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Title
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1983 PAFA Press Release
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PDF
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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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The Pennsylvania Academy of the Fine Arts' Archives
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English
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extracted text
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA. 19102
2 15 9 72 -76 00
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972- 7642
For Immediate Release
SOPHIA'S HOUSE, AN INSTALLATION BY LYNN DENTON AT THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS JANUARY 14 - FEBRUARY 28, 1983
(Philadelphia, Pa., January 10, 1983) - Sophia's House, a room-sized environment
created by Lynn Denton, will be on display in the Morris Gallery at the Pennsylvania
Academy of the Fine Arts from January 14 through February 28, 1983.
An opening reception, to which the public is invited, will be held on Thursday,
January 13, from 5:00 p.m. to 7:00 p.m.
Sophia's House is a work which has as its source, according to Denton, the Assyrian
creation myth in which the mother goddess is cast as a potter.
The world begins
when the great goddess breaks off 14 pieces of clay and gives them to women who
create the human beings - 7 girls and 7 boys. With that vivid image in mind, Denton
invited
14 women artists to collaborate with her in this installation by contributing
small works based on the myth described above.
After relating the myth, Denton asked
each of the artists to make an object, to think of it as a child, and to think of it
in terms of male or female, so that the objects created would mirror -the -myth's 7 J"boy"
and 7 "girl" gender images.
Sophia's House will include elements of architecture,
sculpture, drawings, and words in order to express the creative aspect of woman.
The 14 participating artists/collaborators in Sophia's House are:
Phoebe Adams,
Susan Beckman, Jill Bonovitz, Joan Braun, Uta Fellechner, Glenda Frye, Nancy Hellebrand,
Raquel Higgins, Lydia Hunn, Eileen Neff, Jean Pettengill, Jeanne Silverthorne,
Suzanne Wheeling, and Lily Yeh.
The third and most ambitious in a series of installations which investigates the
theme of woman as creator, Sophia's House is preceded by Time Frame Ziggurat (Nexus
Gallery, Philadelphia, 1980) and Polly's Dream (Institute of Contemporary Art, Philadelphia, 1980- 81).
In conjunction with her academy exhibition, Denton is staging
a special performance entitled "Fresh-Baked Pots," which will be given in the Morris
Gallery on Saturday, February 12, at 3:00 p.m. and on Thursday, February 17, at 7:00
p.m.
Using sculptural elements and film, this live presentation will explore a re-
vision of the Adam and Eve myth, and includes the archetypal images of woman as tree,
house, and vessel.
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p.2.
~.
A Philadelphia resident for over a decade, Lynn Denton was born in Knoxville,
Tennessee, in 1941.
in 1963.
Her B.A. degree was awarded by Agnes Scott College, Atlanta,
After studying at the Arts Students' League, New York, during 1963- 64,
Denton earned a M.F.A. from the University of Tennessee in 1968.
The following
year she served a residency at the Cite Internationale des Art in Paris.
Denton
is a member of the performance collaborative Bricolage, and a former member of the
artist-run gallery Nexus.
She currently teaches at Penn State University, Ogontz
Campus, and at Widener Univeristy.
The Morris Gallery displays the work of outstanding contemporary artists
with a connection to Philadelphia, determined by birth, schooling, or residence.
The exhibitions are chosen by a committee composed of area artists, museum personnel,
collectors, abd the curatorial staff of the Pennsylvania Academy.
on the Morris Gallery Exhibition Committee are:
Currently serving
Richard J. Boyle, Vincent Desiderio,
Murray Dessner, Anne d'Harnoncourt, Jennie Dietrich, Leslie Fenton, Harold Jacobs,
Janet Kardon, Charles E. Mather III, Dr. Perry Ottenberg, David Pease, Jody Pinto,
Mrs. William Wolgin; and from the academy staff - Frank H. Goodyear, Jr., Kathleen
Foster, Linda Bantel, and Judith Stein, Coordinator.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
NEWS
215 972-7600
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972- 7642
THE PAINTER AND THE PRINTER: ROBERT MOTHERWELL'S GRAPHICS TO BE ON DISPLAY AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM FEBRUARY 16, 1983 THROUGH APRIL 17, 1983.
(Philadelphia, Pa. - February 3, 1983) - The Painter and the Printer:
Robert
Motherwell's Graphics will open at The Pennsylvania Academy of the Fine Arts on February
16.
American Federation of Arts under the curatorial direction Qf
Organized by
Stephanie Terenzio, Assistant Director of the William Benton Museum at the Univer~ity
of Connecticut, the traveling exhibition includes an extensive selection of Motheiwell's
works on paper.
Among them are Poet I, one of Motherwell's first lithographs, the
Madrid Suite, 12 pages from A La Pintura, the "livre de deluxe" hailed as a masterwork
of the genre, and recent etchings and lithographs such as Easter Day, Rites of Passage,
Primal Sign, and Altamira Elegy.
The curator-in-charge of the exhibition during its stay in Philadelphia is Linda
Bantel, assistant curator of The Pennsylvania Academy of the Fine Arts, who comments
"Robert Motherwell after World War II was one of the prime 8 or 10 American painters who
launched what has become known as the abstract-expressionist movement. Motherwel1's
bri11ant1y innovative works on paper are as unique, intelligent, and heartfelt as his
paintings.
As a body they stand on their own.
The dramatic gestural images express
timeless themes of human ·emotions and experience which seldom fail to awe the sensitive
viewer."
Terenzio,in her introduction to the publication accompanying the exhibition,states
that Motherwe1l " .•• is the only member of the original abstract-expressionist group
to work extensively in graphics, [and therefore] the only artist who actively bridges
an aesthetic formulated in the 1940s and based on Depression values with that which
evolved after 1960, the latter exemplified by the 'multiple' and by enterprising
commercialism."
In Motherwe11's work one can find a certain calligraphic bias which
makes it especially suited to the print medium.
Nonetheless, Motherwe11 remains a
painter who makes prints, rather than a "printmaker."
After his first few etchings at Hayter Atelier 17 in the 1940s, Motherwell did not
again make graphics until the early 1960s.
He recently observed that during those
early years he "guarded [his] time for painting and drawing and co1laging in privacy as
much as [he] could."
While he first made prints only because he was urged to do so,
later he welcomed the collaborative aspect of the medium when, during a period of crisis,
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p.2
lonliness and isolation overwhelmed him.
