museum of Modern Art in New York in 1973. His most recent show was at
Castelli Graphics in New York City in 1978. Since that time he has been
I
making pictures for the Morris Gallery exhibition, his first in Philadelphia .
PUBLIC COLLECTIONS
The Museum of Modern Art, New York City
International Museum of Photography at George Eastman House, Rochester
(more)
Cohen Photographs/2
Fogg Art Museum, Cambridge, Mass.
National Gallery of Canada
Arts Council of Great Britain
University of New Mexico Art Museum
Art Institute of Chicago
Seagram Collection, New York City
National GAllery of Victoria, Melbourne, Australia
Emily Lowe Gallery, Hofstra University, New York
Australian National GAllery
University of Massachusetts, Amherst, Mass.
The Minneapolis Institute of Arts
Morris Gallery exhibitions are made possible through grants from
the Pennsylvania Council on the Arts, Provident National Bank, and
Reliance Insurance Company.
Artists are chosen from applications submitted to the curator and
to a rotating committee composed of artists, scholars, curators, and
collectors in the Philadelphia area. Morris Gallery exhibitions were
established in 1978 to provide a showcase for primarily contemporary
artists who work in and around Philadelphia and the outlying districts.
Members for 1981 are:
Bo Bartlett, artist, PAFA student
Dr. Milton Brutten, collector
Murray Dessner, artist, PAFA faculty member
Walter Erlebacher, artist
Charles Fahlen, artist
Dr. Per~Ottenberg, collector
David Pease, artist
Michael Quigley, Director, Fabric Workshop
Ann Percy, Ass. Curator Drawings, Phila. Museum of Art
Jim Repenning, artist, PAFA student
Rachel Seymour, collector
Richard J. Boyle, Director, PAFA
Frank Goodyear, Curator, PAFA
Kathy Foster, Assistant Curator, PAFA
Ann Friedman, Coordinator, Morris Gallery Exhibitions
For more information please call:
Photographs available upon request
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
215 972-7600
PHILADELPHIA , PA . 19102
NEWS
January 27, 1981
FOR IMMEDIATE RELEASE
PHILIP COREY AND ANNE MINICH TO OPEN AT THE PEALE HOUSE GALLERIES
Opening February 6 and continuing through February 27,1981
at the Peale House Galleries is an exhibition by Philip Corey and
Anne Minich.
PHILIP COREY is a local artist who graduated from the Philadelphia College of Art in 1965.
instructor at the new
Hi~h
He is currently a painting and drawing
School for Creative and Performing Arts.
Corey's works have been exhibited regularly since 1968.
A self-
taught painter, his technique combines photo-realism and academicrealism.
In creating his 6x5° oils he works from both photographs
and live models(Corey uses only people he knows, feeling that he
cannot properly portray a stranger); he underpaints the canvas and
later glazes it, a technique borrowed from Carravagio, much admired
by the artist.
Corey feels quite strongly that his works must be
seen rather than discussed.
He considers his art to be a personal,
visual experience.
Concurrently in the West Gallery ANNE MINICH will be showing
20 of her works.
A student at the Pennsylvania Academy of the Fine
Arts from 1953-1954 she also studied at the University of Miami
from 1969-1971.
Previous exhibitions have been in Florida and more
recently in New York including the OIA/CETA Bronx Museum and a oneperson show at the Neal Pearson Gallery last year.
The pieces on
view will be either graphite works or multi-media, using combinations of gesso, wood, colored pencil, watercolor, graphite and ink.
A reception in honor of the opening will be held February 6
from 5-7 pm.
The public is cordially invited to attendo
Galleries, the student-oriented galleFY of the
Peale House
Pennsylva~ ia
Academy -
of the Fine Arts is located at 1811 Chestnut St, Philao
Admission is free.
Hours are Sunday 1 -5, Tuesday-Saturday 10-5
release written by Eve Guth
I.
Contact:
Susan Rappaport .
Public Information
(215) ' 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215972·7600
Founded 1805
January 29, 1981
Dear Public Service Director:
Enclosed is a Public Service Announcement and a release about
the new Pennsylvania Academy of the Fine Arts exhibition, "Benjamin
West and His American Students."
Although you are not located in Philadelphia, I thought that you
might be interested in announcing this exhibition.
The Pennsylvania
Academy is a National Historic Landmark as well as a a local treasure,
and American art and history buffs, plus school children, may well be
interested in a trip to Philadelphia to see this beautiful American
Heritage treat.
You should have received the announcement three weeks ago , but due
to a mysterious breakdown in cOTImunications, the PSA, written before
Christmas, was apparently never sent .
In spite of this zero-hour
communication, I hope that you will still be able to run the announcement,
and that we can welcome your listeners and viewers to the Pennsylvania
Academy of the Fine Arts.
Sincerely,
kQ/M/
KAffa~t-
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972 - 7600
NEWS
A PUBLIC SERVICE ANNOUNCEMENT
CONTACT:
SUSAN RAPPPAPORT
PUBLIC INFO~ATION
(215) 972-7642
FOR FELEASE: FRIDAY, JANUARY 30, 1981 THROUGH
SUNDAY, APRIL 19, 1981
-60 Seconds"BENJAMIN 1.JEST AND HIS AMERICAN STUDENTS," THE FIRST MAJOR 1981
EXHIBITION AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS IN PHILADELPHIA
IS ON VIEW THROUGH APRIL 19TH. THIS IS THE FIRST EXHIBITION EVER
PRESENTED THAT SHOHS THE REMARKABLE INFLUENCE "THE FATHER OF AMERICAN
PAINTING" HAD ON SO M..A..NY OF .A..MERICA' S GREATEST ARTISTS. STEP BACK IN
TIME AND SEE FOR YOURSELF PORTRAITS BY GILBERT STUART, HISTORY PAINTINGS
BY INVENTORS SAMUEL F. B. HORSE, AND ROBERT FULTON, AND MONID1ENTAL
BIBLICAL AND HISTORICAL PAINTINGS LIKE THE ORIGINAL "PENN'S TREATY HITH
THE INDIA..NS" BY BENJAMIN I-JEST HIMSELF. WEST'S GREAT HISTORY PAINTING
"THE DEATH OF GENERAL WOLFE ','" .(,JEICH CAUGHT THE EYE OF KING GEORGE III SO
MANY YEARS AGO, IS ON LOA..N FROM HER MAJESTY QUEEN ELIZABETH II. THIS
EXHIBITION OF AMERICAN HERITAGE WORKS, AND ITS LUSH SETTING AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS, WHERE PAINTING IN AMERICA BEGAN,
IS UNPARALLELED. DISCOVER ART AMERICA AT THE PENNSYLVANIA ACADEMY OF
THE FINE ARTS, OLDEST ART SCHOOL AND MUSEUM IN THE COUNTRY, LOCATED AT
BROAD AND CHERRY STREETS IN PHILADELPHIA, JUST NORTH OF CITY HALL. OPEN
EVERY TUESDAY THROUGH SATURDAY FROM 10 UNTIL FIVE, A..T\JD ON SUNDAYS FROM
ONE UNTIL FIVE. TOURS GIVEN DAILY AT 11 AND 2, AND ON WEEKENDS AT 2.
FOR MORE INFOF~ATION PLEASE CALL (215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
February 10, 1981
FOR:
IMMEDIATE RELEASE
,
ARTIST BILGE FRIEDLAENDER TO EXHIBIT vJORKS AT THE MORRIS GALLERY OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS IN PHILADELPHIA
The Morris Gallery of the Pennsylvania Academy of the Fine Arts
concentrates on contemporary artists with a "Philad~lphia Connection."
An exhibition of varied media by artistBILGf FRIEDLAENDER, who teaches
at Tyler School of Fine Arts, opens to the public Friday, March 6th.
All members of the press are invited to the Preview Reception on Thursday,
March 5th, from 5 - 7 p.m.
Delicate pastel drawings, unique hand-made books, and small sculptures
of chairs and other objects will be included in the exhibition.
The genesis for much of Friedlaender's work is her use of natural
materials. Shells, twigs, feathers, and beeswax create abstract works
of personal vision, yet evocative of primitive cultures and the · universal.
Small chairs (4"x4"x5") made of bees"7ax, string, wire illustrate
painterly qualities of the material, texture, and transluscence. Two
other chairs are of porcelain, and one is of balsa wood. The chairs,
inspired by an exhibition of Degas bronzes, serve as metaphors: people,
trees, bark, dwellings. They represent different cultures from the most
primitive to formalistic. They are smal~ meticulous works of animation.
Books represent to Friedlaender all the ideas of her work. They
have become the catalyst of her expression. "Hy words are evocative of the
universe. My images are distilled from my interactiQn with nature. I
develop ideas serially and over a long period of time. I have a very
strong feeling for natural materials and respect for their intrinsic
qualities, which is why I work with such a large variety of materials."
"I see my work as visual poetic language that deals with universal
ideas. To be connected to the past, cross-culturally, distills our
own relatedness to the world so art that embodies this idea will be the
art of our time."
In tandem with the Morris Gallery exhibition, Friedlaender is publishing a multiple (edition, 300) book entitled, "~lords, Images, Obj ects. "
]: will be a 5"x8" box with a clear top, printed with words . It "Jill
contain printed photographic images accompanied by photographs and writing,
some orieinal objects such as raw garnets, a little book of Japanese paper,
a twig, some Benjamin Franklin type. The first edition will be available
for purchase at the Academy's Museum Shop.
Friedlaender works with various media simultaneously. Many different
ideas overlap thematically
and influence different ~vorks. She
enjoys investigation of materials and revels in the play of line, edge,
form and texture.
(more)
"
BILGE FRIEDLAENDER/2
Biographical Information, Bilg~ Friedlaender
Bilge Friedlaender was born in Istanbul, Turkey. She received
a Diploma from the Academy of Fine Arts, Istanbul, and a B.A. from
\
Robert College in Istanbul. She came to New York in 1958 and received
an M.A. from New York University. She then studied at the Provincetown
Summer Workshop and the Radcliffe Institute. She made her home in
Cambridge, Mass. until 1977 when she moved to Philadelphia. She was
Visiting Artist at Moore College of Art (1977-1978) and has been teaching
at Tyler School of Art, Temple University since 1979.
Public Collections
Newark Museum, Newark, New Jersey
University GAllery, University of Massachusetts, Amherst, Mass.
Smith College Museum, Northampton, Mass.
The Houghton Library, Harvard University, Cambridge, Mass.
Chase Manhattan Bank, New York
Franklin Furnace, New York
Visual Studies Workshop, Rochester, N. Y.
Private Collections
New York, Philadelphia, Boston, Chicago, Padua, Italy; Munich, Toronto,
Tokyo
Exhibitions
Solo
"Paintings, Drawings, Books," Kornblee Gallery, Nev! York
"Drawings and Books," Impressions Gallery, Boston
"Drawings," Truman Gallery, New York
"Paintings and Drawings", University of }~ass., Amherst
"Paintings," Kornblee Gallery, New York
"Drawings," Parsons-Truman, New York
"Paintings and Drawings," Artists Cooperative, Cambridge
1980
1977
1976
1972
Group
Friedlaender has been included in many group exhibitions in
Boston, Washington, D.C., Munich, Penn State; she was included in
the exhibition "Points" at the Philadelphia College of Art Gallery
in 1978 and in two exhibitions in 1977 at Moore College of Art
Her Morris Gallery exhibition is her first solo exhibition in
Philadelphia.
The Morris Gallery is open from Tues-Sat 10 - 5 and on Sun from 1 -5
,
BILGE FRIEDLAENDER WILL GIVE A "FOOD FOR THOUGHT" GALLERY TALK AT NOON
ON WEDNESDAY, APRIL 15TH. THIS TALK IS OPEN TO THE PUBLIC WITH t1USEUM
ADMISSION OF $1 OR $.50 FOR STUDENTS AND SENIOR CITIZENS.
Contact:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
For:
PHILADELPHIA, PA. 191 02
215 972- 760 0
February 23, 1981
Immediate Release
CHARLES E. MATHER, III, ELECTED PRESIDENT AND CHAIRJvf.AN OF THE BOARD
OF TRUSTEES OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
The Board of Trustees of the Pennsylvania Academy of the Fine
Arts in Philadelphia has elected Charles E. Mather, III ("Peter")
President and Chairman of the Board of the oldest art school and museum
in the country .
Mather succeeds Henry S. McNeil who completed a four year term in
January, 1981.
The first act of the Board under the new President was to pass a
-· resolution honoring Henery S. McNeil for his leadership and "his dedicated and selfless efforts in the Academy.'s behalf."
Charles E. Mather, III is the President of Mather and Co., Insurance
Brokers and Average Adjusters, Mather LTD., and Mather (Bermuda) Limited.
He serves on the board of the Central PennBank and is a prominent civic
leader v.7ho also serves on many cultural boards in the city. These include:
The Samuel S. Fleisher Art Memorial, The Fairmount Park Art Association, The
Penn Club, The Historical Society of Pennsylvania. He is a past President
of the Print Club. With his wife, Mary MacGregor Mather, he was Co-Chairman
of the Friends of the Philadelphia Museum of Art. He also serves on the
boards of Young Audiences, Inc., and has been recently elected to the Board
of the Opera Co. of Philadelphia. He is also President of the National
Museum of Racing.
A graduate of Harvard University, 1956, and the Law School of the University of Pennsylvania, 1959, Mather practiced law before joining the family
firm o ~ Mather & Co.
A collatoral descendent of artist Ralph Earl (a student in London of
Benjamin West, the Academy's first honorary member), Peter Mather may have
an unconscious artistic bent.
His interest in art began when he was a student at Chestnut Hill
Academy and his teacher entered three works in the Print Club Student
Shows. Mather explains, "Since none of my works sold, I became a lay-artist,
(more)
2,
or appreciator, and have been one ever since."
No strang~ to the Academy, Peter Mather has served on the Board
of Trustees for nine years, Chairman of its Collections and Exhibitions
Committees for four years, and Vice-Chairman of the Academy for four years.
He says that the Academy has been his consuming interest for over
a decade.
Mary Mather has been a member of the Women's Committee since the
early 70's.
"I am delighted to accept this position because I have had a strong
feeling about the Academy from the days when I went to Academy Annual
Exhibitions during law school.
I was able to make several purchases, and
I have had a real affection for the institution since that time."
Mather says that he is looking forward to the challenge of the next
few years at the Academy, and in particular the exhibitions program through
1984.
"There will be two exhibitions from our own collections, the Academy
Sculpture Collection, completely restored, and an exhibition of our Print
and Drawings Collections. And, of course , Fall, 1981 will bring Curator
Frank H. Goodyear's comprehensive exhibition, Contemporary American Realism
Since 1960.
This will be one of the first ' major exhibitions on the subject
anywhere in the country.
I am very happy to be the Chairman of the Board
and President during these exciting times."
Charles E. Mather, III and Mary HacGregor Hather, a graduate and Trustee
of Radcliffe, live in an authentic Victorian country house, circa 1850.
They have two children, Charles E. Mather, IV, a student at Brown University,
and Dorothea Mather, a senior at Springside School.
Photograph available
Contact:
Susan Rappaport
Public
Info~ation
(215) 972-7642
175th ANNIVERSARY
1805-1980
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PH I LADELPH lA, PA . 19102
215 972-7600
NEWS
February 23, 1981
For:
Immediate Release:
NEW TRUSTEES ELECTED AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
The Board of Trustees of the Pennsylvania Academy of the Fine Arts
elected Charles E. Mather, III President and Chairman of the Board of
Trustees, Samuel M.V. Hamilton, Vice-Chairman, and re-elected Charles
Kenkelen Treasurer.
Samuel Hamilton returns to the board after a period of absence, in
accordance with Academy Board policy of rotation of board members.
Seven additional trustees were elected; two bring new talents,
James Biddle, former Director of the National Historic Trust, now a VicePresident at Sotheby Park Bernet in New York, and Robert G. Williams,
a Vice-President of the Girard Bank.