One of the focal points of the exhibition is
the collaborative nature of printmaking.
Indeed, the title of the exhibition expresses
the artist's respect for printers who "selflessly and sensitively become the artist's
alter ego, seeing through artist's own eyes what to realize, as it slowly forms in the
artist's imagination."
Accompanying the exhibition is a book edited by Stephanie Terenzio including a
complete and fully illustated catalogue raisonn~ by Dorothy C. Belknap.
Available
in the Academy's museum shop for $14.95, the publication also .includes a note by the
artist, and interviews with Brooke Alexander, Motherwell's print dealer; with master
printers Ben Berns, Robert Bigelow, Bill Goldston, Irwin Hollander, Catherine Mousley,
Maurice
San~hez,
,
Emiliano Sorini, and Donn Steward; with publishers Tatyana Grosman
\
and Kenneth ;Tyler; and with poet Tony Towle.
On ;~ Thursday,
February 17 at 5:45 p.m., Robert Motherwell will give a lecture to
the members of the Academy's Charles Willson Peale Society at the Academy at Broad and
Cherry Streets.
The lecture will be followed by a dinner in his honor.
Kenneth Tyler of Tyler Graphics, Robert Motherwell' s current printen'and publisher,
will speak on "The Collaborative Art of Printmaking" at the Academy · on Tuesday, March 8,
at 5:45 p.m. Mr . . Tyler, whose workshop is in Bedford Village, New York, also serves as
the printer and publisher of the works of Josef Albers, Frank Stella, Helen Frankenthaler,
Claes Oldenburg, Roy Licht~nstein, and Ellsworth Kelly.
This lecture is open to the
public with museum admission; Academy members are admitted free.
No reservations required.
On Wednesday, April 6, from 5:30 to 7:30 p.m. at the Peale House, 1820 Chestnut Street,
Ofelia Garcia, Director of Philadelphia's Print Club, will present a workshop in connection with the Motherwell exhibition.
The range, complexity and innovation of Motherwell's
prints will provide a useful lesson for students, collectors, and admirers of contemporary
printmaking.
Garcia, who is currently a visiting critic at the Academy, will help partici-
pants understand and identify these modern techniques.
members of the Academy.
This workshop is open to the
Attendance will be limited to 25 and reservations will be taken
in the order they are received.
The fee for the workshop is $10.
Those interested may
call the Academy at 972- 7607 for further information.
The American Federation of Arts is a national non-profit museum service agency which
organizes and circulates exhibitions and film programs throughout the country.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets in
Philadelphia, just two short blocks north of City Hall.
portation and to parking.
It is convenient to public trans-
It is open to the public from 10 a.m. to 5 p.m. Tuesday through
Saturday, and 1 to 5 p.m. on Sunday.
General admission is $2.00, senior citizen admission
is $1.50, and student admission is $1.00.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972 - 7642
NEWS
FRESH-BAKED POTS, A PERFORMANCE PIECE BY LYNN DENTON AT THE PENNSYLVANIA
ACADEMY OF THE FINE ARTS ON SATURDAY, FEBRUARY 12 AND THURSDAY, FEBRUARY 17.
(Philadelphia, Pa., February 8, 1983) - "Fresh-Baked
Pots~',
a p erf ormance piece
created and directed by Lynn Denton, will be presented at The Pennsylvania Academy
of the Fine Arts at Broad and Cherry Streets, Philadelphia, on Saturday, February
12 at 3:00 p.m. and Thursday, February 17, at 7:00 p.m. and 9:00 p.m.
These performances will be held in the Academy's Morris Gallery, where Denton's
room-sized environment Sophia'Hous e is curr ently on view.
Sophia's House is the
third and most ambitious in a series of installations which investigates the theme
of woman as creator, and it will be on display through February 28.
It was during
the gestation of Sophia's House that Denton decided that this installation should
have a performance aspect, and
t ~us
Fresh-Baked Pots was created.
Lynn Denton describes Fresh-Baked Pots as " a performance that
explo~es
the
idea of male and female identity, as seen in Western myth, popular media, and dreams."
The performance,which is approximately 45 minutes long, will present an alternative
version of the traditional creation story, and will involve the use of special lighting, visual media, and taped sound.
Eve, the Serpent, and a Dreamer.
Among the characters in the piece are God, Adam,
The title of this work is derived from a phrase
which has been used in primitive rites of rebirth - "Now the white chick is crawling
out of the egg, we are fresh-baked pots."
Lynn Denton will be one of the performers, as will Mark Campbell, Daphne Nichols ..
Jessie Lewis and Hal Taussig.
Denton, Nichols, and Campbell are members of the per-
formance collaborative Bricolage.
A Philadelphia resident for over a decade, Lynn Denton was born in Knoxville,
Tennesee, in 1941.
in 1963.
Her B.A. degree was awarded ,by Agnes Scott College, Atlanta,
After s tudying at the Arts Students'League, New York, during 1963 - 64,
Denton earned a M.F.A. from the University of Tennessee in 1968. The following
year she served a residency at the Cit~ Internationale des Art in Paris. Denton is
a member of the performance collaborative Bricolage, and a former member of the artistrun gallery Nexus.
She currently teaches at Penn .State University, Ogontz Campus.
The Academy is presenting this piece in association with Bricolage.
All the performances of Fresh-Baked Pots are open to the public and are free with
museum admission.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
For f urther inf ormation, contac t
Kirby F. Smith, Public Information
Officer (215) 972 - 7642 (Academy)
843 - 9917 (Home)
NEWS
THE PENNSYLVAN IA ACADEMY OF THE FINE ARTS AND FOUNDATION FOR TODAY'S ART/NEXUS PRESENT
MOONSCAPE S: A SOUND PERFORMANCE ... AT PEALE HOUSE ON FRIDAY, FEBRUARY 18, AT 8 P.M.
(Philadelphia, Pa., February 15, 1983) - The Pennsylvania Academy of the Fine Arts
and Foundation For Today 's Art/Nexus will present Moonscapes: a sound performance , at
the Academy 's Peale House, 1820 Chestnut Street, on Friday, February 18, at 8:00 p.m.
Moonscapes is composed of experimen tal music pe rformed on instruments developed by
sculpto r Robert Roesch.
Roesch will play the moonharp a nd Doug Richardson will play
percussion (drums and vibraphone).
This event is free and open to the public.
Concerning the Moon scapes perf ormance , Roesch recent ly stated :
"Moving into another sensory zone
has been a rich experience for me t hese past several year s.
G;a thering ideas on sound
through my visual dealings in spac e has led to a sor t of naive understanding
of the kind of energy I calIon to creat e.
Hearing design is seeing design .
This kind of fusion of these senses gives me a clear feel for a wider band of
extreme sensations I encounter while building my sculpture.
The moonharp came out of my sculpture almost by accident
and has undergone many levels of visual and auditory development .
To find harmony in the joining of the moonharp with other instruments,
and to preserve the kind of sound I've been searching for,
I divised two dimensional notation researched from some very early drawings.
give special notice to the late Harry Bertoia who touched my life
long enough for me to hold onto my thoughts."
I
Roesch's moonharp is made of steel, brass, silver, and walnut, is 6 feet high and
weighs about 50 pounds. The instrument contains 3 strings, which are plucked during the
performance, and the sound is electronically amplified.
The moonharp is normally
played by a performer in a standing position, similiar to that of a jazz double bass
player.
Roesch likens the moonharp to a cross between a sitar and a koto.
The
moonharp that Roesch will be playing is the 6th and unique version of a prototype
instrument he created several years ago.
The performance, lasting approximately 45 minutes, will to a significant degree,
consist of improvised music based on themes composed by Roesch.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
For further information, contact
Kirby F. Smith, P~blic Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
KENNETH TYLER, ROBERT MOTHERWELL'S PRINTER AND PUBLISHER TO SPEAK AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS ON TUESDAY, MARCH 8 .•. OPEN TO THE PUBLIC.
(Philadelphia, Pa., March 1, 1983) - Kenneth Tyler, Robert Motherweills
printer and publisher, will speak at The Pennsylvania Academy of the Fine
Arts on Tuesday, March 8, at 5:45 p.m., in reference to the Academy's current
main gallery exhibition, The Painter and the Printer:
Robert Motherwell's
Graphics, which is on display through April 17.
Tyler, considered one of the best at his profession, will speak on
"The Collaborative Art of Printmaking."
The lecture, which will take place
at the Academy at Broad and Cherry Streets, is open to the public with museum
admission, and no reservations are necessary.
Academy members are admitted
free.
Mr. Tyler's workshop, Tyler Graphics, is located in Bedford Village, N.Y.,
just a few miles from Motherwell's
studio ~
in Greenwich, Conn.
Tyler also
serves as the printer and publisher of the works of Josef Albers, Frank Stella,
Helen Frankenthaler, Claes Oldenburg, Roy Lichtenstein, and Ellsworth Kelly,
among others.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry
Streets, just two short blocks north of City Hall.
transportation and parking.
It is convenient to public
The Academy is open to the public from 10:00 a.m.
to 5:00 p.m. Tuesday through Saturday, and 1:00 p.m. to 5:00 p.m. on Sunday.
General admission is $2.00, senior citizens admission is $1.50, and student admission is $1.00.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
NEWS
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS HOSTS "YOUNG ARTIST" CONCERT.
(Philadelphia, Pa., March 1, 1983,) - The Pennsylvania Academy of the
Fine Arts will host a concert on Sunday, March 6, 1983 at 3 p.m in the Academy
rotunda.
This concert is sponsored by the Women's Committee of the Pennsyl-
vania Academy of the Fine Arts and by a generous grant from the The Musical
Fund Society.
Seung-Hee Hyun, a pianist from the Curtis Institute of Music and a pupil
of Eleanor Sokoloff, will be performing.
Seung-Hee Hyun was born in Seoul,
Korea in 1963. In 1981, she received first prize at the Bach International
Junior Competition in Washington, D.C. and in 1979 Seung-Hee Hyun was also
awarded first prize at the Chopin Society Young Musicians Competition, Buffalo,
N.Y.
Seung-He e Hyun has performed with the Symphony of the Curtis Institute
of Music, conducted by Ra feal Furhbeck de Bur gos.
PROGRAM
Sonata No. 30 in E major, Op. 109
Ludwig van Beethoven
( 1770 - 1827 )
Concert Etude, La Leggierezza
Concert Etude, Gnomenreigen
Franz Liszt
( 1811 - 1866 )
Etude in C sharp minor, Op. 42/5
Aleksandr Nikolayevich Scriabin
( 1872 - 1915 )
Ballade No. 4 in F minor, Op. 52
Frederic Francois Chopin
( 1810 - 1849 )
This concert is free with museum admission.
General admission is $2.00,
senior citizens admission is $1.50, and student admission is $1.00.
Tuesday - Saturday 10 to 5, Sunday 1 to 5.
Hours are
The Academy is located at Broad and
Cherry Streets, two blocks north of City Hall.
·t
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
NEWS
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO OFFER SPECIAL TOURS ABOUT
PHILADELPHIA "WOMEN IN jART" DURING WOMEN'S HISTORY WEEK ..• MARCH 6 - MARCH l3.
(Philadelphia, Pa., March 1, 1983) - During Women's History Week
(March 6 - 13) The Museum Education Department of The Pennsylvania Academy
of the Fine Arts will offer special tours about "Women in Art."
The focus
of these tours will be paintings and sculpture by Philadelphia's women
artists, from Margaretta Peale (1784- 1821) to Violet Oakley (1874 - 1961)
to contemporary artists, including Elizabeth Osborne, Edna Andrade, and
Jody Pinto.
A printed quiz on the work of women artists in the Academy's
permanent collection will be available at the museum throughout the entire
month of March.
The Pennsylvania Academy of the Fine Arts is located
Streets, just two short blocks north of City Hall.
at
Broad and Cherry
Museum hours are 10:00 a.m.
to 5:00 p.m. on Tuesday through Saturday, and 1:00 p.m. to 5:00 p.m. on
Sunday.
The tours described above will be given during weekdays at 11:00 a.m.
and 2:00 p.m., and at 2:00 p.m. on weekends.
General admission is $2.00,
senior citizens admission is $1.50, and student admission is $1.00.
For further information, call (215) 972- 7600 or 7608.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact
Kirby F.Smith, Public Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
AN EXHIBITION OF PETER PAONE'S PAINTINGS AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MARCH 11 - APRIL 24, 1983.