The other five are welcomed
back to the board as "old friends." They are Daniel W. Dietrich, II,
Bertram L. O'Neill , Grahame Wood, Henry S. McNeil, and John Gribbel, II,
who preceeded Henry McNeil as President . It was during Gribbel's term
that the Academy was retored to its original Victorian splendor and was
designated a National Historic Landmark.
Contact:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE
FINE ARTS
,
BROAD AND CHERRY STREETS
215 972-7600
PHILADELPHIA , PA. 19102
NEWS
February 27, 1981
ADVANCE RELEASE
EXHIBITION OF CONTEMPORARY AMERICAN REALISM SINCE -; 1960
TO OPEN AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
IN PHILADELPHIA, SEPTEMBER 19, 1981
A major exhibition, Contemporary American Realism Since 1960
will open to the public at the Pennsylvania Academy of the Fine Arts
in Philadelphia on Friday, September 19, 1981, and continue through
December 13, 1981 .
The exhibition will travel to the Virginia Museum of Fine Arts,
Richmond (February 1 - March 28, 1982), the Oakland Museum, California,
(Hay 6 - July 25, 1982), and to Germany and Holland (September 1982March 1983) ..
The exhibition will travel in Europe under the auspices
of the United States International Communications Agency.
Frank H. Goodyear, Jr., Curator of the Pennsylvania Academy of
the Fine Arts is the curator for Contemporary American Realism Since 1960.
Goodyear says that the exhibition will be one of the first comprehensive
looks at contemporary realism anywhere in the country ;
he states:
"Many of America's most important artists work in a realist style.
During the past 20 years the contemporary expression of realism has come of
age . There are distinct discernable attitudes among realist artists of
today.
Contemporary realism is neither a denial of past realist traditions
nor a rej ection of the tenets of modernism.
artists are
.free _- to ~
Contemporary realist
:: ~ :!.,::::...:.:
'.
negotiate with the past and present to meet
their own needs."
The exhibition will include approximately 150 works of art by 105
American artists (see attached list).
New major works will be " shown like Myself Painting
Gregory Gillespie;
Diana TV, William Beckman;
Prospect, Rackstraw Downes;
Chuck Close;
George Segal;
My Self . Portrait,
Behind the Store at
Untitled Still Life, Bill Bailey;
Nude on a Red Table, Sidney Goodman;
Twilight, Alex Katz;
Mark,
The Butcher Shop,
C III, Don Eddy;
and World War II,
Audrey Flack .
A book by Frank H. Goodyear, Jr., Contemporary American Realism
(New York Graphic Society, Boston) will be published in hard and soft-cover,
containing 320 pages, 60 color plates, and 175 black and white illustrations.
An exhibition poster and a brochure with introduction to the exhibition, . "
a check-list, and schedule of special events will be published by the
'
Pennsylvania Academy of the Fine Arts.
Funding for the exhibition Contemporary American Realism Since 1960
has been made possible by generous grants from the Pew Memorial Trust,
the National Endowment for the Arts, and Best Product Foundation . .
Photographs and transparencies
a vail a ble
Contact:
Susan Rap2aport
Public Information
(2] 5) 972- 76 47
THE FOLLOWING ARTISTS WILL BE INCLUDED IN THE EXHIBITION
CONTEMPORARY AMERICAN REALISM SINCE 1960 :
WILLIAM ALLAN
LENNART ANDERSON
MILERT ANDREJEVIC
JOHN BAEDER
WILLIAM BAILEY
JACK BEAL
ROBERT BECHTLE
WILLIAM BECKMAN
TOM BLACKWELL
NELL BALINE
NICKOLAS BOISVERT
DOUGLAS BOND
CAROLYN BRADY
VIJA CELMINS
HILO CHEN
HARVEY CITRON
JOHN CLEM CLARKE
CHUCK CLOSE
DAVIS CONE
ROBERT COTTINGHAM
REBECCA DAVENPORT
JOHN DEANDREA
GEORGE DEEM
RACKSTRAW DOvJNES
DON EDDY
MARTHA MAYER ERLEBACHER
WALTER ERLEBACHER
RICHARD ESTES
JANET FISH
AUDREY FLACK
SONDRA FRECKLETON
JANE FREILICHER
PAUL GEORGES
GREGORY GILLESPIE
RALPH GOINGS
SIDNEY GOODMAN
JOHN GORDON
ROBERT GRAHAM r - HAROLD GREGOR
THEOPHIL GROELL
RI CHARD HAAS
D. J. HALL
DUANE HANSON
BARKLEY HENDRICKS
JOHN STUART INGLE
KEITH JACOBSHAGEN
MICHAEL WEBB
JOHN KACERE
NEIL WELLIVER
BEN KAMIHlRA
PAUL WIESENFELD
SETSKO KARASUDA
PAUL WONNER
ALEX KATZ
ANDREW WYETH
RON KLEEMANN
JAMIE WYETH
ROBERT KULICKE
THEO WUJCIK
GABRIEL LADERMAN
FUMIO YOSHIMURA
EUGENE LEAKE
ALFRED LESLIE
MARILYN LEVINE
NOEL MAHAFFEY
SYLVIA MANGOLD
LOUISA MATTIASDOTTIR
MI CHAEL MAZUR
ISABEL MCILVAIN
RICHARD MCLEAN
JACK MENDENHALL
WILLARD MIDGETTE
RICHARD MCDERMOTT MILLER
JOHN MOORE
CATHERINE MURPHY
NAOTO NAKAGAWA
ALIC NEEL
EDITH NEFF
JUD NELSON
DON NICE
WILLIAM NICHOLS
GEORGE NICK
ELIZABETH OSBORNE
JERRY OTT
TOM PALMORE
DAVID PARRISH
PHILIP PEARLSTEIN
GILLIAN PEDERSON-KRAG
FAIRFIELD POETER
STEPHEN POSEN
JOSEPH RAFFAEL
BILL RICHARDS PAUL SARKISIAN
JOHN SALT
BEN SCHONZEIT
GEORGE SEGAL
SUSAN SHATTER
WAYNE THIEBAUD
SIDNEY TILLIM
JAMES TORLAKSON
JAMES VALERIO
IDELLE WEBER
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
ADVANCE FACT SHEET
Exhibition Title:
Dates:
CONTEMPORARY AMERICAN REALISM SINCE 1960
September 19 - December 13, 1981
Pennsylvania Academy of the
Fine Arts
February 1 - March 28, 1982
Virginia Museum of Fine Arts
May 6 ~ July 25, 1982
Oakland Museum, California
September 1982 - March 1983
Germany and Holland
Description:
The exhibtion Contemporary American Realism Since 1960
will include 150 paintings, sculpture, watercolors, pastels, and
drawings by 105 American artists. The works selected for exhibition
represent the many diverse ways in which realist artists observe
contemporary life. Contemporary works of art in a realist style are
still regarded by many as expressions of conservative, even
anachronistic taste. In reality, contemporary realists have given
new meaning to the long-standing traditions of realism. Contemporary
realists have enlarged the traditions of realism and the possibilities
of painting realistically. These possibilities which have come in
part by modern painting~ have allowed realism to emerge from the
"corner" into which it had painted itself.
Organizer: Pennsylvania Academy of the Fine Arts
Curator: Frank H. Goodyear, Jr. Pennsylvania Academy of the Fine Arts
Sponsors: Best Products Foundation, National Endowment for the Arts,
Pew Memorial Trust
Book:
Contemporary American Realism, (New York Graphic Society,
Boston), Frank H. Goodyear, Jr. 320 pages, color plates: 60,
black and white illustrations: 175. A scholarly book
dealing with historical background of realistic painting
and sculpture in America, with discussion of the figure,
narrative, still-life, and the new landscape tradition.
Brochure: An explanatory brochure, Contemporary American Realism
Since 1960, will be published by the Pennsylvania Academy
of the Fine Arts with introduction to the exhibition, color
plates, and complete ch~ -list.
Exhibition Poster: will be published by the Pennsylvania Academy
Design,;
The firm of Venuri and Rauch will work with the Academy on
the design of ~ exhibition.
Symposium: An all day Symposium on Contemporary American Realism will
be held at the Pennsylvania Academy Saturday, October 17.
Several artists included in the exhibition and art critics
will participate. The s~pos o/b will be taped for possible
publication.
Lectures: Lecture Series
Visits:
Artists Day in the Academy School: Artists will visit studios
New Book: Book Signing and reception for Frank H. Goodyear, Jr.
For further information, please contact Susan Rappaport, :('2J.1 S} 97'2.-7&42
PENNSYLVANIA ACADEMY OF THE FINE ARTS
"
BROAD AND CHERRY STREETS
'
PHILADELPHIA, PA . 191'02
NEWS
215 972-/600
,',
March 24, 1981
-0 "
FOR IMMEDIATE RELEASE
SPECIAL EVENT:
\i \
... .
...
PENNSYLVANIA ACADEMY "OPEN
".
HOUSE"
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS' SCHOOL HOSTS ITS
THIRD "OPEN HOUSE DAY" ON FRIDAY, APRIL 3, 1981 FROM 1:0 A.M. -5 P.M.
THE ACADEMY MUSEUM AND SCHOOL vlILL BE O"PEN THIS ONE SPECIAL DAY
FREE TO THE PUBLIC A..ND ALL ART-LOVERS FOR:
TOURS:
ALUMNI GUIDES WHO KNOW THE PLACE AND ITS SECRETS BETTER
TH£~ ANYONE ELSE WILL GIVE CONTINUOUS TOURS OF THR OLDEST
ART SCHOOL IN THE COUNTRY.
{NI 111111 111111 1111 # 1NNI1I
. DOCENTS WILL GIVE TOURS OF THE CURRENT EXHIBITION,
" "BENJAMIN 1.JEST AND HIS AMERICAN STUDENTS" AND OF THE ' NATIONAL
L&~DM1LRK BUILDING AT 11 AM AND AT 2 PM
CLASSES: CLASSES WILL BE OPEN TO THE PUBLIC ALL DAY. A SUPERB CHANCE
TO OBSERVE A REGULAR CLASS DAY AND TO TALK WITH ARTISTS
STUDIOS: ARTISTS' STUDIOS WILL BE OPEN FOR VISITS
MUSEQ,M SHOP: OPEN FROM
, LUNCH:
TALKS:
10 - 5
A CASH LUNCH IS POSSIBLE BY
HOUSE, 972-7632
MAKI~G
RESERVATIONS AT THE PEALE
INFORMAL TALKS BY ARTISTS TOM DA..~ AND PAUL KANE, WHOSE WORKS
WILL BE ON VIEW AT THE PEALE HOUSE
MORRIS GALLERY: WORKS BY ARTIST BILGE FRIEDLAENDER ON VIEW
VISTS TO BOTH FACILITIES, BROAD AND CHERRY STREETS, AND 1811
CHESTNUT STREET MADE POSSIBLE BY FAIP~OUNTPARK TROLLEYS.
.'
For more information please call Susan Rappaport, Public Information
(215) 972~7642 '
PENNSYLVANIA ACADEMY OF THE FINE ARTS
,
BROAD AND CHERRY STREETS
NEWS
,
PHI LADELPH IA, PA·, 19102
2159n-}600
March 30, 1981
FOR IMMEDIATE RELEASE:
~.~ ' "
:."
THE PENNSYLVANIA ACADEMY ,OF THE FINE ARTS WELCOMES CITY WORKERS
DURING "CITY WEEK" March 31 - AprilS ,- 1981
, THE PENNSYLVANIA ACADEMY OF THE FINE ARTS HAS INVITED ALL EMPLOYEES
OF THE CITY OF PHILADELPHIA TO BE ITS GUEST AT THE ACADEMY THIS WEEK,
TUESDAY, MARCH 31 THROUGH SUNDAY APRIL 5th. THE INVITATION WAS
ANNOUNCED BY ACADEMY DIRECTOR DICK BOYLE WHO HAS SAID THAT THIS IS IN
ACCORDANCE WITH THE "GOOD NEIGHBOR" POLICY.
'
AMONG THE FIRST VISITORS WILL BE MAYOR WILLIAM J. GREEN, CITY
REPRESENTATIVE, RICHARD DORAN AND MARY HANLEY, NEW DiRECTOR OF
CEREMONIAL AND SPECIAL EVENTS IN THE OFFICE OF THE CITY REPRESENTATIVE.
DURING "CITY WEEK" ALL CITY EMPLOYEES WILL BE ADMITTED FREE TO
THE OLDEST MUSEUM AND SCHOOL IN THE COUNTRY. THE INVITATION ALSO
INCLUDES FAMILY AND F'RIENDS.
ON VIEW DURING THIS WEEK vHLL BE THE EXHIBITIONS, "BENJAMIN
AND HIS AM)B{lCAN STUDENTS", CONTEMPORARY WORKS BY ARTIST FROM
ISTANBUL, BILGE FRIEDLAENDER, AND TREASURES FROM THE PERMANENT COLLECTION.
\~ES T
TOURS ARE GIVEN DAILY AT 11 AND 2, AND ON SUNDAYS AT 2. A
CONTINUOUS SLIDE SHOW DESCRIBING THE BENJAMIN WEST EXHIBITION WILL ALSO
BE OPEN TO THE SPECIAL VISITORS. INFORMAL GALLERY TALKS ARE GIVEN AT
NOON ON WEDNESDAYS.
"CITY \-lEEK" IS AVAILABLE TO ALL WHO SHOW ID OR INVITATION AT THE
DOOR.
FOR MORE INFORMATION
PLEASE CONTACT
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AN D CHE RRY STREETS
NEW. S'. .'~~. -,,;;:~"
'
.:'
~~
...
,
..' .
PHI LADELPHIA, PA. 19102
March 30, 1981
.........
.,.:
.
TO: 'ALLLISTINGS "EDITbRS
,:"
...;. '
..
. A FOOD FOR THOUGHT GALLERY TALK
WHO:
BILGE"" FRIEDLAENDER
WHEN:
WEDNESDAY, APRIL15, 1981
WHERE: .
MORRIS GALLERY
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
SUBJECT:
BILGE"" FRIEDLAENDER'S UNIQUE BOOKS, PASTELS,
AND SMALL SCULPTURES OF DOMESTIC OBJECTS ON
EXHIBITION IN THE MORRIS GALLERY
ADMISSION:
FREE, WITH MUSEUM ADMISSION "O:F ,)$1 OR $.50
STUDENTS AND SENIOR CITIZENS
For more information: please call Susan Rappaport(2IS) 972-7642
.
.'
. .:
~
~ ',
~.
.-
~
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215 97? -]600
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND 'CHERRY STRE ~TS
PHILADELPHIA , PA . 19102
215 972 -7600
NEWS
April 23, 1981
FOR IMMEDIATE RELEASE:
PENNSYLVANIA ACADEMY OF THE FINE ARTS PURCHASES OLIVER BAIR BUILDING
The Pennsylvania Academy of the Fine Arts has completed negotiations
for purchase of the Oliver Bair building at 1820 Chestnut Street, across
from its present facilities at 1811 Chestnut Street, it was announced today
by Academy Director, Richard J. ' Boyle.
The Bair building will replace the
Peale House.
The property has been acquired in order to improve its studio facilities,
gallery space,
scho~l
and administrative offices and the Peale Club.
Negotiations for the sale were handled exclusively by the Binswanger
Company.
The Oliver Bair Co., which was established at the Chestnut Street
location in 1907 will remain in center city Philadelphia.
Charles E. Mather, III, President of the Pennsylvania Academy says:
"The Academy needs improved studio facilities and was about to embark on
a $1,500,000 renovation of its present Peale House and Club.
The fact that
the changes to be made at the Bair building will be only cosmetic and not
structural, make the new quarters economically more feasible for the Academy."
Funds realized from the sale of Peale House and Club will be used
for the purchase of the new property.
The Oliver Bair building is not now on the historic register, but plans
are being made for the Clio Group, architectural historians, to undertake a
historical study of the building, which will in all probability, result in
a certified historic building.
It is a five story structure that fills a plot
Chestnut Street through to Sansom, and 50'2" wide.
230'9~"
deep from
It was designed by
John Torrey Windrim, an architect who practiced with his father, James H.
Windrim, in a firm founded in the l860s.