(Philadelphia~
Pa., March 4, 1983) - Paintings, an
exhibition of works by
Peter Paone, will be on display in the Morris Gallery at The Pennsylvania Academy
of the Fine Arts from March 11 to April 24, 1983.
An opening reception, to which the public is invited, will be held on Thursday,
March 10, from 5:00 p.m. to 7:00 p.m.
Somewhere between the world of realism and surrealism,
there is a world which deals with the reality of relationships, favoring the substance of the imagination
rather than the substance of every day vision.
Objects which seemingly have no real relationship to
each other in their existence are juxtaposed in the
life of the artist. They have touched each other and
have become part of the vision, and in turn, have become his iconography.
There is no urgency in this vision. The private reality
has always been there and always will be. The viewer is
allowed to question his knowledge of it, and in doing so,
he often is uneasy and bewildered before the assemblage.
This, at first, implies fantasy; this is not true. Instead, this is a reconstruction of reality, not an escape
from it.
Although the paintings in this exhibition have recourse
to the subject of dreams, subconscious visions and chance,
they are representational. In being so, the statement is
articulate and precise .•. and to me, reality is reassembled.
For artist Peter Paone, who prepared this statement for
the Morris Gallery
exhibition, representational images are the springboard for fantasy. Paone's
p~int
ings bring together disparate objects, assembled for purposes which are not always
revealed to the viewer.
An inveterate collector with 'catholic tastes, Paone often uses his acquistions
as still life props.
his table top visions.
Kachina dolls and vintage Halloween favors preside in many of
This Morris Gallery show of Paone's recent paintings, which
are virtually unknown here in his native city, will include interior and landscape
scenes.
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p. 2
Peter Paone was born is Philadelphia in 1936 . . He attended classes at the
Albert C. Barnes Foundation in 1953- 54, and graduated from the Philadelphia
College ofAtt 1.n 1958. In 1965, at the age of 29, he was awarded a Guggenheim
Foundation fellowship and spent two years in London studying miniature paintings.
Paone was also the recipient of Tiffany Foundation grants in 1964 and 1965.
An
Associate Member of the National Academy of Design, he is currently on the
teaching faculty in the Academy school.
At the age of 14, Paone was given his first solo exhibition at the Print Club
in 1950.
Since then he has achieved a national reputation with Numerous one'oman shows,
including those at the Makler Gallery, Phila. (1961, 1976); the Fort Worth Art
Museum (1964); Robinson Gallery, Houston (1971, 1973, 1974, 1976); Roswell Museum,
Roswell, New Mexico (1977); Museum of the Southwest (1979); and Galerie E. Hilger,
Vienna (1982).
His work is represented in the collections ·of such institutions as the Museum of
Modern Art, New York; Philadelphia Museum of Art; The Library of Congress; and Victoria
and Albert Museum and the British Museum, London.
In conjunction with the Morris Gallery showing of Paone's paintings, the Print
Club will present an exhibition of the artist's drawings and watercolors at the club
from March 11 through April 2 .
The Morris Gallery displays the work of outstanding contemporary artists, with
a connection to Philadelphia, determined by birth, schooling or residence.
The ex-
hibitions are chosen by a committee composed of area artists, museum pers onnel, collectors, and the curatorial staff of The Pennsylvania Academy.
the Morris Gallery Exhibition Committee are:
Currently serving on
Richard J. Boyle, Vincent Desiderio,
Murray Dessner, Anne d'Harnoncourt, Jennie Dietrich, Leslie Fenton, Harold Jacobs,
Janet Kardon, Charles E. Mather III, Dr.Perry Ottenberg, David Pease, Jody Pinto, Mrs.
William Wolgin; and from the Academy staff - Frank H. Goodyear, Jr., Kathleen Foster,
Linda Bantel, and Judith Stein, Coordinator.
- 30 -
PENNSYLVANIA ACADEMY OF THE FIN E ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA. 19102
2 15 972-7600
For further information, contact:
Kirby F. Smith, Public Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
THE PENNSYLVANIA ACADE1IT OF THE FINE ARTS
HOSTS AN OPEN HOUSE ON FRIDAY, APRIL 15, 1983
(Philadelphia, Pa., April 7, 1983) - The faculty, staff, and
students of The Pennsylvania Academy of the Fine Arts invite the
public to an Open House on Friday, April 15, 1983 from 10:30 a.m.
to 4:00 p.m.
This year's date is a most appropriate one since it
is Charles Willson Peale's birthday (1741 - 1827).
Peale was a
noted American painter and a founder of The Pennsylvania Academy
of the Fine Arts, the nation's oldest art school and art museum.
The Academy's Open House is a splendid opportunity for the
public to visit the school's facilities a t Broad and Cherry Streets
and 1820 Chestnut Street, where one can observe drawing, painting,
and sculpture classes that will be in session, and visit student
and faculty studios which are not ordinarily open to the public.
At Broad and Cherry Streets, guides will be on hand to lead tours of
the current main gallery exhibition, The Painter and the Printer:
Robert Motherwell's Graphics and the paintings of faculty member
Peter Paone in the Morris Gallery. Alumni and student guides also
will lead continuous tours of the school's facilities at the Peale
House.
Those interested in attending the Open House may start at
either Broad and Cherry Streets or the Peale House at 1820 Chestnut
Street. Free round trip transportation will be provided between the
two facilities. There is no admission charge.
Complimentary r efreshments and a $5 box lunch (by reservation)
will be served in the auditorium at Broad and Cherry Streets. For
further information please call Tish Byrne, coordinator of studen t
and alumni affairs (215) 972- 7632.
· \~
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
For Immediate Release
PHILADELPHIA, PA . 19102
215 972-7600
For further information, contact
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS DISPLAYS THE WORKS OF
MORTON LIVINGSTON SCHAMBERG AT PEALE HOUSE FROM APRIL 15 THROUGH MAY 6, 1983
(Philadelphia, Pa. - April 12, 1983) - Forty-eight works by Morton Livingston
Schamberg, a native of Philadelphia, and an alumnus of The Pennsylvania Academy
I
of the Fine Arts, will be on display at the Academy's Peale House, 1820 Chestnut
Street, from April 15 through May 6, 1983.
Schamberg's work has long been admired by historians of modern art. Until
recently, however, the general consensus has been that his promise as an artist
was never completely fulfilled, due to his untimely death at the age of
thirty-six. (Schamberg died in Philadelphia's Lorraine Hotel in the great influenza epidemic of 1918). While it is true that Schamberg's career, from the
completion of his studies at The Pennsylvania Academy in 1906 to the time of
his death was short, it was extremely productive. His work evolved dramatically
in this twelve year period, culminating in the creation of his machine paintings.
As the first to develop machine forms into the basis for a lucid, geometric art,
Schamberg holds an important place in the history of American art. Further,
new research reveals that Schamberg arrived at his machine art more independently
than was previously thought. These findings have led to a re-examination of
his work and to recent critical acclaim. The exhibition provides the opportunity
to view the range of the a.rti5t' s oeuvre and includes a group of pastels of
machine images which were only recently discovered in Philadelphia.
The first major influence on Schamberg's work came from his teacher at
The Pennsylvania Academy of the Fine Arts, William Merritt Chase. Chase emphasized the use of slashing brushstrokes to create a sense of immediacy, a
technique which is evident in Schamberg's early painting. Schamberg was also
influenced by European artists' work, which he studied during several overseas
trips
betwe~n
1904 and 1909. The vivid color and open air luminosity of his
1907 painting, The Regatta, indicate that he was familiar with French Impressionist
painting. After 1909 his work took on the structural emphasis demonstrated in
Renaissance painting which he had copied while in Europe.
p.2
MORTON LIVINGSTON SCHAMBERG CONTI
By
1912~
Schamberg was beginning to incorporate some Cubist structural elements
into his paintings. The Armory Show (1913), in which Schamberg participated,
was undoubtedly decisive in determining the artist's Cubist orientation from
1913 through 1915. As with most American Cubism, Schamberg's painting was closer
to geometric patterning superimposed on relatively realistic subjects than to
the analytic cubism of the Europeans, who fractured their subject matter into
pieces viewed from various perspectives.
Schamberg's art, by 1916, had changed dramatically. In works such as
Painting VI (Camera Flashlight), there is less fragmentation of the subject and
greater emphasis on painting of line and structure. These stylistic changes
were appropriate for Schamberg's new choice of subject matter, the machine.
It has long been assumed that Schamberg developed his machine imagery
after seeing the fully developed work of the European Dadaist Picabia in mid-1915.
New research has revealed, however, that as early as 1912, Schamberg had talked
in great detail about the machine works he intended to paint. A 1913 review of
the Armory Show refers to a now lost Schamberg work of a woman talking on a
telephone, indicating that he had at least begun to include machines in his
painting by that year. Another telephone appears in the recently unearthed
photograph of a Schamberg painting from early 1915. The painting' had to have
been completed before the appearance of Picabia's machine paintings of mid-1915.
All of Schamberg's machine paintings were optimistic. Unlike the Dadaists, such
as Picabia, Schamberg painted machines not to satirize their role in man's
existence, but to praise their formal beauty.
It was the machine paintings of 1916 which earned Schamberg his place in the
history of American art. These works form the beginning of Precisionism, the
lucid, rational, immaculate, timeless, and still style of painting industrial
subjects, which was carried on by other American artists such as Schamberg's
lifelong friend Charles Sheeler and Charles Demuth.
The Morton Livingston Schamberg retrospective was organized by the
Salander-O'Reilly Galleries in New York, and after its stay at the Academy
the exhibition will travel to the Milwaukee Art Museum and the Arts Club of
Chicago. Catalogues ($14.95) and posters ($5.00) may be obtained by either
stopping by or calling the school offices at (215) 972- 7632. The Pennsylvania
Academy's Peale House is located at 1820 Chestnut Street, and is convenient for
public transportation and parking. It is open to the public from 10:00 a.m. to
5:00 p.m. Tuesday through Saturday, and 1:00 a.m. to 5:00 p.m. on Sunday.
Admission to Peale House exhibitions is free.
-30-
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA" 19102
215 972-7600
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972 - 7642 (Academy)
843 - 9917 (Home)
NEWS
ANCESTORS, AN INSTALLATION BY MICHAEL BERKOWITZ, TO BE ON DISPLAY AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MAY 6 - JUNE 26, 1983
(Philadelphia, Pa., April 22, 1983) - Ancestors, an installation by
Michael Berkowitz, will be on view in the Morris Gallery at The Pennsylvania
Academy of the Fine Arts from May 6 to June 26, 1983.
An opening, to which the public is
invited~ ·
will be held on Thursday,
May 5, from 5:00 p.m. to 7:00 p.m.
Ancestors will transform the spatial experience of the Morris Gallery.
Two of the usual three gallery entrances will be closed and access to the roomwithin-the-room will be controlled by an L-shaped tunnel.
This installation,
specifically designed for the Morris Gallery, will be fabricated from brightly
colored silk-screened wallpaper, whose motifs derive from Chinese and Japanese
porcelain designs.
figure.
Three gold-leafed shrines will each enclose an inanimate
During certain hours, a mysterious "custodian" will hand out, gratis,
mementos to Academy visitors.
Ancestors was inspired by Berkowitz's experiences while traveling to sites,
both ancient and contemporary, in Afghanistan, Turkey, India, Nepal, Sri Lanka,
Mexico, and Guatemala, and by his studies of ancient art and architecture.
Of Berkowitz and his work, Judith Stein, " coordinator of the Morris Gallery
observes, "A sculptor who taught himself tailoring in order to create his multimedia installations, Berkowitz helps to break down the traditionaL". boundaries
separating the fine and applied arts."
Berkowitz is a New York based sculptor
and performance artist who for several years has explored such issues as the realm
between religion and art, belief as a source for artistic inspiration, and the
power of ritual.
visual sources.
His striking
~ableaux
are based on both secular and sacerdotal
His sumptuous costumes resemble Japanese armor or Tarot cards
as much as they do cassocks, copes, and chasubles.
An early work, Mercer Street Shrine (1978), was spectator activated.
An
illuminated gold-lea"f ed cabinet placed on a deserted city sidewalk at night
opened to reveal a woman, dressed head to foot in exotic satin raiment, "in a
pose of religious veneration.
Like pilgrims coming upon the wayside of an
- more -
p. 2
obscure saint, viewers were mystified by the encounter.
New York's Freidus Gallery in 1981, took
Marrakesh.
.