James Windrim was a graduate of
Girard College and the architect for it for 25 years.
h e designed many
major downtown buildings including the Masonic Temple, the Lafayette
(more)
PAFA purchase/2
building, major renovations for the First Bank of the United States,
the Bell Telephone building at 12th Street, and the Commonwealth Trust at
12th and Chestnut.
John Torrey Windrim joined the firm in 1900 and
desgined the Bair building in 1907.
He also completed extensive alterations
on the building in 1928.
The Georgian Revival facade is of cut stone.
Above the first floor
it seems to be made of painted pressed metal known as "Twenties tin work,"
although this has not yet been substantiated.
Sansom Street is a simple brick facade.
The carriage entrance on
The Academy plans to maintain the
architectural integrity of both facades and of the interior.
The architectural firm of Dagit and Saylor has been retained for
renovation and restoration of the building. \,.]ell known in that field,
Dagit~'rSaylor
has also worked with museums and other cultural facilities.
The new Peale House will be the sixth center-city property owned by
the Pennsylvania Academy of the Fine Arts.
The first two buildings, which
housed America's first school and museum (1805-1876), both demolished, were
at 10th and Chestnut Streets, at that time the center of the city.
The third
and present main building was designed by architect Frank Furness and built at
Broad and Cherry Streets in time for the Centennial.
It was this building
that was restored in 1976 for the sum of $5,000,000, and designated a
National Historic Landmark.
It houses more than 3500 works of art spanning
three centuries of American paintings, drawings, and sculpture, plus an art
academy with almost 500 students who study from live models and draw from
casts in a program directed by 36 instructors.
Peale House and Club were acquired in 1965 to meet the needs of a
rapidly growing school and more active membership.
It has provided necessary
studios for advanced students and faculty, a place for members to gather, and
gallery space on Chestnut Street.
The Academy recently bought the small
building adjacent to the Peale House for use as a sculpture workshop.
Charles E. Mather, III commented:
"Henry S. McNeil, retired President
of the Academy, and Frank G. Binswanger, Chairman of the Board of the
Binswanger Company were instrumental in bringing the plan for purchase of
the new
faci~ity
to the attention of the Board o£Trustees, and the Academy
is delighted to have the opportunity for improved facilities on Chestnut
Street in downtown Philadelphia."
-30-
Contact:
Susan Rappaport
Public Information 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND ·tHERRY STRE ~ TS
NEWS
PHILADELPHIA , PA. 19102
215 972 - 7600
April 23, 1981
FOR RELEASE TO: ARTS WRITERS, FEATURE WRITERS, LISTINGS EDITORS
PHILADELPHIA
WELCOMES
"THE BOSTON TRADITION"
The Pennsylvania Academy of the Fine Arts welcomes "THE BOSTON
TRADITION:
ANERICAN PAINTINGS FRON THE NUSEUM OF FINE ARTS, BOSTON"
from Friday, June 26 through Sunday, August 16, 1981.
Seventy-eight masterpieces by some of America's greatest artists
who lived and worked in and around Boston, or whose works were collected
by its citizens will be on view.
The richness of Boston's cultural heritage is evident in the great
variety of works in the exhibition.
All genres of American painting will
be represented, ranging from portraits of Mr. William Dudly and Mrs. William
Dudley (1729) to Frank Benson's The Silver Screen (1921).
Portraits, for which the Boston tradition in American painting is noted,
will include John Singleton Copley's Nrs. Samuel Quincy (ca. 1761), John
Hancock (1756), The Copley Family (1780s), Gilbert Stuart's Bishop Jean-Louis
Lefebvre de Chebrus (1823), Frank Dubeneck's The Old Professor (1871), and
John Singer Sargent's
Hrs. Fiske Warren and Her Daughter, Rachel (1903).
Romanticism is represented by America's first romantic painter,
Washington Allston, with Noonlit . Landscape (1819).
Landscapes and Seascapes will include works by Winslow Homer, Fog
Warning (1885), Boys in a Pasture (1874);
and Beacon Hill (1890);
Childe Hassam, Charles River
Thomas Doughty, New Hampshire Lake (1832), and
George Inness, Lake Nemi (1872).
The Fortune Teller (1852) and Mrs. Robert C. Winthrop, Jr.
(1861) by
William Morris Hunt exemplify the interest and influence of French painting
on artists in Boston.
American Impressionism also played a major role in the work of Boston
artists like Childe Hassam.
Edward Tarbell's Reverie (1913) and Maurice
Prendergast's Race Track (1900) reveal the long-standing interest in French
art and its appreciation of color and the development of Impressionism in
America.
(more)
Bost on/2.
Among other artists
r~pres~nted
in the exhibition are Mather Brown,
."
Joseph Cole, George Fuller, Lillian Westcott Hale, John Lafarge, Fitzhugh
Lane, and Elihu
'~edder.
"THE BOSTON TRADITION: - PAINTINGS FROM THE MUSEUM OF FINE ARTS, BOSTON"
has been organized by Carol Troyen, Assistant Curator of Painting, Museum
of Fine Arts, Boston, in cooperation with the The American Federation of
Arts.
Ms. Troyen has selected the works and has written the exhibition
catalogue.
The exhibition is supported by grants from Metropolitan Life Foundation,
the National Endowment for the Arts, and the National Patrons of the
American Federation of Arts.
Distribution of the exhibition poster in
Philadelphia will be made possible by Metropolitan Life Foundation.
The installation at the Pennsylvania Academy of the Fine Arts is by
Curator, Frank H. Goodyear, Jr. and Assistant to the Curator, Kathleen
A. Foster who says:
"Because our collections are complementary, no other
museum in the United States can quite so effectively show these works. The
Pennsylvania Academy of the Fine Arts is delighted to host "THE BOSTON
TRADITION."
SPECIAL EVENTS:
Carol Troyen, Assistant Curator of Painting at the Museum of Fine Arts,
Boston, and organizer of the exhibition will present a slide/talk called
liTHE BOSTON TRADITION" on Thursday, June 25th, at 5 p.m., preceding the
Members' and Press Reception for liTHE BOSTON TRADITION"
Members' and Press Reception for liTHE BOSTON TRADITION"
Wednesday, June 25th, 6 - 8 p.m., Pennsylvania Academy of the Fine Arts
PUBLICATIONS:
The Boston Tradition: American Paintings From the Museum of Fine Arts, Boston
by Carol Troyen, with introduction by Theodore E. Stebbins, Jr. 216 pages;
115 illustrations, 19 in color.
Published by The American Federation of Arts.
Paper $15.95 Available at Academy Museum Shop and by mail.
Exhibition Poster, Full Color. Mrs. Fiske Warren and Her
John Sing er Sargent, 1903. Available Academy Museum Shop an
Ex hibi tion Guide, Free in Academy Galleries and by Hai 1.
-30Photographs and catalogue upon request
Press Information:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND ( HERRY· STREHS
215 972-7600
PHILADELPHIA, PA. 19102
NEWS
April 23, 1981
ADVANCE:
FOR RELEASE TO ARTS WRITERS, FEATURE WRITERS, LISTINGS WRITERS
'PHILADELPHIA STYLE' AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
Featured at the Pennsylvania Academy of the Fine Arts this summer,
June 26 - August 16 will be "TREASURES FROM THE PERMANENT COLLECTION:
THE PHILADELPHIA TRADITION."
The exhibition is coordinated with "THE BOSTON TRADITION".
Both invite
interesting parallels between two outstanding collections of American art,
from the early years of the 18th and 19th centuries, through the
early part
of the twentieth century.
The art of both Boston and Philadelphia was based on a strong figurative
tradition - --Copley in Boston and the Peale family , who were painting during
the American Revolution, through Thomas Eakins, at the Penns y lvania Ac a demy.
Both traditions stem from Benjamin West, the Philadelphia artist who taught
many of America's greatest artists at his London studio.
The importance of the human figure in Philadelphia was affirmed by Academ:
founders who in 1806 secured a study collection, casts of antique sculpture
for its school.
The figurative tradition was reaffirmed in the Ac a demy school
during the last quarter of the century by Thomas Eakins whose teaching was
based upon dissection and life study from the nude.
In some respects, the collections of Boston ahd Philadelphia are s i milar .
Both institutions collected national figures like Gilbert Stuart, J ohn Naegel,
Frank Duveneck, John Singer Sargent, George Inness, Childe Hassam, Winslow
Homer, and William Morris Hunt.
Works by these artists will on view, as well
as the Peales, Thomas Birch, Thomas Sully, William Rush, and later artists
like Daniel Garber, all in the Philadelphia tradition.
The Pennsylvania Academy of the Fine Arts was founded in 1805, the
Museum of Fine Arts, Boston, in 1876, the year that the Academy completed its
third building, in time for the -Centennial-. The exhibition and exhibition guide for "THE PHILADELPHIA TRADITION"
are made possible by a grant from the SmithKline Foundation.
The guide,
available free to all visitors, will focus on the figurative tradition and
is one of three planned to explain the Academy collection.
Others will
cover The Archltect and the Building and Masterpieces from the Collection.
Anthony N.B. Garvan, Professor of American Civilisation at the University
of Pennsylvania will lecture on "Philadelphia and Boston", June 30 at 5.45 p.m
at the Peale House Galleries, 1811 Chestnut Street.
For information please
call (215) 972-7627.
-30-
photographs and exhibition guide
available upon request
Press Information:
Susan Rappaport
(215) 972-7642
I
PENN SYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHER RY ST REET S
PH I LAD EL PH IA, PA. 19 10 2
NEWS
21 5 972 -7600
April 15, 1981
FOR IMMEDIATE RELEASE:
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS WILL SHOW NEON WORKS:
"VARIATIONS ON THREE BAUHAUS BENDS" BY ARTIST ANNSON KENNEY
An installation, "Variations on Three Bauhaus Bends"
composer Annson Kenney, opens' to
the , publi~ p~
by artist/writer
Friday, May 8th and
continues through Sunday, June 21, 1981 in the Morris Gallery of the
Pennsylvania Academy of the Fine Arts in Philadelphia.
Members of the
press are cordially invited to the opening reception on Thursday, May 7th ·
from 5 - 7 p.m.
35 works rendered in luminous tubing will be on view.
Each will have
linear footage of eight- feet and will be derived from the intrinsic
"Bauhuas" shape of the paper clip.
Each will be unique, but will have in
common three bends.
Language as literal sign and symbol and other paraphernalia of writing
have long been inherent in Annson Kenney's work.
Until the late 1960 ' s he
Was also involved with music, both as instrumentalist and composer.
His
works of'theatrical conceptualism" have often been exercises in communication.
His interest in composing, linguistics, and semiotics have brought
him into gallery and museum space.
Much of his neon work has explored the
use of writing as form, writing signs such as proofreaders marks, footnotes
and has continued with variations on the paper clip.
The installation, "Variations on Three Bauhaus Bends" is a transformation of original designs of the paper clip into pale lavendar luminous
tubing.
This is achieved by bending molten glass made malleable from
heat . . Color comes by running a current of cry ton and afron through the
shapes; these are gases not usually used in commercial neon design.
Because the tubing then flows with its own light, the pieces naturally
arrest the eye, emphasizing material and object.
Rather than interpreting a text in this installation, the viewer will
int~rpret the bends and can play with them visually as the artist has
played with them literally, with whimsy and humor. '
"Variations on Three Bauha us Bends"
is an outgrowth of the work
"Code Cathode Paperclip" (1967), a neon paperclip made as an e x ample of what
its manufacturer might use for window advertisement.
Here the work is a
literal sign .
.:_~ , , Between these two installations, Kenney has reshuffled his use of
neon.
In this exhibition, the object becomes the thing that is signified,
but as in other installations, the individual pieces become a network of
connecting codes.
"Variations on Three Bauhaus Bends" reduces neon to sil]:lOuettes and
abstractions.
The artist says:
"It holds an interesting relationship
between representation of the thing and the thing itself.
form is the beautiful bauhaus bend.
( .
-
-
\
The paper clip
A deco fixture celebration."
2.
BIOGRAPHICAL INFORMATION, ANNSON KENNEY
Annson Kenney was born in Philadelphia in 1944.
He received his BA in
Music Education from Temple University in 1970, and a Public Media Program
Grant from the Pennsylvania State Council on the Arts in 1975.
He is
a member of R~lache and is currently a lecturer on Comparative Aesthetics
at the Philadelphia College of Art.
SELECTED INDIVIDUAL EXHIBITIONS
1978 - Semiotic Materialism, Philadelphia Art Alliance
1976 - Loose Language, Marian Locks East, Philadelphia, Pennsylvania
SELECTED GROUP EXHIBITIONS
1980 - Proj ect: Made In Philadelphia 4, . Ins-itutute of Contemporary Art
University of Pennsylvania, Philadelphia, Pa.
1980 - Interference Artifacts 1, Mandell Theater, Drexel University,
Philadelphia, Pa.
1979 - Philadelphia '79, U.S. Federal Court House, philadelphia, Pa.
1979 - Sound--Graphic Notations, P.S.l, New York, New York
1979 - The Great Ideas Show, Philadelphia, Pa.
1978 - Stiffening of Syntax, Walnut Street Theater, Philadelphia, Pa.
1978 - Artists' Book USA, traveling show organized by Independent Curators,
Inc., Washington, D.C.
1977 - Sculpture Outdoors, Temple University Music Festival, Ambler, Pa.
1976 - Washington Project for the Arts, Washington, D. C.
1975 - Scordatura, Philadelphia Museum of Art, Philadelphia, Pa.
1974 - Annson Kenney/John Cage, Beaver College, Glenside, Pa.
1973 - Lip Service, Manning Street Theater, Philadelphia, Pa.
1972 - Cold Shoulder, Festival of the Avant Garde, New York, New York
COMMERCIAL NEON INSTALLATIONS
Onassis Skylight
- Restaurant, Philadelphia, Pa.
Bijou Cafe
-Nightclub, Philadelphia, Pa. (150 feet of design)
Carawcy Restaurant
-Restaurant, Philadelphia, Pa.
Danie11e
-Beauty Salon, Philadelphia, Pa.
Bare Essentials
Wonderland (animated cheshire cat commonly seen in TV promotions on South S
Pieces of Tyme
Bood1ey's Gym (animated use of physical anatomy)
Philadelphia, Pa.
Shear Magic
Philadelphia, Pa.
-Beauty Salon
Taxi
-Boutique
Philadelphia, Pa.
MORRIS GALLERY NOTES
Since 1978 the Morris Gallery of the Pennsylvania Academy of the
Fine Arts has exhibited works by artists who live and work in or near
Philadelphia.
This focus has helped many artists in the area to have
solo e x hibitions and sometimes their first museum e x hibition.
Morris Gallery exhibitions are made possible through grants from
the Pennsylvania Council on the Arts, Provident National Bank, and
Reliance Insurance Company.
Artists are chosen from applications submitted to the curator and
to a rotating committee composed of artists, scholars, curators, and
collectors in the Philadelphia area.
Members of the 1981 Morris Gallery Exhibition Committee are:
Bo Bartlett, artist, PAFA student .
Dr. Milton Brutten, collector
Murray Dessner, artist, PAFA faculty
Walter Er1ebacher, artist
Charles Fah1en, artist
Dr. Perry Ottenberg, collector
David Pease, artist
Michael Quigley, Director, Fabric Workshop
Ann Percy, Assistant Curator, Drawings, Phi1a. Museum of Art
Jim Repenning, artist PAFA student
Rachel Seymour, collector
Richard J. Boyle, Director, PAFA
Frank H. Goodyear, Jr., Curator, PAFA
Kathleen Foster, Assistant Curator, PAFA
Ann Friedman, Coordinator, Morris Gallery Exhibitions.
-3 0-
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND ' CHERRY S'TREETS
NEWS
PHILADELPHIA, PA, 19102
215 972-7600
April 23, 1981
FOR RELEASE TO: ARTS WRITERS, FEATURE WRITERS, LISTINGS EDITORS
PHILADELPHIA
WELCOMES
"THE BOSTON TRADITION"
The Pennsylvania Academy of the Fine Arts welcomes "THE BOSTON
TRADITION:
AMERICAN PAINTINGS FROM THE MUSEUM OF FINE ARTS, BOSTON"
from Friday, June 26 through Sunday, August 16, 1981.
Seventy-eight masterpieces by some of America's greatest artists
who lived and worked in and around Boston, or whose works were collected
by its citizens will be on view.
The richness of Boston's cultural heritage is evident in the great
variety of works in the exhibition.
All genres of American painting will
be represented, ranging from portraits of Mr. William Dudl¥ and Mrs. William
Dudley (1729) to Frank Benson's The Silver Screen (1921).
Portraits, for which the Boston tradition in American painting is noted,
will include John Singleton Copley's Mrs. Samuel Quincy (ca. 1761), John
Hancock (1756), The Copley Family (1780s), Gilbert Stuart's Bishop Jean-Louis
Lefebvre de Chebrus (1823), Frank Dubeneck's The Old Professor (1871), and
John Singer Sargent's
Hrs. Fiske Warren and Her Daughter, Rachel (1903).
Romanticism is represented by America's first romantic painter,
Washington Allston, with Moonlit Landscape (1819).
Landscapes and Seascapes will include works by Winslow Homer, Fog
Warning (1885), Boys in a Pasture (1874);
and Beacon Hill (1890);
Childe Hassam, Charles River
Thomas Doughty, New Hampshire Lake (1832), and
George Inness, Lake Nemi (1872).
The Fortune Teller (1852) and Mrs. Robert C. Winthrop, Jr.
(1861) by
William Morris Hunt exemplify the interest and influence of French painting
on artists in Boston.
American Impressionism also played a major role in the work of Boston
artists like Childe Hassam.
Edward Tarbell's Reverie (1913) and Maurice
Prendergast's Race Track (1900) reveal the long-standing interest in French
art and its appreciation of color and the development of Impressionism in
America.
(more)
Boston/2 .
Among other artists
r~presented
in the exhibition are Mather Brown,
Joseph Cole, George Fuller, Lillian Westcott Hale, John Lafarge, Fitzhugh
Lane, and Elihu \Vedder.
"THE BOSTON TRADITION: '
PAINTINGS FROM THE MUSEUM OF FINE ARTS, BOSTOW'
has been organized by Carol Troyen, Assistant Curator of Painting, Museum
of Fine Arts, Boston, in cooperation wi t,h the The American Federation of
Arts.
Ms. Troyen has selected the works and has written the exhibition
catalogue.
The exhibition is supported by grants from Metropolitan Life Foundation,
the National Endowment for the Arts, and the National Patrons of the
American Federation of Arts.
Distribution of the exhibition poster in
Philadelphia "viII be made possible by Metropolitan Life Foundation.
The installation at the Pennsylvania Academy of the Fine Arts is by
Curator, Frank H. Goodyear, Jr. and Assistant to the Curator, Kathleen
A. Foster who says:
"Because our collections are complementary, no other
museum in the United States can quite so effectively show these works. The
Pennsylvania Academy of the Fine Arts is delighted to host "THE BOSTON
TRADITION."
SPECIAL EVENTS:
Carol Troyen, Assistant Curator of Painting at the Museum of Fine Arts,
Boston, and organizer of the exhibition will present a slide/talk called
!!THE BOSTON TRADITION!! on Thursday, June 25th, at 5 p.m., preceding the
Members' and Press Reception for "THE BOSTON TRADITION"
Members' and Press Reception for !!THE BOSTON TRADITION!!
Wednesday, June 25th, 6 - 8 p.m., Pennsylvania Academy of the Fine Arts
PUBLICATIONS:
The Boston Tradition: American Paintings From the Museum of Fine Arts, BostoI
by Carol Troyen, with introduction by Theodore E. Stebbins, Jr. 216 pag es;
115 illustrations, 19 in color.
Published by The American F e deration of Arts ,
Paper $15.95 Available at Academy Museum Shop and by mail.
Exhibition Poster, Full Color. Mrs. Fiske Warren and Her Daughter, Rachel,
John Singer Sargent, 1903. Available Academy Museum Shop and by Mail.
Exhibi tion Guide, Free in Academy Galleries and by Hail.
-30Photographs and catalogue upon request
Press Information:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
NEWS
April 23, 1981
ADVANCE:
FOR RELEASE TO ARTS WRITERS, FEATURE WRITERS, LISTINGS WRITERS
' PHILADELPHIA STYLE' AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
Featured at the Pennsylvania Academy of the Fine Arts this summer,
June 26 - August 16 will be "TREASURES FROM THE PERMANENT COLLECTION:
THE PHILADELPHIA TRADITION."
The exhibition is coordinated with "THE BOSTON TRADITION". Both invite
interesting parallels between two outstanding collections of American art,
fr om the early years of the 18th and 19th centuries, through the early part
of the twentieth century.
The art of both Boston and Philadelphia was based on a strong figurative
tradition---Copley in Boston and the Peale family, who were painting during
the American Revolution, through Thomas Eakins, at the Pennsylvania Academy.
Both traditions stem from Benjamin West, the Philadelphia artist who taught
many of America's greatest artists at his London studio.
The importance of the human figure in Philadelphia was affirmed by Academy
foun ders who in 1806 secured a study collection, casts of antique sculpture
for its school . The figurative tradition was reaffirmed in the Academy school
dur ing the last quarter of the century by Thomas Eakins whose teaching was
bas ed upon dissection and life study from the nude.
In some respects, the collections of Boston and Philadelphia are similar .
Bo th institutions collected national figures like Gilbert Stuart, John Naegel,
Frank Duveneck, John Singer Sargent, George Inness, Childe Hassam, Winslow
Homer, and William Morris Hunt. Works by these artists will on view, as well
as the Peales, Thomas Birch, Thomas Sully, William Rush , and later artists
like Daniel Garber, all in the Philadelphia tradition.
The Pennsylvania Academy of the Fine Arts was founded in 1805, the
Mus eum of Fine Arts, Boston, in 1876, the year that the Academy completed its
third building, in time for the Centennial.
The exhibition and exhibition guide for "THE PHILADELPHIA TRADITION"
are made possible by a grant from the SmithKline Foundation. The guide,
available free to all visitors, will focus on the figurative tradition and
is one of three planned to explain the Academy collection. Others will
cover The Architect and the Building and Masterpieces from the Collection.
Anthony N.B. Garvan, Professor of American Civilisation at the University
of Pennsylvania will lecture on "Philadelphia and Boston", June 30 at 5.45 p . m.
at the Peale House Galleries, 1811 Chestnut Street. For information please
cal l (215) 972-7627.
-30-
photographs and exhibition guide
available upon request
Press Information:
Susan Rappaport
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
April 28, 1981
FOR IMMEDIATE RELEASE:
PENNSYLVANIA ACADEMY OF THE FINE ARTS PURCHASES OLIVER BAIR BUILDING
'"
~ ~.
The Pennsylvania Academy of the Fine Arts has completed negotiations
for purchase of the Oliver Bair building at 1820 Chestnut Street, across
from its present facilities at 1811 Chestnut Street, it was announced today
by Academy Director, Richard J. Boyle. The Bair building will replace the
Peale House.
The property has been acquired in order to improve its studio facilities,
gallery space, school and administrative offices and the Peale Club.
Negotiations for the sale were handled exclusively by the Binswanger
Company.
The Oliver Bair Co., which was established at the Chestnut Street
location in 1907 will remain in center city Philadelphia.
Charles E. Mather, III, President of the Pennsylvania Academy says:
"The Academy needs improved studio facilities and was about to embark on
a $1,500,000 renovation of its present Peale House and Club. The fact that
the changes to be made at the Bair building will be only cosmetic and not
structural, make the new quarters economically more feasible for the Academy."
Funds realized from the sale of Peale House and Club will be used
for the purchase of the new property.
The Oliver Bair building is not now on the historic register, but plans
are being made for the Clio Group, architectural historians, to undertake a
historical study of the building, which will in all probability, result in
a certified historic building.
It is a five story structure that fills a plot 230'9~" deep from
Chestnut Street through to Sansom, and 50'2" wide. It was designed by
John Torrey Windrim, an architect who practiced with his father, James H.
Windrim, in a firm founded in the l860s. James hTindrim was a graduate of
Girard College and the architect for it for 25 years. He designed many
major downtown buildings including the Masonic Temple, the Lafayette
(more)
PAFA purchase/2
building, major renovations for the First Bank of the United States,
the Bell Telephone building at 12th Street, and the Commonwealth Trust at
12th and Chestnut.
John Torrey Windrim joined the firm in 1900 and
desgined the Bair building in 1907.
He also completed extensive alterations
on the building in 1928.
The Georgian Revival facade is of cut stone.
Above the first floor
it seems to be made of painted pressed metal known as "Twenties tin work,"
although this has not yet been substantiated.
Sansom Street is a simple brick facade.
The carriage entrance on
The Academy plans to maintain the
architectural integrity of bo':h facades and of the interior.
The architectural firm 0 :: Dagit and Saylor has been retained for
renovation and restoration of the building. Well known in that field,
Dagit'kSaylor has also worked with museums and other cultural facilities.
The new Peale House will be the sixth center-city property owned by
the Pennsylvania Academy of the Fine Arts.
The first two buildings, which
housed America's first school and museum (1805-1876), both demolished, were
at 10th and Chestnut Streets, at that time the center of the city.
The third
and present main building was designed by architect Frank Furness and built at
Broad and Cherry Streets in time for the Centennial.
It was this building
that was restored in 1976 for the sum of $5,000,000, and designated a
National Historic Landmark.
It houses more than 3500 works of art spanning
three centuries of American paintings, dra'vings, and sculpture, plus an art
academy with almost 500 students who study from live models and draw from
casts in a program directed by 36 instructors.
Peale House and Club were acquired in 1965 to meet the needs of a
rapidly growing school and more active membership.
It has provided necessary
studios for advanced students and faculty, a place for members to gather, and
gallery space on Chestnut Street.
The Academy recently bought the small
building adjacent to the Peale House for use as a sculpture workshop.
Charles E. Mather, III commented:
"Henry S. McNeil, retired President
of the Academy, and Frank G. Binswanger, Chairman of the Board of the
Binswanger Company were instrumental in bringing the plan for purchase of
the new facility to the attention of the Board of Trustees, and the Academy
is delighted to have the opportunity for improved facilities on Chestnut
Street in downtown Philadelphia."
-30-
Contact:
Susan Rappaport
Public Information 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
215 972-7600
NEWS
April 28, 1981
FOR IMMEDIATE RELEASE:
SPECIAL EVENT AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
"FOOD FOR THOUGHT GALLERY TALK"
LECTURE BY PHILADELPHIA ARTIST, ANNSON KENNEY
Annson Kenney, Philadelphia artist, is also a member of Relache
and a lecturer at the Philadelphia College of Art. Mr. Kenney
has been involved in sound broadcasts and now has turned to
neon works. As well as appearing in numerous exhibitions, Kenney's
work can be found throughout the city of Philadelphia in commercial
installations suc.h as at the Bijou Cafe"-and the Caraway Restaurant.
The exhibition Variations on 3 Bauhaus Bends will show lighted
sculpture-tubing in shapes suggested by bent paper clips. This
use of lighted sculpture is a first for the Morris Gallery.
\.JHEN:
\\1lfERE:
Wednesday, May 13 1981
Noon
Morris Gallery
Pennsylvania Academy of the Fine Arts
Broad and Cherry Streets
ADM1SSION:
Free with museum admission of $1 or $.50 for students
and senior citizens.
-30-
Contact
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA. 19102
215 972-7600
May 7, 1981
FOR IMMEDIATE RELEASE:
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS WILL SHOW NEON WORKS:
"VARIATIONS ON THREE BAUHAUS BENDS" BY ARTIST ANNSON KENNEY
An installation, "Variations on Three Bauhaus Bends"by artist
Annson Kenney, opens to the public on Friday, May 8th and continues
through Sunday, June 21, 1981 in the Morris Gallery of the Pennsylvania
Academy of the Fine Arts in Philadelphia.
41 works rendered in luminous tubing will be on view. Each will
have linear footage of five feet and will be derived -from the intrinsic
"Bauhaus" shape of the paper clip. Each will be unique, but will have
in common three bends.
Language as a literal sign and symbol and other paraphernalia of
writing have long been inherent in Armson Kenney's work. Until >the late
1960's he was also involved with music, both as instrumentalist and
composer. His works of "Theatrical conceptualism" have often been
exercises in communication.
His interest in linguistics and semiotics have brought him into
gallery and museum space. Much of his neon work has explored the use of
writing as form, writing signs such as proofreader's marks, footnotes,
and has continued with variations on the paper clip.
The installation, "Variations on Three Bauhaus Bends" is a transformation of original designs of the paper clip into pale lavendar luminous
tubing. This is achieved by bending molten glass made malleable from
heat. Color comes by running a current of argon and/or crypton through
the shapes; gases not usually used in comme rcial neon design. Because
the tubing then flows with its own light, the pieces naturally arrest
the eye, emphasizing material and object.
Rather than interpreting a text in this installation, the viewer
will interpret the bends and can play with them visually as the artist
has played with them litera lly, with whimsy and humor.
"Variations on Three Bauhaus Bends" is an outgrowth of the work
"Cold Cathode Paperclip"(1967), a neon paperclip made as an example of
what its manufacture r . might use for window advertisement. Here the work
is a literal sign.
Between these two installations, Kenney has reshuffled his use of neon.
In this exhibition, the object becomes the thing that is signified, but
as in other installations, the individual pieces become a network of
connecting codes.
"Variations on Three Bauhaus Bends" reduces neon to silhouettes and
abstrac t ions. The artist says: "It holds an interesting relationship bebetwe en representation of the thing and the thing itself. The paper clip
form is the beautiful bauhaus bend. A deco fixture celebration."
(more)
2.
BIOGRAPHICAL INFORMATION , ANNSON KENNEY
Annson Kenney was born in Philadelphia in 1944.
He received his BA in
Music Education from Temple University in 1970, and a Public Media Program
Grant from the Pennsylvania State Council on the Arts in 1975.
He is
a member of R~lache and is currently a lecturer on Comparative Aesthetics
at the Philadelphia College of Art.
SELECTED INDIVIDUAL EXHIBITIONS
1978 - Semiotic Materialism, Philadelphia Art Alliance
1976 - Loose Language, Marian Locks East, Philadelphia, Pennsylvania
SELECTED GROUP EXHIBITIONS
1980 - Project: Made In Philadelphia 4, 'Insitutute of Contemporary Art
University of Pennsylvania, Philadelphia, Pa.
1980 - Interference Artifacts 1, Mandell Theater, Drexel University,
Philadelphia, Pa.
1979 - Philadelphia '79, U.S. Federal Court House, _Philadelphia, Pa.
1979 - Sound--Graphic Notations, P.S.1, New York, New York
1979 - The Great Ideas Show, Philadelphia, Pa.
1978 - Stiffening of Syntax, Walnut Street Theater, Philadelphia, Pa.
1978 - Artists' Book USA, traveling show organized by Independent Curators,
Inc., Washington, D. C.
1977 - Sculpture Outdoors, Temple University Music Festival, Ambler, Pa.
1976 - Washin g ton Project for the Arts, Washington, D.C.
1975 - Scordatura, Phi1ade1 hia Museum of Art, Philadelphia, Pa.
1974 - Annson Ke nney John Cage, Beaver College, Glenside, Pa.
1973 - Lip Service, Manning Street Theater, Philadelphia, Pa.
1972 - Cold Shoulder, Festival of the Avant Garde, New York, New York
I
COMMERCIAL NEON INSTALLATIONS
Onassis Skylight
- Restaurant, Philadelphia, Pa.
Bij ou Cafe
-Nightclub, Philadelphia, Pa. (150 feet of design)
Carawcy Restaurant
-Restaurant, Philadelphia, Pa.
Danielle
-Beauty Salon, Philadelphia, Pa.
Bare Essentials
Wonderland (animated che s hire cat commonly seen in TV promotions on South S1
Pieces of Tyme
Philadelphia, Pa.