Djemma-al-Fna, done in
its name from a plaza in Old
This tableau of .,M oorish architectural models and lush satin hangings
contained an. awesome arid bedazzling costumed mannequin as a shamanistic standin for the artist.
A recipient of a 1982 National Endowment for the Arts Sculptor's Fellowship,
Berkowitz is a 1974 graduate of the Philadelphia. College of Art who has traveled
extensively in Europe. Asia, the Middle East, Central America, and North Africa.
The Morris Gallery displays the work of outstanding contemporary artists
with a connection to Philadelphia, determined by birth, schooling or residence.
The exhibitions are chosen by a committee composed of area artists, museum personnel,
collectors, and the curatorial staff of The Pennsylvania Academy.
serving on the Morris Gallery Exhibition Committee are:
Currently
Richard J. Boyle,
Vincent Desiderio, Murray Dessner, Anne d "Harnoncourt , Jennie Dietrich, L;eslie
Fenton, Harold Jacobs, Janet Kardon , Charles E. Mather III, Dr. Perry Ottenberg,
David Pease, Jody Pinto, Mrs. William Wolgin; and from the Academy staff Frank H. Goodyear
Jr., Kathleen Foster, Linda Bantel, and Judith Stein, Coordinator.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PH I LADFb?Hfthl~'r 1~it2~rmati~h~ 9lo lJ>cPtO
b
Kirby F. Smith, Public Information
Officer (215) 972 - 7642 (Academy)
843 - 9917 (Home)
NEWS
THE ANNUAL STUDENT EXHIBITION OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
OPENS TO THE PUBLIC ON }~Y 12 AND CONTINUES THROUGH JUNE 5, 1983
(Philadelphia, Pa., April 29, 1983) - The 82nd Annual Student Exhibition of The
Pennsylvania Academy of the Fine Arts will be on display in the Academy's main galleries
at Broad and Cheryy Streets from May 12 through June 5, 1983.
This year 127 students are
participating in the show, and approximately , 500 works of art will be displayed:
This exhibition is very important to the ongoing spirit of the Academy, as noted by
acting executive director Frank H. Goodyear Jr.:
"Perhaps more than any other single event
through the course of a year, the Annual Student Exhibition 'brings the Academy's museum and
school together in an expression of institutional solidarity.
The fundamental goal
ot
the
Academy - the promotion of excellence in the fine arts - is implied by the exhibition.
Furthermore, the exhibition itself specifically unde'r scores the Academy's commitment to a
structured fine arts educational program.
II~
sure that this year's exhibition will be no dif-
ferent from those of previous years- full of the : energy and commitment of many student artists."
The Annual: Student Exhibition in its current form dates from 1902, when the first William
Emlen Cresson Traveling Scholarship's were awarded.
Subqequently, the Lewis S. Ware and J.
Henry Schiedt Memorial Traveling Scholarships were established and, along with the Cresson,
are the most prestigious of the student prizes awarded each year.
Ephraim Weinberg, director of the schools of the Academy, notes the significance of this
annual event. "The Cresson Competition is, one of the most important teaching exhibitions on
the world calendar," he said.
"Over 120 'thesis walls are presented for review and awarded
by an international student body representing 36 states and 16 countries."
The Cresson is a
generously endowed scholarship established by Emlen and Priscilla Cresson in memory of their
son, who had been an accomplished Academy student and later, a member of the Committee on
Instruction.
Six Cressons ,were awarded last year and over 1,000 have been ' awarded since 1902.
Cresson winners travel in Europe and also receive a full tuition scholarship for the following
year.
The Ware Scholarship was established in 1938 for European travel and three were awarded
last year.
The Schiedt Scholarship, established i,n 1949, is'for unrestricted travel to be
used within two years and four months of receipt.
Seven Schiedts were awarded last year.
In order to be eligible for participation in the Annual' Student Exhibition, one must be
a ,full -time third
courses.
.
or fourth - year student who has satisfactorily completed all required
Those students who qualify are assigned to hang their work on a wall of approximately
8' x 12' in the main galleries at Broad and Cherry Streets.
- more -
Those students with free-standing
s(. .1 1p . . f: are assigned a comparable amount of floor .space in the galleries.
Participation
in t h e.. EO vent represents . a signal oppor.tuni ty to show one '.s best work for all to see.
It
is fre qu ently the first chance to assemble a body of trhis work in a major exhibition, and
to pres ent that work in the company o'f peers.
In order to qualify for the Annual Student Exhibition, formal applications for Cresson,
Ware, and Schiedt Scholarships (only one may be selected)·are filed in February and March,
including a proposed itinerary for travel.
After applications have been filed, the walls of the main galleries a t Broad and Cherry
Streets are assigned in alphabetical order starting with a letter drawn from a hat.
Students
may trade locations, but no one is given 'priority except for winners from the preceding year,
who are located in the museum rotunda area.
their own walls.
Students select, arrange, prepare, and hang
Instructors are-available during hanging week to make suggestions.
the faculty has the right to
remove ' ~orks
Although
from the exhibition, censorship is almost non-
existent, since the right of free expression is paramount.
Two days prior to the Awards Ceremony on Wednesday, May 11, a jury consisting of all
the instructors assesses the students' work.
This exhausting judging ' process begins at 10:00
a.m. amd continues throughout the day • . The jury moves through the galleries and looks at
each student's presentation before the voting begins.
Votes are then taken by a show of
hands and students are "in" or "out ," depending on the votes needed for each round.
Thus
the scholarship winners are selected in a very straighforward and democratic manner.
The students, on this day of decision, are absent from Broad and Cherry Streets ,but
have left a telephone number where they can be reached later- that day, in the event that
they have won a scholarship.
For immediately ·after the jury has made its decision, school
administrators call the students who garnered the awards.
Prize winners receive numbered,
engraved and sealed certificates along with letters of introduction in English, French,
and Spanish.
The winning walls have gold seals
~ttached
to their name plaques for Cressons,
red seals for Schiedts, and blue seals for the Wares.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets in
Philadelphia, just two short blocks north of City Hall,
portation and to parking.
It is convenient to public trans-
It is open to the public from 10:00 a.m. to 5:00 p.m.
through Saturday, and 1 to 5 p.m. on Sunday .
General admission is $2.00, senior citizens
admission is $1.50, and student admission is $1.00.