Boodley's Gym (animated use of physical anatomy)
Shear Mag ic
Philadelphia, Pa.
-Beauty Salon
Tax i
-Boutique
Philadelphia, Pa.
MORRIS GALLERY NOTES
Since 1978 the Morris Gallery of the Pennsylvania Academy of the
Fine Arts has exhibited works by artists who live and work in or near
Phil a delphia.
This focus has helped many artists in the area to have
solo exhibitions and sometimes their first museum exhibition.
Morris Gallery exhibitions are made possible through grants from
the Pennsylvania Council on the Arts, Provident National Bank, and
Reliance Insurance Company.
Artists are chosen from applications submitted to the curator and
to a r o tating committee composed of artists, scholars, curators, and
coll e ct ors in the Phil a delphia area.
Members of the 1981 Morris Gallery Exhibition Committee are:
Bo Bartlett, artist,PAFA student
Dr. Milton Brutten, collector
Hurray Dessner, artist, PAFA faculty
Walter Erlebacher, artist
Ch a rles Fah1en, artist
Dr. Perry Ottenberg, collector
David Pease, artist
Michael Quigley, Director, Fabric Workshop
Ann Percy, Assistant Curator, Drawings, Phi1a. Museum of Art
Jim Repenning, artist PAFA student
Ra ch e l Se ymour, c o ll e ctor
Richard J. Boyle, Director, PAFA
Frank H. Goodyear, Jr., Curator, PAFA
Kathleen Foster, Assistant Curator, PAFA
Ann Friedman, Coordinator, Morris Gallery Exhibitions.
-10-
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STRH.TS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
May 7, 1981
IMMEDIATE RELEASE
FOR:
PHOTO EDITORS
PHOTO OPPORTUNITY
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA
WEDNESDAY, MAY 13, 1981
4
P.M. - 7 P.M.
OFFICIAL AWARD CEREMONIES
OPENING OF ANNUAL STUDENT EXHIBITION
4 - 5 P.M.
5 - 7 P.M.
FIRST FLOOR
MAIN GALLERIES
A CHANCE TO PHOTOGRAPH ARTISTS WITH THEIR WORKS; MOST HAVE NEVER BEEN
PHOTOGRAPHED BEFORE. AN OPPORTUNITY TO PHOTOGRAPH PRIZE-WINNERS.
CONTACT:
SUSAN RAPPAPORT
PUBLIC INFORMATION
972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA. 19102
215 972 - 7600
May 11, 1981
FOR IMMEDIATE RELEASE
THE PENNSYLVANIA
ACF~EMY
OF THE FINE ARTS STUDENT EXHIBITION
OPENS TO THE PUBLIC MAY 14 AND CONTINUES THROUGH SUNDAY, JUNE 7TH
The Annual Student Exhibition of the Pennsylvania Academy of the
Fine Arts will open to the public on Thursday, May 14, following the
"Academy Awards" presentations May 13, and will continue through
Sunday, June 7th.
During this period the entire Academy is given over to student
work of all media;
graphics.
painting, sculpture, watercolor, drawing, and
From its beginnings, under the aegis of Charles Willson
Peale and Thomas Sully in 1805, the Academy's purpose was to train,
collect, and exhibit 'works by American artists.
The 1981 exhibition continues this tradition by recognizing that
artistic achievement of today may well be American classics tomorrow.
Amo~earlier
prize winners of the Annual Student Exhibition
have been Susan McDowell Eakins,
in 1882, Anna Ingersoll, Arthur B.
Carles (v.7hose retrospective will take place at the Academy in 1982),
Franklin Watkins, Edith Emerson (curator of the Violet Oakley Foundation
for many years), Ben Eisenstat, Leon Kelly, Julian Levi, Ben Kamihira,
James Havard, Joe Amarotico (who wears the hat, also, of Conservator
of Painting at the Academy), Jimmy Leuders, Elizabeth Osborne, and
Jody Pinto.
SPECIAL EVENTS
During the Student Exhibition there will be three "Food For Thought"
Gallery Talks at Noon on Wednesdays:
May 20
-Richard Ranck, Academy Graduate, and staff member,
will talk about Academy Student Shows
May 27
-Arthur De Costa, artist and faculty member will talk
about "Painting at the Academy"
June 3
-Dan Miller, artist and faculty member will talk
about Academy Student Shows
Open to the public and free with museum admission of $1 or $;.50 for student
Contact: Susan Rappaport/ Public Infor,rnation, 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
NEWS
CONTACT:
SUSAN RAPPAPORT -PUBLIC INFORMATION
(21S) 972-7642
FOR RELEASE:
MAY 14 THROUGH JUNE 7TH
30 Seconds
'PHILADELPHIA STYLE' IS THE ANNUAL STUDENT EXHIBITION AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS, MAY 14 THROUGH JUNE 7TH.
OIL PAINTING AND WATERCOLOR, DRAWING AND SCULPTURE ARE THE MEDIUM,
ARTISTIC TALENT IS THE MESSAGE. FROM ABSTRACT TO FIGURATIVE, LANDSCAPE
TO STILL LIFE, THE GALLERIES ARE FULL OF VERVE AND VITALITY.
THE PENNSYLVM~IA ACADEMY OF THE FINE ARTS LOCATED AT BROAD AND CHERRY
STREETS, JUST TWO BLOCKS NORTH OF CITY HM~L HAS BEEN TEACHING
'PHILADELPHIA STYLE' ART SINCE 180S.
EXHIBITION HOURS APill TUESDAY THROUGH SATURDAY FROM 10-S, SUNDAY l-S.
TALKS ABOUT THE ANNUAL STUDENT EXHIBITION ARE \ffiDNESDAYS AT NOON.
DON'T MISS THE PENNSYLVANIA
NOW THROUGH JUNE 7TH.
ACADE}~
ANNUAL STUDENT EXHBIITION,
FOR MORE INFORMATION, PLEASE CALL 972-7600
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA, PA. 19102
BROAD AND CHERRY STREETS
215 972 -7600
NEWS
May 18, 1981
FOR IMMEDATE RELEASE
PRIZE WINNERS AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
Wednesday May 13, 1981,ceremonies were held at the Pennsylvania
Academy of the Fine Arts to honor the students who received their
four year certificates from the 'Pennsylvania Academy and to award
more than $100,000 in prizes to students who had entered the Annual
"
Student Exhibition Competition.
Mayor William J. Green presented the Philadelphia Mayor's Award
to native Philadelphian, Charles Tisa who attends the Pennsylvania
Academy on a city "Hero" scholarship.
Mrs. Richard Thornburgh presented
the Pennsylvania Governor's Award to David Boskovich from Israel.
In order to be eligible for these prizes the students must have won the
Cresson, Scheidt or Ware award the preceding year.
Both of these
students were Cresson Award winners in 1980.
Also honored at the ceremonies were the winners of the Cresson
Traveling Scholarship, which awards $2500 for travel per student, as
well as $2000 for tuition the following year, the Henry Scheidt Memorial
Travel Scholarship and the Lewis S. Ware Traveling Scholarship, both in
the amount of $2500 for travel.
These
to travel abroad for several months.
scholarships enable the students
*
Following the presentations, Mayor Green and Mrs. Thornburgh joined
the Director of the Academy, Richard J. Boyle and Dean of the School,
Ephraim Weinberg at the opening of the Annual Student Exhibition.
Nearly :-
1,500 people attended the opening and an unprecedented number of paintings
were sold. · The Annual Student Exhibition will continue through June 7,198
SPECIAL EVENTS
During the Studat Exhibition there will be three "Food For Thought"
Gallery talks at noon on Wednesdays:
May 20
May 27
June 3
-Richard Ranck, Academy Graduate and staff member, will
talk about the Academy Student Shows
-Arthur De Costa, artist and faculty member will talk
about "Painting at the Academy"
-Dan Miller, artist and faculty member, will talk about
Academy Student Shows
Open to the public and free with museum admission of $1 or $.50 for
stud.e nts and senior citizens. 'Academy hours: Tue s.-Sat.lO-5,Sun 1-5,
closed Mondays.
Contact: Susan Rappaport, Public Information (215) 972-7642
-k
Se e ;:o j-r ac.hen n:i7e f o r "7ln n p r s o f t hpc:p
::) ~, l~~rlc
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
215 972 -7 600
NEWS
June 12, 1981
ADVANCE RELEASE:
"CONTEMPORARY AMERICAN REALISM SINCE 1960" TO OPEN FALL SEASON AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS IN PHILADELPHIA
"CONTEMPORARY AMERICAN REALISM SINCE 1960," an exhibition spanning
two decades ot contemporary American realist work, opens to the public
at the Pennsylvania Academy of the Fine Arts in Philadelphia Friday,
September 18, and continues through Sunday, December 13, 1981.
Curator for the exhibition is Pennsylvania Academy Curator,
Frank H. Goodyear, Jr., whose book Contemporary American Realism Since 1960
(New York Graphic Society) will be published in September to coincide
With the exhibition opening.
Mr. Goodyear has selected 159 works by 101 artists for the exhibition,
achieving one of the most comprehensive and broadest looks at contemporary
realist art in America today.
The artists come from allover the country and include such noted
talents as Fairfield Porter, George Segal, Chuck Close, Rackstraw Downes,
Alex Katz, Neil Welliver, Audrey Flack, Duane Hanson, Sidney Goodman,
Alice Neel, Philip Pearlstein, Andrew Wyeth and Jamie Wyeth.
Their work reflects the enormous diversity in realistic approaches
to art and ways of observing life and nature. With the camera, modernism,
and the realist tradition as silent partners, the works become an
archive of American life.
Complex, modern American life is interpreted in the exhibition
"CONTEMPORARY AMERICAN REALISM SINCE 1960" through four general categories:
l~mdscape, still life, figure, and narrative.
Willard Midgette's Hitchhiker, a free spirit on the highway surrounded
by big sky, Hilo Chen's City-5, depicting urban freedom, and Noel Mahaffey's
Atlanta, a dynamic night-time city skyline all focus on contemporary
America.
Landscapes include a large-scale, naturalistic work by Neil Welliver,
Cedar Breaks, a romantic cityscape by Rackstraw Downes, Behind the Store
at Prospect, and a photo-realist interpretation of Paris Street Scene
by Richard Estes.
Still life is interpreted traditionally by James Valerio in Card Trick,
and by John Stuart Ingle's Still Life With Begonia. Concern with light
and reflection is seen in oversize Yellow Goblets by Janet Fish; trompe
l'oeil in Steven Posen's Variations on a Millstone. Mystery and illusion
are evident in William Bailey's meticuluous rendition of carefully placed
objects on a table, Monte Migiana.
(more)
CARS'60/2
Personal interpretations of the figure include Chuck Close's
larger than life, Mark, Alice Neel's Linda Nochlin and Daisy, Philip
Pearlstein's photo-cropped Nude on a Platform Rocker, Gregory Gillespie's
Myself Painting a Self Portrait, Catherine Murphy's Self Portrait With
Pansy, and Alex Katz' highly stylized cutout, Ada and Sonny.
Narrative works include Audrey Flack's explosive World War II,
and Jack Beal's descriptive Sloth and Gluttony.
Sculptured works include Duane Hanson's life-like Businessman,
John De Andrea's senruous Red Haired Woman on Green Velvet Chair, George
Segal's lifesize environment, Butcher Shop, and Marilyn Levine's
illusionistic Suitcase With One Strap .
All media are represented in the exhibition: 81 oil on canvas,
46 works on paper, including 17 watercolor, 11 pencil drawings,S pastels,
9 acrylic, 2 graphite, 1 ink drawing, and 1 silverpoint. Sculpture ranges
from 7 bronzes, 2 lead allC?f, 1 ceramic, 1 hydrocal (plastic resin), to 6
works of marble.
Abstract painting, the ' 60s "Pop , " "Op," and "Minimalism," eclipsed
Realism after World War II. However, there were always artists who
Continued to paint in the realist mode, who returned to it after painting
abstractly, or who were drawn toward depictive works based on accurate
observation of life and nature. This exhibition shows just how many artist s
in America have gravitated toward realism in the past twenty years.
Frank H. Goodyear, Jr. comments in his well - documented book :
"Contemporary Realists share a basic concern for visual perception .... they
like' to give the viewer a lot to look at .. . .. It leaves the artist who
chooses to paint realistically free to follow his personal vision; it
allows for a multitude of choices .... This explains its heterogeneous look .
It also explains its divergent attitude to the earlier realist traditions
of Courbet and Eakins and to Modernism."
"In the longstanding traditions of realism, contemporary American
realism is an important new episode. Contemporary life finds expression
in contemporary art which becomes an expression of our modern world."
ABOUT THE ACADEMY
"CONTEMPORARY AMERICAN REALISM SINCE 1960'parallels the Pennsylvania
Academy's natural rapport with the realistic tradition.
The Academy was founded in 1805 as both school and museum; the first
place in the country where artists received formal training. It acquired
its cast collection, still used by drawing classes, in the early l800s.
Drawing from casts and from life-models has always been an integral part
of the Academy program---even during the '50s and '60s when drawing was
not considered de rigeur. This natural link makes the Pennsylvania Academy
a catalyst for contemporary American realism . The exhibition is the
final one of a three part exposition of this subject. The first two were
Seven on the Figure (1979), and Eight Contemporary American Artists(1977).
The latter indicated the contemporary direction that the Academy was to take
in the 1970s and 1980s. Curator for both exhibitions was Frank H. Goodyear .
FUNDING FOR THE EXHIBITION
CONTEMPORARY AMERICAN REALISM SINCE 1960 has been made possible through
generous gr~nts from the National Endowment for the Arts, the Pew Memorial
Trust, and Best ProductsFoundation.
CARS'60/3
TRAVEL SCHEDULE
"CONTEMPORARY AMERICAN REALISM SINCE 1960'will travel to
the Virginia Museum of Fine Arts in Richmond, February 1 - March 28, 1982
and to the Oakland Museum in California May 6 - July 25, 1982. It will
be seen in Portugal at the Gulbenkian Museum in Lisbon November/December
1982, and in Germany at the Germanische Nationalmuseum in Nuremberg
January/February 1982. Negotiations are underway for an exhibition in
Holland to celebrate 20e years of diplomatic relations between the U.S.
artd Hbl-lana.
The exhibition will travel abroad through the auspices of
the United States InternationaL Communications Agency.
PUBLICATIONS
Contemporary American Realism Since 1960; (New York Graphic Society) ;
Author: Frank H. Goodyear, Jr. ,60 color plates;I75 black and white
photographs; 288. paees
Poster, 3'x 2' Full Color; Designed by Venturi and Rauch
Catalogue and check list, soft cover, for European tour.
Exhibition Guide and check list, free to all visitors
INSTALLATION
The exhibition installation will be designed by the architectural
firm, Venturi and Rauch.
Sept. 15
Sept. 16
Sept. 17
Sept. 18
Oct. 17
Dec.
Dec.
3
6
SPECIAL EVENTS (Subject to change)
11 AM - Press Conference, tour of exhibition, lunch
All members of press invited.
5 p.m. Preview of exhibition by subscription only.
followed by private dinners in Philadelphia. Sponsored
by PAFA Womens' Committee
Members' Opening Reception: 5 - 7 p.m.
Exhibition opens to public
Symposium on Contemporary American Realism Since 1960
Time: 9 - 4
Place: Pennsylvania Academy of the Fine ARts
Participants: Artists Philip Pearlstein, Alex Katz,
Walter Erlebacher, Rackstraw Downes; Art Historian,
Linda Nochlin; Dealer, Robert Schoelkopf; Moderator,
Curator, Frank H. Goodyear, Jr.
Price: $35 per person. 200 people maximum.
(includes box lunch)
Subcription dinner and talk by Neil Welliver
Book Signing and reception in honor of Frank Goodyear.
Film Series: Based on American Realist Tradition in film, including
crime and western genres. 10 consecutive Sundays.
Concerts: focused on contemporary American music
Audio-visual program about Contemporary American Realism Since 1960
will run continuously during the exhibition.
This program is subject to change and will be up-dated.
-30Photographs and transparencies
available upon request.
Contact: Susan Rappaport
Public Information (215)
972-7642
CARS '60/4
THE FOLLOWING ARTISTS WILL BE INCLUDED IN THE EXHIBITION
CONTEMPQRARY AMERICAN REALISM SINCE 1960:
KEITH- JACOBSHAGEN
WILLIAM ALLAN
MICHAEL HEBB
LENNART ANDERSON
JOHN KACERE
NEIL WELLIVER
MILERT ANDREJEVIC
BEN KAMIHlRA
PAUL WIESENFELD
JOHN BAEDER
SETSKO KARASUDA
PAUL HONNER
WILLIAM BAILEY
ALEX KATZ
ANDREW WYETH
JACK BEAL
RON KLEEMANN
JAMIE WYETH
ROBERT BECHTLE
ROBERT KULICKE
THEO WUJCIK
WILLIAM BECKMAN
GABRIEL LADERMAN
FUMIO YOSHIMURA
IDELLE WEBER
TOM BLACKWELL
EUGENE LEJl.J(E
NELL BALINE
ALFRED LESLIE
NICKOLAS BOISVERT
MARILYN LEVINE
DOUGLAS BOND
NOEL M..AHAFFEY
CAROLYN BRADY
SYLVIA MANC,OLD
VIJA CELMINS
LOUISA MATTIASDOTTIR
MICHAEL MAZUR
HILO CHEN
HARVEY CITRON
ISABEL MCILVAIN
JOHN CLEM CLARKE
RICHARD MCLEAN
JACK MENDENHALL
CHUCK CLOSE
WILLARD MIDGETTE
DAVIS CONE
ROBERT COTTINGHAM
RICHARD MCDERMOTT MILLER
JOHN MOORE
REBECCA DAVENPORT
CATHERINE MURPHY
JOHN DEANDREA
NAOTO NAKAGAWA
GEORGE DEEM
RACKSTRAW Dm·1NES
ALIC NEEL
EDITH NEFF
DON EDDY
MARTHA MAYER ERLEBACHER JUD NELSON
DON NICE
WALTER ERLEBACHER
WILLIAM NICHOLS
RICHARD ESTES
GEORGE NICK
JANET FISH
AUDREY FLACK
ELIZABETH OSBORNE
SONDRA FRECKLETON
JERRY OTT
TOM PALMORE
JANE FREILICHERPAUL GEORGES
DAVID PARRISH
GREGORY GILLESPIE
PHILIP PEARLSTEIN
RALPH GOINGS
GILLIAN PEDERSON-KRAG
SIDNEY GOODMAN
FAIRFIELD POFTER
STEPHEN POSEN
JOHN GORDON
JOSEPH RAFFAEL
ROBERT GRAHAM
HAROLD GREGOR
BILL RICHARDS PAUL SARKISIAN
JOHN SALT
THEOPHIL GROELL
BEN SCHONZEIT
RICHARD HAAS
GEORGE SEGAL
D.J. HALL
SUSAN SHATTER
DUANE HANSON
BARKLEY HENDRICKS
vlAYNE THIEBAUD
JOHN STUART INGLE
SIDNEY TILLIM
JAMES TORLAKSON
JAMES VALERIO
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972-7600
NEWS
June 12, 1981
ADVANCE RELEASE:
IICONTEMPORARY AMERICAN REALISM SINCE 1960" TO OPEN FALL SEASON AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS IN PHILADELPHIA
"CONTEMPORARY AMERICAN R;EAL_ISM_. ?INCE ...1960:" an exhibition spanning
two decades of contemporary American realist work, opens to the public
at the Pennsylvania Academy of the Fine Arts in Philadelphia Friday,
September 18, and continues through Sunday, December 13, 1981.
Curator for the exhibition is Pennsylvania Academy Curator,
Frank H. Goodyear, Jr., whose book Contemporary American Realism Since 1960
(New York Graphic Society) will be published in September to coincide
With the exhibition opening.
Mr. Goodyear has selected 159 works by 101 artists for the exhibition,
achieving one of the most comprehensive and broadest looks at
~?ntemporary
realist art ' in America today.
The artists corne from allover the country and include such noted
talents as Fairfield Porter, George Segal, Chuck Close, Rackstraw Downes,
Alex Katz, Neil Welliver, Audrey Flack, Duane Hanson, Sidney Goodman,
Alice Neel, Philip Pearlstein, Andrew Wyeth and Jamie Wyeth.
Their vJOrk reflects the enormous diversity in realistic approaches
to art and ways of observing life and nature.
With the camera, modernism,
and the realist tradition as silent partners, the Horks become an
archive of American life.
Complex, modern American life is interpreted in the exhibition
"CONTEMPORARY AMERICAN REALISM SINCE 1960" through four general categories:
la£/I cape, still life, figure, and narrative.
Willard Midgette's Hitchhiker, a free spirit on the highway surrounded
by big sky, Hilo Chen's City-5, depicting urban freedom, and Noel Mahaffey's
Atlanta, a dynamic night-time city skyline all focus on contemporary
America.
Landscapes include a large-scale, naturalistic work by Neil Welliver,
Cedar Breaks, a romantic cityscape by Rackstraw Downes, Behind the Store
at Prospect, and a photo-realist interpretation of Paris Street Scene
by Richard Estes.
Still life is interpreted traditionally by James Valerio in Card Trick,
and by John Stuart Ingle's Still Life With Begonia. Concern with light
and reflection is seen in oversize Yellow Goblets by Janet Fish; trompe
l'oeil in Steven Posen's Variations on a Millstone. Mystery and illusion
are evident in William Bailey's meticuluous rendition of carefully placed
objects on a table, Monte Migiana.
(more)
CARS'60j2
Personal interpretations of the figure include Chuck Close's
larger than life, Mark, Alice Neel's Linda Nochlin and Daisy, Philip
Pearlstein's photo-cropped Nude on a Platform Rocker, Gregory Gillespie's
Myself Painting a Self Portrait, Catherine Murphy's Self Portrait With
Pansy, and Alex Katz' highly stylized cutout, Ada and S0 nny.
Narrative works include Audrey Flack's explosive World War II,
and Jack Beal's descriptive Sloth and Gluttony.
Sculptured works include Duane Hanson's life-like Busines s man"
John De Andrea's se~uous Red Haired Woman on Green Velvet Chair, George
Segal's lifesize environment, Butcher Shop, and Marilyn Levine's
illusionistic Suitcase With One Strap.
All media are represented in the exhibition:
81 oil on canvas,
46 works on paper, including 17 watercolor, 11 pencil drawings,S pastels,
9 acrylic, 2 graphite, 1 ink drawing, and 1 silverpoint.
from 7 bronzes, 2 lead
al ~ ,
Sculpture ranges
1 ceramic, 1 hydrocal (plastic resin), to 6
works of marble.
Abstract painting, the '60s "Pop," "Op," and "Minimalism," eclipsed
Realism after World War II.
However, there were always artists who
continued to paint in the realist mode, who returned to it after painting
abstractly, or who were drawn toward depictive works based on accurate
observation of life and nature.
This exhibition shows just how many artists
in Ameri c a have gravitated toward realism in the past twenty years.
Fran k H. Goodyear, Jr. comments in his well-documented book:
'. ,
"Contempor ary Realists share a basic concern for visual perception .... they
like
l
to give the viewer a lot to look at ..... It leaves the artist who
chooses to paint realistically free to follow his personal vision;
it
allows for a multitude of choices .... This explains its heterogeneous look.
It also explains its divergent attitude to the earlier realist traditions
of Courbet and Eakins and to Modernism."
"In the longstanding traditions of realism, contemporary American
realism is an important new episode.
Contemporary life finds expression
in contemporary art which becomes an expression of our modern world."
ABOUT THE ACADEMY
CONTEMPORARY M1ERICAN REALISM SINCE 1960 parallels the Pennsylvania
Academy's natural rapport with the realistic tradition.
The Academy was founded in 1805 as both school and museum;
place in the country where artists received formal training.
the first
It acquired
its cast collection, still used by drawing classes, in the early l800s.
Drawing from casts and from life-models has always been an integral part
of the Academy program---even during the '50s and '60s when drawing was
not considered de rigeur.
This natural link makes the Pennsylvania Academy
a catalyst for contemporary 'American realism.
The exhibition is the
final one of a three part exposition of this subject.
Seven on the Figure
The first two were
(1979), and Eight Contemporary American Artists(1977).
The latter indicated the contemporary direction that the Academy was to take
in the 1970s and 1980s.
Curator for both exhibitions was Frank H. Goodyear.
FUNDING FOR THE EXHIBITION
CONTEMPORARY AMERICM~ REALISM SINCE 1960 has been made possible through
generous g~~nts from the National Endowment for the Arts, the Pew Memorial
Trust, and Best Produc tS Foundation.
CARS'60/3
TRAVEL SCHEDULE
CONTEMPORARY AMERICAN REALISM SINCE 1960 will travel to
-
the Virginia Museum of Fine Arts in Richmond, February 1 - March 28, 1982
and to the Oakland Museum in California May 6 - July 25, 1982.
It will
be seen in Portugal at the Gulbenkian Museum in Lisbon November/December
1982, and in Germany at the Germanische Nationalmuseum in Nuremberg
January/February 1982.
Negotiations are underway for an exhibition in
Holland to celebrate 20e years of diplomatic relations between the U.S.
artd Hol~L:tnd. :
Th~
exh ',b it~on
will travel abroad through the auspices of
the United States . Inte,r national : Communications Agency.
PUBLICATIONS
Contemporary American Realism Since 1960;
Author:
(New York Graphic Society);
Frank H. Goodyear, Jr. ,60 color plates;I75 black and white
photog raphs; 288, pases
Poster, 3'x 2' Full Color;
Designed by Venturi and Rauch
Catalogue and check list, soft cover, for European tour.
Exhibition Guide and check list, free to all visitors
INSTALLATION
The e x hibition installation will be designed by the architectural
firm, Venturi and Rauch.
SPECIAL EVENTS
(Subject to change)
11 AM - Press Conference, tour of exhibition, lunch
Sept. 15
All members of press invited.
5 p.m. Preview of exhibition by subscription only .
Sept. 16
followed by private dinners in Philadelphia. Sponsored
by PAFA Womens' Committee
Sept. 17
Members' Opening Reception:
Sept. 18
Exhibition opens to public
Oct.
Symposium on Contemporary American Realism Since 1960
17
Time:
Place:
5 - 7 p.m.
9 - 4
Pennsylvania Academy of the Fine ARts
Participants:
Artists Philip Pearlstein, Alex Katz,
Walter Erlebacher, Rackstraw Downes;
Art Historian,
Linda Nochlin; Dealer, Robert Schoelkopf; Moderator,
Curator, Frank H. Goodyear, Jr.
Price:
$35 per person.
200 people maximum.
(includes box lunch)
Dec.
3
Subcription dinner and talk by Neil Welliver
Dec.
6
Book Signing and reception in honor of Frank Goodyear.
Film Series:
Based on American Realist Tradition in film, including
crime and western genres.
Concerts:
10 consecutive Sundays.
focused on contemporary American music
Audio-visual program
about Contemporary American Realism Since 1960
will run continuously during the exhibition .
This program is subject to change and will be up-dated.
-30Photographs and transparencies
. available upon request.
Contact:
Susan Rappaport
Public Information (215)
972-7642
THE FOLLOWING ·ARTISTS WILL BE INCLUDED IN THE EXHIBITION
CONTEMPORARY AMERICAN REALISM SINCE 1960:
KEITH- JACOBSHAGEN
WILLIAM ALLAN
MICHAEL HEBB
LENNART ANDERSON
JOHN KACERE
NEIL WELLIVER
MILERT ANDREJEVIC
BEN KAMIHlRA
PAUL WIESENFELD
JOHN BAEDER SETSKO KARASUDA
PAUL \.-70NNER
WILLIAM BAILEY
ALEX KATZ
ANDREW WYETH
JACK BEAL
RON KLEEMANN
JAMIE WYETH
ROBERT BECHTLE
ROBERT KULICKE
THEO WUJCIK
WILLIAM BECKMAN
GABRIEL LADERMAN
FUMIO YOSHIMURA
IDELLE
WEBER
TOM BLACKWELL
EUGENE LEAJ(E
NELL BALINE
ALFRED LESLIE
NICKOLAS BOISVERT
MARILYN LEVINE
DOUGLAS BOND
NOEL M...AHAFFEY
--CAROLYN BRADY
SYLVIA MANGOLD
VIJA CELMINS
LQUISA MATTIASDOTTIR
HILO CHEN
MICHAEL MAZUR
HARVEY CITRON
ISABEL MCILVAIN
JOHN CLEM CLARKE
RICHARD MCLEAN
CHUCK CLOSE
JACK MENDENHALL
DAVIS CONE
WILLARD MIDGETTE
ROBERT COTTINGHAM
RICHARD MCDERMOTT MILLER
REBECCA DAVENPORT
JOHN MOORE
JOHN DEANDREA
CATHERINE MURPHY
GEORGE DEEM
NAOTO NAKAGAWA
RACKSTRAW DOvJNES ·
ALIC NEEL
DON EDDY
EDITH NEFF
.MARTHA MAYER ERLEBACHER JUD NELSON
WALTER ERLEBACHER
DON NICE
RICHARD ESTES
WILLIAM NICHOLS
. JANET FISH
GEORGE NICK
. AUDREY FLACK
ELIZABETH OSBORNE
-SONDRA FRECKLETON
JERRY OTT
JANE FREILICHERTOM PALMORE
PAUL GEORGES
DAVID PARRISH
GREGORY GILLESPIE
PHILIP PEARLSTEIN
RALPH GOINGS
GILLIAN PEDERSON-KRAG
SIDNEY GOODMAN
FAIRFIELD POETER
JOHN GORDON
STEPHEN POSEN
ROBERT GRAHAM
JOSEPH RAFFAEL
HAROLD GREGOR
BILL RICHARDS PAUL SARKISIAN
THEOPHIL GROELL
JOHN SALT
RICHARD HAAS
BEN SCHONZEIT
../D.J. HALL
GEORGE SEGAL
DUANE HANSON
SUSAN SHATTER
BARKLEY HENDRICKS
\'-lAYNE THIEBAUD
JOHN STUART INGLE
SIDNEY TILLIM
JAMES TORLAKSON
JAMES VALERIO
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS.
June 12, 1981
ADVANCE RELEASE:
IICONTEMPORARY AMERICAN REALISM SINCE 1960 11 TO OPEN FALL SEASON AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS IN PHILADELPHIA
"CONTE~O~RY ~ER~CA~~_ RE~L.ISM
SINC.E }960," an exhibition spanning
two decades of contemporary American realist work, opens to the public
at the Pennsylvania Academy of the Fine Arts in Philadelphia Friday,
September 18, and continues through Sunday, December 13, 1981.
Curator for the exhibition is Pennsylvania Academy Curator,
Frank H. Goodyear, Jr., whose book Contemporary American Realism Since 1960
(New York Graphic Society) will be published in September to coincide
With the exhibition opening.
Mr. Goodyear has selected 159 works by 101 artists for the exhibition,
achieving one of the most comprehensive and broadest looks at ._~_ontemporary
realist art in America today.
The artists come from allover the country and include such noted
talents as Fairfield Porter, George Segal, Chuck Close, Rackstraw Downes,
Alex Katz, Neil Welliver, Audrey Flack, Duane Hanson, Sidney Goodman,
Alice Neel, Philip Pearlstein, Andrew Wyeth and Jamie Wyeth.
Their work reflects the enormous diversity in realistic approaches
to art and ways of observing life and nature. With the camera, modernism,
and the realist tradition as silent partners, the works become an
archive of American life.
Complex, modern American life is interpreted in the exhibition
"CONTEMPORARY AMERICAN REALISM SINCE 1960" through four general categories:
lan A
... ape, still life, figure, and narrative .
Willard Midgette's Hitchhiker, a free spirit on the highway surrounded
by big sky, Hilo Chen's City-5, depicting urban freedom, and Noel Mahaffey's
Atlanta, a dynamic night-time city skyline all focus on contemporary
America.