II 30
Tuesday
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215
972-7600
For further information, contact
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO HOLD
STUDENT AWARDS CEREHONY ON WEDNESDAY, MAY 11, AT 4:00 PM
(Philadelphia, Pa., - April 29, 1983) - On Wednesday, May 11, at 4:00 p.m.,
The Pennsylvania Academy of the Fine Arts will hold its Student Awards Ceremony
at
the Broad and Cherry Streets building. The ceremony will mark the announcement
of Special Honors including the William Emlen Cresson, Lewis S. Ware, J. Henry
Schiedt Memorial Traveling Scholarships, The Pennsylvania Governor's Award,
The Philadelphia Mayor's Award, and the awards of four-year certificates. The
ceremony will be followed by the Academy student, membership, and alumni opening of
the Annual Student Exhibition which opens to the public on Thursday, May 12 and will
run through June 5, 1983.
Over $150,000 in scholarships and awards are· given to the students at this
ceremony. The traveling scholarships cited earlier are the most prestigious of the
student prizes awarded each year, for they enable the winners to spend several
months abroad to further their artistic ability.
The Pennsylvania Academy of the Fine Arts was established in Philadelphia in
1805 in the Commonwealth of Pennsylvania, and it is deemed appropriate that the
offices of the Governor of Pennsylvania and of the Mayor of Philadelphia be honored
by this Academy with an award recognizing the contribution of the Commonwealth of
Pennsylvania to the arts in America and of the importance of the City of Philadelphia
as a cultural center.
Two awards, of $1,000 each, have therefore been established to be given annually
to two graduating Pennsylvania Academy students who have shown outstanding accomplishment in the Fine Arts.
The awards which are unrestricted in their use, are given upon the recommendation
of the faculty and are limited to those students who have in the preceeding year,
won a Cresson, Schiedt or a Ware scholarship and are exhibiting in the annual student
-MORE-
p.2
AHARDS CEREMONY CONT'
exhibition for a second award.
This special consideration is given to these graduating students in anticipation
of their future contribution as artists to the community, and in particular, to
extend moral and practical support at a moment when such aid can most directly
benefit the difficult and unique transition from student to independent artist.
Pennsylvania governor Richard Thornburgh and Philadelphia mayor William J.
Green have been invited to present
awards, and the Academy's Charles E. Mather III,
president and chairman of the board, Frank H. Goodyear Jr., acting executive director,
and Ephraim Heinberg, director of the schools, will take part in the ceremonies.
After the exhibition closes, prize-winning work will be on display throughout
the summer at the Academy's Peale House at 1820 Chestnut Street.
-30-
PENNSYLVANIA ACADEMY OF THE FINE ARTS
215 972-7600
PHILADELPHIA , PA . 19102
BROAD AND CHERRY STREETS
For further information, contact
Kirby F. Smith, Public Information
Officer (215) 972 - 7642 (Academy)
843 - 9917 (Home)
NEWS
THE ANNUAL STUDENT EXHIBITION OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
OPENS TO THE PUBLIC ON MAY 12 AND CONTINUES THROUGH JUNE 5, 1983
(Philadelphia, Pa., April 29, 1983) - The 82nd Annual Student Exhibition of The
Pennsylvania Academy of the Fine Arts will be on display in the Academy's main
at Broad and Cheryy Streets from May 12 through June 5, 1983.
galleri~s
This year 127 students are
participating in the show, and approximately 500 works of art will be displayed:
This exhibition is very important to the ongoing spirit of the Academy, as nO.ted by
acting executive director Frank H. Goodyear Jr.:
"Perhaps more than any other single event
through the course of a year, the Annual Student Exhibition brings the Academy's museum and
school together in an expression of institutional solidarity.
The fundamental goal of the
Academy - the promotion of excellence in the fine arts - is implied by the exhibition.
Furthermore, the exhibition itself specifically underscores the Academy's commitment to a
structured fine arts educational program. I t m sure that this year's exhibition will be no different from those of previous years- full of the: energy and commitment of many student artists."
The Annua,l Student Exhibition in its current form dates fro'm 1902, when the first William
Emlen Cresson Traveling Scholarship-s were awarded.
Subsequently, the Lewis S. Ware and J.
establ~shed
Henry Schiedt Memorial Traveling Scholarships were
and, along with the Cresson,
are the most prestigious of the student prizes awarded each year.
Ephraim Weinberg, director of the schools of the Academy, notes the significance of this
annual event. "The Cresson Competition is, one of the most important teaching exhibitions on
the world calendar," he ,said.
"Over 120 'thesis walls are presented for review and awarded
by an international student body rep1'esenting 36 states and 16 count1'ies."
The Cresson is a
generously endowed scholarship established by Emlen and Priscilla Cresson in memory of their
son, who had been an accomplished Academy student and later, a member of the Committee on
Instruction.
Six Cressons ,were awarded last year and over 1,000 have b.e en ' awarded since 1902.
Cresson winners travel in Europe and also receive a fu1l tuition scholarship for the following
year.
The Ware Scholarship was ' established in 1938 for European travel and three were awarded
last year.
The Schiedt Scholarship, established i,n 1949, is ' for unrestricted travel to be
used within two years and four months of receipt.
In order to be
a full-time third
courses.
eligibl~
Seven Schiedts were awarded last year.
for participation in the Annual' Student Exhibition, one must be
or fourth - year student who has satisfactorily completed all required
I
Those students who qualify ,are assigned to hang their work on a wall of approximately
8' x 12' in the main galleries at Broad and Cherry Streets.
- more -
Those students with free-standing
sculpture are assigned a comparable amount of. floor .space in the galleries.
Participation
in the event represents _a signal oppor_tunity to show one '~ s best work for all to see.
It
is frequently the first chance to assemble a body of trhis work in a major exhibition, and
to present that work in the company of peers.
In order to qualify for the Annual Student Exhibition, formal applications for Cresson,
Ware, and Schiedt Scholarships (only one may be selected)-are filed in February and March,
including a proposed itinerary for travel. '
After applicatiolE have been filed, the walls of the main galleries at Broad and Cherry
Streets are assigned in alphabetical order startingw:(th a letter drawn from a hat.
Students
may trade locations, but no one -is given 'priority except for winners from the preceding year,
who are located in the museum rotunda area.
their own walls.
Students select, arrange, prepare,. .and hang
Instructors are-available during hanging week to make suggestions.