Landscapes include a large-scale, naturalistic work by Neil Welliver,
Cedar Breaks, a romantic cityscape by Rackstraw Downes, Behind the Store
at Prospect, and a photo-realist interpretation of Paris Street Scene
by Richard Estes.
Still life is interpreted traditionally by James Valerio in Card Trick,
and by John Stuart Ingle's Still Life With Begonia. Concern with light
and reflection is seen in oversize Yellow Goblets by Janet Fish; trompe
l'oeil in Steven Posen's Variations on a Millstone. Mystery and illusion
are evident in William Bailey's meticuluous rendition of carefully placed
objects on a table, Monte Migiana.
(more)
CARS'60j2
Personal interpretations of the figure include Chuck Close's
larger than -life, Mark, Alice Neel's Linda Nochlin and Daisy, Philip
Pearlstein'~
photo-cropped Nude on a Platform Rocker, Gregory Gillespie's
My self Painting a Self Portrait, Catherine Murphy's Self Portrait With
Pansy, and Alex Katz' highly stylized cutout, Ada and Su nny.
Narrative works include Audrey Flack's explosive World War II,
and Jack Beal's descriptive Sloth and Gluttony.
Sculptured works include Duane Hanson's life - like Busine s sman, '.
John De Andrea's se~ ous Red Haired Woman on Green Velvet Chair, George
Segal'slifesize environment, Butcher Shop, and Marilyn Levine's
illusionistic Suitc<;lse With One Strap.
All media are represented in the exhibition:
81 oil on canvas,
46 works on paper, including 17 watercolor, 11 pencil drawings,S pastels,
9 acrylic, 2 graphite, 1 ink drawing, and 1 silverpoint .
from 7 bronzes, 2 lead
al ~ ,
Sculpture ranges
1 ceramic, 1 hydrocal (plastic resin), to 6
works of marble.
Abstract painting, the '60s "Pop," "Op," and "Minimalism," eclipsed
Realism after World War II .. However, there were always artists who
Continued to paint in the realist mode, who returned to it after painting
abstractly , or who were drawn toward depictive works based on accurate
observation of life and nature.
This exhibition shows just how many artists
in Amer i c a have gravitated toward realism in the past twenty years.
Frank H. Goodyear, Jr. comments in his well-documented book:
"Contemp orar y Realists share a basic concern for visual perception .. . . they
like! to give the viewer a lot to look at ..... It leaves the artist who
chooses to paint realistically free to follow his personal vision;
it
allows for a multitude of choices .... This explains its heterogeneous look.
It also e x pla ins its divergent attitude to the earlier realist traditions
of Courbet and Eakins and to Modernism."
"In the longstanding traditions of realism , contemporary American
realism is an important new episode.
Contemporary life finds e x pression
in contemporary art which becomes an expression of our modern world . "
ABOUT THE ACADEMY
CONTEMPORARY Al1ERICAN REALISM SINCE 1960 parallels the Pennsylvania
Academy's natural rapport with the realistic tradition.
The Academy was founded in 1805 as both school and museum .;
place in the country where artists received formal training.
the first
It acquired
its cast collection, still used by drawing classes, in the early l800s.
Drawing from casts and from life-models has always been an integral part
of the Academy program---even during the '50s and '60s when drawing was
not considered de rigeur.
This natural link makes the Pennsylvania Academy
a catalyst for contemporary American realism.
The exhibition is the
final one of a three part exposition of this subject.
Seven on the Figure
The first two were
(1979), and Eight Contemporary American Artists(1977).
The latter indicated the contemporary direction that the Academy was to take
in the 1970s and 1980s.
Curator for both exhibitions was Frank H. Goodyear.
FUNDING FOR THE EXHIBITION
CONTEMPORARY AMERICAl~ REALISM SINCE 1960 has been made possible through
generous g~~nts from the National Endowment for the Arts, the Pew Memorial
Trust, and Best Produc tS Foundation.
CARS'60/3
TRAVEL SCHEDULE
CONTEMPORARY AMERICAN REALISM SINCE 1960 will travel to
the Virginia Museum of Fine Arts in Richmond, February 1 - March 28, 1982
and to the Oakland Museum in California May 6 - July 25, 1982.
It will
be seen in Portugal at the Gulbenkian Museum in Lisbon November/December
1982, and in Germany at the Germanische Nationalmuseum in Nuremberg
January/February 1982.
Negotiations are underway
f~r
an exhibition in
Holland to celebrate 20e years of diplomatic relations between the U.S.
and H'bl~Lihd. ;
Th~ exliLb ~t~on will travel abroad through the auspices of
the United States . Inte~rnational : Communications Agency.
PUBLICATIONS
Contemporary American Realism Since 1960; (New York Graphic Society);
Author:
Frank H. Goodyear, Jr. ,60 color plates;I1') black and white
photographs;28~ :
paees
Poster, 3'x 2' Full Color;
Designed by Venturi and Rauch
Catalogue and check list, soft cover, for European tour.
Exhibition Guide and check list, free to all visitors
INSTALLATION
The exhibition installation will be designed by the architectural
firm, Venturi and Rauch.
SPECIAL EVENTS
Sc:p t. 15
(Subject to change)
11 AM - Press Conference, tour of exhibition, lunch
All members of press invited.
Sepi.:. 1 6
5 p.m. Preview of exhibition by subscription only.
followed by private dinners in Philadelphia. Sponsored
by PAFA Womens' Committee
Sept. 17
Members' Opening Reception:
Sept. 18
Exhibition opens to public
Oct. . 17
Symposium on Contemporary American Realism Since 1960
Time:
Place:
5 - 7 p . m.
9 - 4
Pennsylvania Academy of the Fine ARts
Participants:
Artists Philip Pearlstein, Alex Katz,
Walter Erlebacher, Rackstraw Downes;
Art Historian,
Linda Nochlin; Dealer, Robert Schoelkopf; Moderator,
Curator, Frank H. Goodyear, Jr.
Price:
$35 per person.
200 people maximum.
(includes box lunch)
Dec.
3
Subcription dinner and talk by Neil Welliver
Dec.
6
Book Signing and reception in honor of Frank Goodyear.
Film Series :" Based on American Realist Tradition in film, including
crime and western genres.
Concerts:
10 consecutive Sundays.
focused on contemporary American music
Audio-visual program
about Contemporary American Realism Since 1960
will run continuously during the exhibition.
This program is subject to change and will be up-dated.
-30Photographs and transparencies
available upon request.
Contact:
Susan Rappaport
Public Information (215;
972-7642
THE FOLLOWING ARTISTS WILL BE INCLUDED IN THE EXHIBITION
CONTEMPORARY AMERICAN REALISM SINCE 1960:
WILLIAM ALLAN
LENNART ANDERSON
MILERT ANDREJEVIC
JOHN BAEDKR
WILLIAM BAILEY
JACK BEAL
ROBERT BECHTLE
WILLIAM BECKMAN
TOM BLACKWELL
NELL BALINE
NICKOLAS BOISVERT
DOUGLAS BOND
- CAROLYN BRADY
- VIJA CELMINS
,HILO CHEN
'HARVEY CITRON
..
JOHN CLEM CLARKE
CHUCK CLOSE
DAVIS CONE
ROBERT COTTINGHAM
REBECCA DAVENPORT
JOHN DEANDREA
GEORGE DEEM
RACKSTRAW DO\OJNES
DON EDDY
- MARTHA MAYER ERLEBACHER
WALTER ERLEBACHER
RICHARD ESTES
JANET FISH
. AUDREY FLACK
SONDRA FRECKLETON
JANE FREILICHERPAUL GEORGES
GREGORY GILLESPIE
RALPH GOINGS
SIDNEY GOODMAN
JOHN GORDON
ROBERT GRAHAM
HAROLD GREGOR
THEOPHIL GROELL
RI CHARD HAAS
___ D. J. HALL
DUANE HANSON
BARKLEY HENDRICKS
JOHN STUART INGLE
KEITH' JACOBSHAGEN
MI CHAEL HEBB
JOHN KACERE
NEIL WELLIVER
BEN KAMIHlRA
PAUL WIESENFELD
SETSKO KARASUDA
PAUL HONNER
ALEX KATZ
ANDREW WYETH
RON KLEEMANN
JAMIE WYETH
ROBERT KULICKE
THEO WUJCIK
GABRIEL LADERMAN
FUMIO YOSHIMURA
IDELLE
WEBER
EUGENE LEAJ(E
ALFRED LESLIE
MARILYN LEVINE
NOEL M...AHAFFEY
SYLVIA MANGOLD
LQUISA MATTIASDOTTIR
MICHAEL MAZUR
ISABEL MCILVAIN
RICHARD MCLEAN
JACK MENDENHALL
WILLARD MIDGETTE
RICHARD MCDERMOTT MILLER
JOHN MOORE
CATHERINE MURPHY
NAOTO NAKAGAWA
ALIC NEEL
EDITH NEFF
JUD NELSON
DON NICE
WILLIAM NICHOLS
GEORGE NICK
ELIZABETH OSBORNE
JERRY OTT
TOM PALMORE
DAVID PARRISH
PHILIP PEARLSTEIN
GILLIAN PEDERSON-KRAG
FAIRFIELD PORTER
STEPHEN POSEN
JOSEPH RAFFAEL
BILL RICHARDS PAUL SARKISIAN
JOHN SALT
BEN SCHONZEIT
GEORGE SEGAL
SUSAN SHATTER
vlAYNE THIEBAUD
SIDNEY TILLIM
JAMES TORLAKSON
JAMES VALERIO
PENNSYLVANIA ACADEMY OF ·THE FINE ARTS
PHILADELPHIA , PA . 19102
BROAD AND CHERRY STREETS
215 972-7600
NEWS
FOR: IMMEDLATE RELEASE
MORRIS GALLERY EXHIBITION
PENNSYLVANIA ACADEMY OF THE FINE ARTS
DOTTY ATTIE
"J. AND ARMAND TOUR THE WORLD"
July 10 - August 23, 1981
Dotty Attie inventively combines narrative and visual imagination
in her most recent work, "J. and Armand Tour the World."
Each of the
360 drawings (3 1/4" x 3 1/4" - 5 1/4" x 5 1/4") and captions in thlis
exhibition are finely rendered in graphite and colored pencil; many of
the images are details of Old Master paintings which provoke the viewer's
art historical memory.
Attie introduces each segment of her fantasy
narrative with a copy of a painting divided into a grid, repeating the
corner segments to unify the continuum.
The story, · "J. and Armand Tour the World," appeals to many different
sensibilities.
Its visual information is erotic, droll and often enigmatic.
Although the drawings and text work together to relate a tale, there
are many gaps left for the viewer to fill in.
demands a close look.
The small scale of the work
Attie builds suspense and then leaves the viewer's
imagination to answer his own questions.
Certain images are unrelated
to the narrative, creating an unease or tension which can be relieved by
a satirical or ironic segment.
Ultimately, Attie, through J. and Armand,
is the detached observer and sly commentator of some of our "sacred cows"
like scholarship, religion, culture.
"Horne at last, J. and Armand
acknowledged their journey had given them much to ponder."
Page 2.
Dotty Attie studied at the Art Student's League, the Brooklyn
Museum Art School where she was a Beckman Fellow, and received her
BFA from the Philadelphia College of Art.
She has appeared in
numerous one-person and group exhibitions in places such as the
University of Massachusettes, A.I.R. Gallery in New York and Albright
College, Reading, PA.
In 1975-76 she was awarded a grant from the NEA
and has taught at New York University and Manhattanville College.
The Morris Gallery displays the works of contemporary artists,
with special consideration given to those who live or work in the
Philadelphia are_. The artists are chosen by a committee of the following:
Bo Bartlett, artist, PAFA student
Dr, Milton Brutten, collector
Murray Dessner, artist, PAFA faculty member
Walter Erlebacher, artist
Charles Fahlen, artist
Dr. Perry Ottenberg, collector
David Pease, artist
Michael Quigley, Associate Director, Fabric Workshop
Ann Percy, Associate Curator of Drawings, Phrradelphia Museum of Art
Jim Repenning, artist, PAFA student
Rachel Seymour, collector
Richard J. Boyle, Director, PAFA
Frank Goodyear, Curator, PAFA
Kathy Foster, Assistant Curator, PAFA
Ann Friedman, Coordinator, Morris Gallery
Release by:
Elizabeth Romanella
Assistant to the Curator
Contact:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE ' FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972 - 7600
NEWS
TO:
A CORDIAL INVITATION TO ALL MEDIA
SPECIAL NOTI CE:
PRESS PREVIEW OF THE EXHIBITION
"CONTEMPORARY A.MERICAN REALISM SINCE 1960"
SUBJECT:
104 CONTEMPORARY PYJlliRICAN ARTISTS ~~O WORK IN THE
REALIST MODE, REPRESENTE D BY 152 WORKS
(LIST OF ARTISTS ATTACHED TO RELEASE) .
DATE:
TUESDAY, SEPTEMBER 15, 1981
TIME:
11 A.M. WALK THROUGH EXHIBITION WITH CURATOR
FRANK H. GOODYEAR, JR., WHOSE BOOK "CONTEMPORARY
AMERICAN REALISM SINCE 1960" WILL BE PUBLISHED IN
CONJUNCTION WITH THE EXHBITION.
INFORN.AL PRESS CONFERENCE TO FOLLOW WITH RICHARD J.
BOYLE, ACADEl1Y DIRECTOR, FRANK H. GOODYEAR, JR.,
EDWARD C. MCBRIDE, MANAGER, ARTS .AMERICA PROGRAMS,
UNITED STATES INTERNATIONAL COMMUNICATIONS AGENCY,
AND SEVERAL ARTISTS IN THE EXHIBITION. LUNCH.
LOCATION:
11AIN GALLERIES
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA,PA. 19102
PHONE:
(215) 972-7642
RELEASES, PHOTOGRAPHS, TRANSPARENCIES, EXHBIITION GUIDE, BOOK WILL BE
AVAILABLE . . INDIVIDUAL INTERVIEW WITH ARTISTS }~Y BE ARRANGED BY APPOINTMENT OR DURING THE DAY. TAPING OF THE PRESS CONFERENCE IS POSSIBLE IF
ARRANGEl1ENTS ARE MADE IN ADVANCE.
Please reply to Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
215 972-7600
PHILADELPHIA , PA . 19102
NEWS
August 25, 1981
UPDATE:
FOR I MMEDIATE RELEASE
"CONTEMPORARY AMERICAN REALISM SINCE 1960"
OPENS AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS IN
PHILADELPHIA, SEPTEt-illER 18, 1981
Final plans are being made for the exhibition, CONTEMPORARY AMERICAN
REALISM SINCE 1960, whi ch opens to the public at the Pennsy lvan ia Ac ademy
of the Fine Arts in Philadelphia, September 18, and continues through
December 13, 1981.
(Complete list of artists attached to this release).
THE EXHIBITION
Fr ank H. Goodyear, Jr., Curator of the Pennsylvania Academy of the
Fine Arts, and for this exhibition, brings together 152 diverse paintings,
sculpture, watercolor, pastel, and drawings by 104 artists, covering
contemporary American realist art of the past twenty years.
first, largest, and most in-depth look at the subject.
It is the
The exhibition is
a reflection of American life, and the riches in contemporary realism are
explored through traditional realism, photo-realism, and super realism,
easily understandable to the viewer.
Goodyear says:
"They give the viewer
alot to look at .... Realism provides an alternative artistic expression in
an art world that was becoming increasingly exclusive.
Public spirited,
self-conscious, full of exciting contemporary images, the realist movement
in art is one of no small consequence.
tl
New major works will be shown like Myself Painting My Self-Portrait,
Gregory Gillespie, Behind the Store at Prospect, Rackstraw Downes,
Monte
Migiana Still Life, William Bailey, Nude on a Red Table, Sidney Goodman.'
Duane Hanson's disconsertingly life-like Businessman, George Segal's
lifesize environment, Butcher Shop, and Marilyn Levine's illusionistic,
Suitcase With One Strap, are among the sculptured works in the exhibition.
NEW ADDITIONS TO TRAVEL PLANS
CONTEMPORARY AMERICAN REALISM SINCE 1960 will travel to the Virginia
Museum of Fine Arts, Richmond, February 1 - March 28, 1982, and to the
Oakland Museum, California, May 6 - July 25, 1982.
European tour have just been announced.
Firm plans for the
The exhibition is sponsored by
the Arts America Program of the United States International Communications
Agency on recommendation from the National Endowment for the Arts, the
principal federal program for international cultural exchange.
Through
the auspices of the USICA the exhibition will open in Europe at the
Gulbenkian Museum, Lisbon, Portugal, September, October 1982, and will then
travel to The Spanish Museum of Modern Art, Madrid, November, December 1982
and to the Germanische Nationalmuseum, Nuremburg, Germany, January, February,
1983.
(more)
CARS'60 UPDATE/2
THE OPENING
The gala preview reception at the Pennsylva nia Acade my, Septe irihe r 16
will be followed by private dinner parties in the Society Hill area ,
Rittenhouse Square, and Philadelphia's MainLine.
will atten d:
Many of the
10~
artists
J ack Be al and Sondra Fr eckl eton, Willi am an d Di a na Beckman
(subject for many of her husb a nd's portraits), Harvey Citron, Richard Crozier,
Chuck Close, Davis Cone, Re becca Davenport, George Deem, Don Eddy,
Martha an d Walter Erlebacher, Janet Fish, Gregor y Gill espi e, John Gordon,
Ha rold Gregor, Barkley Hendricks , Ron Kl eemann, Eug e ne Leake, I sabel McIlvain,
Richard McDermott Miller, Edith Neff, Don Nice, Tom Palmore, Susan Shatter,
J ame s Valerio have accep t e d to date.
THE LENDERS
Among lenders are the Guggenheim Museum, the Whitney Museum of American
Art, The Museum of Modern Art, theInstitute of Contemporary Art, Boston,
the Hir schhorn Museum, an d the Yale Univers ity Ar t Gallery.
Galleries include
O.K. Harris ;; : Nancy Hoffman, Al a n Frumkin, and many private collectors.
THE INSTALLATION
Because of the exhibition's larie scale, virtually all Academy ga lleries
wil l be given over to it.
Preparator s a re now unpacking the hug e canvasses
an d sculpture so that installation can begin in the next few days.
Venturi
a nd Rauch, architect s, are responsible for the exhibition design in the
Nat-i.ona l Historic Landmark building (designed by Frank Furness in 1876 and
restore d in 1976), using the walls of the vast rotunda with skylight as a
p oi:t,t of departure for the exhibition.
Landscape will be represented there
by Ne il Welliver's naturalistic Cedar Breaks; Still Life by Steven Posen's
t -cnm,p e 1 "oeil, Vari·ations on a Millstone ;
Narrative works by Audrey Flack's
c,,0mpe lling World 'VTar II; and Portraits by Willi am Beckman's Di an a IV.
Over-
seeing all from the r e ar gallery will be Chuck Close's larger than life,
(9' X 6'8' '), Mark.
THE SPONSORS
CONTEMPORARY AMERICAN- REALISM SINCE 1960 is made possible thr ough
generous grants from the National Endowme nt for the Arts , the Pew Memorial
Trust, the Pennsylvania Council on the Arts, the Best Products Foundation.
THE PUBLICATIONS
Book :
"Cont emporary American Re alism since 1960" (N e w York Graphic
Society) by Fr a nk H. Goodyear, Jr.
black and white photos; 288 pages.
60 color pl a tes; 175
$32.50; soft cover $15.195
Poster: 3' X2' Full Color by Venturi and Rauch; $5
Exhibition Guide and Check List: $.50
THE SPECIAL EVENTS
Sympos ium: "Contemporary Aemrican Realism" ~ October 17; Particip a nts:
Linda Nochlin , Art Historican;
Profes sor Ga briel Weisberg,
Artists, Rackstraw Downe s, Walter Erl e b acher, Philip Pear l s t e in,
Cur a tor, F rank H . Goodyear, Jr. $6. per p erson (includes lunch).
Performan ce Art: Artist Amy Cohe n, November 13, 14, 15.
Rea li sm in N.Y.: Tour of studios, ga ll er i e s, November 7
Talk:
Film by , ,Rudy Burkhardt about Neil Welliver's work.
Artist Welliver
will be on hand D:cembe r 2
Book Si gning a nd Reception in honor of Fr ank H. Goodyear, Jr. Decembe r 13.
Contemporary Rea list Fe ature Films will be shown every Sunday during exhibition
( e nd)
Photographs and transparencies upon request
earlier releases and background i information
a vailable upon request.
Contact:
Susan Rappaport.
Publlc-Tntormatlon
(215) 972-7642
THE FOLLOWING . ARTISTS WILL BE INCLUDED IN THE EXHIBITION
CONTEMPORARY AMERICAN REALISM SINCE 1960:
WILLIAM ALLAN
LENNART ANDERSON
MILERT ANDREJEVIC
JOHN BAEDER
WILLIAM BAILEY
JACK BEAL
ROBERT BECHTLE
WILLIAM BECKMAN
TOM BLACKWELL
NELL BALINE
NICKOLAS BOISVERT
DOUGLAS BOND
CAROLYN BRADY
VIJA CELMINS
HILO CHEN
HARVEY CITRON
JOHN CLEM CLARKE
CHUCK CLOSE
DAVIS CONE
ROBERT COTTINGHAM
REBECCA DAVENPORT
JOHN DEANDREA
GEORGE DEEM
RACKSTRAW DOvJNES '
DON EDDY
MARTHA MAYER ERLEBACHER
WALTER ERLEBACHER
,
RICHARD ESTES
JANET FISH
AUDREY FLACK
SONDRA FRECKLETON
JANE FREILICHER
PAUL GEORGES
GREGORY GILLESPIE
RALPH GOINGS
SIDNEY GOODMAN
JOHN GORDON
ROBERT GRAHAM
HAROLD GREGOR
THEOPHIL GROELL
RICHARD HAAS
D.J. HALL
DUANE HANSON
BARKLEY HENDRICKS
JOHN STUART INGLE
KEITH JACOBSHAGEN
MICHAEL HEBB
JOHN KACERE
NEIL WELLIVER
BEN KAMIHlRA
PAUL WIESENFELD
SETSKO KARASUDA
PAUL v70NNER
ALEX KATZ
ANDREW WYETH
RON KLEEMANN
JAMIE WYETH
ROBERT KULICKE
THEO WUJCIK
GABRIEL LADERMAN
FUMIO YOSHIMURA
EUGENE LE/llZE
ALFRED LESLIE
MARILYN LEVINE
NOEL MAHAFFEY
SYLVIA MANGOLD
LOUISA MATTIASDOTTIR
MICHAEL MAZUR
ISABEL MCILVAIN
RICHARD MCLEAN
JACK MENDENHALL
WILLARD MIDGETTE
RICHARD MCDERMOTT MILLER
JOHN MOORE
CATHERINE MURPHY
NAOTO NAKAGAWA
ALIC NEEL
EDITH NEFF
JUD NELSON
DON NICE
WILLIAM NICHOLS
GEORGE NICK
ELIZABETH OSBORNE
JERRY OTT
TOM PALMORE
DAVID PARRISH
PHILIP PEARLSTEIN
GILLIAN PEDERSON-KRAG
FAIRFIELD POETER
STEPHEN POSEN
JOSEPH RAFFAEL
BILL RICHARDS PAUL SARKISIAt"J
JOHN SALT
BEN SCHONZEIT
GEORGE SEGAL
SUSAN SHATTER
WAYNE THIEBAUD
SIDNEY TILLn1
JAMES TORLAKSON
JANES VALERIO
IDELLE WEBER
I.
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
"HEARSAY, "
A CONTEMPORARY TRIO, TO PLAY AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS SUNDAY SEPTEMBER 27TH
"HEARSAY," a contemporary musical trio, will play original music
at the Pennsylvania Academy of the Fine Arts on Sunday, September 27th,
at 3 p.m.
Admission to the concert is free with $1 museum admission,
or, $.50 for Students and Senior Citizens.
The concert is sponsored by the Women's Committee of the Pennsylvania
Academy in conjunction with the new Academy exhibition, "CONTEMPORARY
AMERICAN REALISM SINCE 1960," in a11 . the Academy galleries through Dec. 13.
Trio players are:
vocals;
Bill Del Governatore on piano, synthesiser, and
Maurizio Giammarco on bass, guitar, keyboards, and vocals; and
George Garbes on drums, guitar and vocals. The music is pop, and ranges
from rock to jazz to classical.
This Philadelphia-based group his played at "Eakins," "0' Hara ' s, "
"The Khyber Pass," "Taker's Cafe," "J.C. Dobbs," "The Newstand," and the
Pennsylvania Academy of the Fine Arts.
N~w
It _has
also
perforrn~d
in
Hope at '!iJohn and Peter's," "Pop's Barrel Inn," Upper Darby, and
"Library ' II" in New Jersey.
The Pennsyvlania Academy of the Fine Arts is located at Broad Street
just two short: blocks north of City Hall, and convenient to all public
transportation and parking. It is open every day but Monday.
The Academy, commited to American contemporary art since 1805, is
the country's oldest museum and art school.
-30Contact:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972-7600
NEWS
October 16, 1981
FOR IMMEDIATE RELEASE:
JUDITH STEIN APPOINTED COORDINATOR OF HORRIS GALLERY
OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
Art reviewer, critic , and lecturer, Judith Stein has been
appointed Coordinator of the Morris Gallery of the Pennsylvania
Academy of the Fine Arts by Curator Frank H. Goodyear, Jr. Curator
at the Academy.
Stein has been an arts reviewer for National Public Radio (WUHY-FH)
in Philadelphia and has contributed many art reviews to national and
local art publications. Among her reviews are many that focus on
Philadelphia artists and which have given Philadelphia artismnational
recognition . Some of these include "Annson Kenny," Art in America (1976)
"James Havard," Art in America, (1975), "Arlene Love," Art in America (197 4)
"Profile of Cecila Beaux," Feminist Art Journal, (1975-76),
Articles have also included "Portrait: Philadelphia ," Portfolio
Magazine, (1980) and "Elaine Kurtz , " Arts, (1978).
Stein has also written many articles and reviews about women
including "vJomen Artists 78," Art Journal (1978), and "Contemporary
Issues : Works on Paper by Women,!' plus "Women Artists in the Howard Pyle
Tradition," Feminist Art Journal, (1976) .
She has presented innumerable papers and participated in many
national and college art conferences and received her Ph.D in Art
History from the University of Pennsylvania this year, (1981). She also
received her M. A. in Art History from the University of Pennsylvania,
in 1967, and her B.A . from Barnard College, in 1965.
Stein has served on exhibition juries and has exhibited her own
work.
Her community interests include the Third Street Gallery,
the Wilma Project Free Theater, the Women's Caucus for Art, and the Muse
Gallery.
(more)
2.
Judith Stein served as Staff Lecturer at the Philadelphia
Museum of Art from 1966-1971 and was an instructor at the Tyler
School of Art, Temple University from 1971 -1978. She is married
to Jon Stein, a lawyer in Philadelphia. The Steins have one
daughter, Rachel.
When she was appointed, Stein commented: It am excited at the
potential of the Morris Gallery as a show-case of contemporary artists
with a Philadelphia connect~on."
-30-
Contact:
Susan Rappaport
Public Information
(215) 972-7642
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972- 7 600
NEWS
October 16, 1981
FOR:
IMMEDIATE RELEASE
NEW HORRIS GALLERY EXHIBITION AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
Gerald Nichols' new work, 'THE FOX HUNT," made of structures based
on the Winslow Homer painting in the Pennsylvania Academy of the Fine
Arts Permanent Collection, opens to the public, Friday October 30, and
continues through Sunday, December 13, 1981.
The Opening Reception is Thursday, October 29 from 5 - 7 p . m.
All members of the Press
a~d
Media are cordially invited to attend.
The installation of the exhibition will begin on Monday, October 26.
The large-scale work will be built specifically for display in the Morris
Gallery.
Since 1978, Gerald Nichols has openly based his work on a variety of
works by other artists.
The contemporary Morris Gallery "FOX HUNT" is the
result of studying and noting affinities of sensibility between Winslow
Homer and the artist.
The reference is physically present, so that there
is no confusion between the relctionship of the contemporary artist's
variation and the original.
A sub-theme in "THE FOX HUNT" project is memory, not card-players memory,
but evocative memory which dwells on the transfer of experience plus
inevitable, far-fetched associations that bridge one situation and
~nother.
Gerald Nichols first began to draw from other artistJs' ""yorks in 1962
when he used graphic works by Goya as a frame of reference.
These were
developped concurrently with academic figure drawing, Fauve painting, and
Op Art.
He has also based works on John Singleton Copley's "Watson and
the Shark," 1778; John James Audobon's 't;reat Blue Heron," George Catlin's
"Buffalo Chase , Mouth of the Yellowstone',' 1832;
"The Grazing Horse,"1880;
Albert Pinkham Ryder's
Jackson Pollock's "The She Wolf," 1943;
Roy
Lichtenstein's "Grrrrrrr:: ," 1965; and Andy Warhol's "Cow Wallpaper," 1966.
The theme of the animal kingdom is evident in his work.
Variations on a theme has been consistantly a part of art vocabulary
and expression since the beginning of painting.
Many artists, including
Picasso and Matisse were practitioners of this specific emulative approach.
In addition to these works, Gerald Nichols has also made many stage
designs and performance art.
Gerald NIchols studied at the Cleveland Institute of Art and received
an M.F.A. from the University of Pennsylvania.
A recipient of a Guggenheim
Memorial Foundation Fellowship in 1970, he is currently Co-Chairman of the
Department of Painting and Drawing at the Philadelphia College of Art.
(more)
Gerald Nichols/2
EXHIBITIONS BY GERALD NICHOLS -(Selected)
1980 Made in Philadelphia 3, Institute of Contemporary Art, Philadelphia
Also shown at the Governor's Home, Harrisburg
1979 Contemporary Drawing: Philadelphia, Part II, cooperative exhibition by
Philadelphia Museum of Art, Pennsylvania Academy of the Fine Arts
Nieuw Amsterdam, Curated by Peter Frank , Water St. Studio, New York
1978 Nexus Gallery, Temple University, Gross McCleaf, all in Philadelphia
1977 Nexus, Philadelpia College of Textiles, Philadelphia ARt Alliance
1976 Sculpture Outdoors, Temple University
Made in Philadelphia, 2, Institute of Contemporary Art
PERFORMANCES BY GERALD NICHOLS (Selected)
1978 Bricolage, Dreams, Performed at the Institute of Contemporary Art
1977 Shooter 1, Lucio Possi's Shootout #8, Performed, Moore College of Art
1976 Ensemble work: Bricolage Theater's Two by Two
1975 Vector, Operation Sidewinder, performed Group Motion, Philadelphia
STAGE DESIGN BY GERALD NICHOLS (Selected)
1975 Vasey Theater, Villanova University, Camino Real
1973 Annenberg Theater, University of Pennsylvania, Between Then and Now
Operation Sidewinder
The Morris Gallery displays the works of contemporary artists, with special
consideration given to those who live or work in the Philadelphia area. The
artists are chosen from applications submitted to a committee (rotating) and
the Gallery Coordinator, Judith Stein. Members of the committee are:
Bo Bartlett, Artist, PAFA student
Dr. Milton Brutten, Collector
Murray Dessner, Artist, PAFA Faculty
Walter Erlebacher, Artist
Charles Fahlen, Artist
Dr. Perry Ottenberg, Collector
David Pease, Artist
Michael Quigley, Associate Director, Fabric Workshop
Ann Percy, Associate Curator of Drawings, Phila. Museum of Art
Jim Repenning, Artist, PAFA student
Rachel Seymour, Collector
Richard J. Boyle, Director, PAFA
Frank Goodyear, Jr., Curator, PAFA
Kathleen A. Foster, Assistant Curator, PAFA
Judith Stein, Coordinator, Morris Gallery
-30For more information contact
Susan Rappaport
Public Information
(215) 972-7642