Although
the faculty has the right to remove 1 !Works from the exhibition, censorship is almost nonexistent, since the right of free expression is paramount.
Two days prior to the Awards Ceremony on Wednesday, May 11, a jury consisting of all
the instructors assesses the students' work.
This exhausting judging - process begins at 10:00
a.m. amd continues throughout the day •. The jury moves through the galleries and looks at
each student's presentation before the voting begins.
Votes are then taken by a show of
hands and students are "in" or "out," depending on the votes needed for each round.
Thus
the scholarship winners are selected in a ve.ry straighforward and democratic manner.
The students, on this day of decision, are absent from Broad and Cherry Streets ,but
have left a telephone number where they can be reached later that day, in the event that
they have won a scholarship.
FO.r iinrnediately ·after the jury has made its decision, school
administrators call the students who garnered the awards.
Prize winners receive numbered,
engraved and sealed certificates along with letters of introduction in English, French,
and Spanish.
The winning walls have gold seals
~ttached
to their name plaques for Cressons,
red seals for Schiedts, and blue seals for the Wares.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets in
Philadelphia, just two short blocks north of City Hall,
portation and to parking.
It is convenient to public trans-
It is open to the public from 10:00 a.m. to 5:00 p.m.
through Saturday, and 1 to 5 p.m. on Sunday.
General admission is
admission is $1.50, and student admission is $1.00.
II 30
$2.00~
Tuesday
senior citizens
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA , 19102
215 972-7600
'F or further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
FRANK H. GOODYEAR, JR. APPOINTED PRESIDENT OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
(Philadelphia, Pa. - ¥illY 18, 1983) - Charles E. Mather III, chairman of the
board of trustees of The ~ennsylvania Acad~my of the Fine Arts, announced today
that the board, at its regular monthly meeting, appointed Frank H. Goodyear, Jr.,
to the post of president of the Academy.
"I am particularly pleased to make ' this announcement," Mather said. "Frank
has served this institution in splendid fashion since he came here in 1972 as
curator of the museum, and has shown excellent leadership since October of last
year when he was appointed director of the museum, and then acting executive director
,
of the Academy. We all look forward to a bright future for th e Academy in the years
ahead," Mather concluded.
Goodyear was appointed acting executive director in October, 1982, upon the
resi gna tion of Richard J. Boy le from that position. A search committee was formed
at that time to find a successor to Boyle.
As president, Goodyear will hold the top administrative post at the Pennsylvania Academy. The title of president was previously held by Charles E. Mather III,
who continues
as chairman of the board, and Samuel M.V. Hamilton continues as
vice chairman.
Frank H. Goodyear, Jr., a native of Bucks County, Pa., is a graduate of Yale
University and the Winterthur Program / the University of Delaware. He came to
the Academy in 1972 after serving as curator of the Rhode Island Historical Society.
He took a year's absence from the Academy in 1974 - 1975 to serve as a c ting curator
of Amer'ican painting and sculpture at the Yale University Art Gallery. During his
tenure at the Academy, he has written or edited 13 museum publications.
Goodyear is a member of the Museum Advisory Committee of the H.F. duPont
Winterthur Museum, Winterthur, Delaware - a member of the Executive
Cooon itte ~ .
Friends of American Art at Yale, Yale University Art Gallery - a director of the
Fairmount
Park Art Association - and a member of the Pennsylvania Council on the Arts.
- more -
2
GOODYEAR APPOINTED CON'T
The Pennsylvania Academy of the Fine Arts, founded in 1805, is the oldest
art museum and art school in North America. Its American art collection of 3,000
paintings, 325 sculptures, and 5,000 works on paper is housed in its third
building, a National Historic Landmark, designed by Frank Furness in 1876, and
restored to its original Victorian splendor in 1976.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
. THE PENNSYLVANIA ACADEHY OF THE FINE ARTS TO PRESENT
THE EXHIBITION ARTHUR B. CARLES: "PAINTING WITH COLOR" - A COMPREHENSIVE SURVEY
(Philadelphia, Pa., - May 20, 1983) - From September 23, 1983, through
November 27, 1983, The
Pennsy~vania
Academy of the Fine Arts will present a
comprehensive survey of one of America's major modernists, Arthur B. Carles (18821952). Entitled Arthur B. Carles: "Painting with Color," this exhibition of approximately 108 works recognizes Carles's pioneering role in early 20th century American
painting. His contribution is expressed in comparison form by the president of the
Academy, Frank H. Goodyear, Jr., who states: ' "~Vhen considering the history of art
in
Philadelphia, it is fair to say that Arthur B . Carles is to eurly 20th cen-
tury painting as Thomas Eakins is to late 19th century painting."
A n a tiv e Philadelphian and a Pennsy lva ni a Academy a lumnus, Carles studied in
Fra n ce
b e t,~ een
1907 and 1912. In Pari s hi s di scipline d aca demic training encountered
the abstraction of Cubism and th e liberated color of Matisse and the Fauve s .
Returnin g to New York to exhibit in the famous "Armory Show" of 1913, Carles found
himself in the vanguard of American modernism. He settled again in Philadelphia,
where his sensuous abstract painting, charismatic teaching style and bohemian personality made him a figure of controversy. Carles's last paintings, with their
complex interweaving of geometric and organic forms, their explosive movement
and vibrant color, seem prophetic of the work of the Abstract Expressionists.
This survey of Carles has been organized by guest curator Barbara Wolanin,
with the assistance of Frank Goodyear and The Pennsylvania Academy's associate curator,
Kathleen Foster. Ms. Wolanin, who received a Ph .D from the University of Wisconsin
for her work on Carles, currently teaches at Trinity College in Washington) D.C.
She has written a catalogue to accompany the exhibition that will include a chronology of Carles's life, exhibitions, and paintings. The catalogue explores
Carles's
stylistic development, which is essential in understanding his paintings, particularly since he rarely dated them.
"This exhibition is an important event for us," says Frank Goodyear, "and not
just because Carles was a prizewinning student and influential teacher here. His
- more -
CARLES
CON'T
paintings rank among the most beautiful and exciting works produced in the United
States in the early 20th century. Still, Carles remains the only great talent of
American Modernism whose works await national recognition. For all of us at the
Academy, and for the public, this exhibition and catalogue create an occasion for
discovery, new appreciation and pride."
On Saturday, Octob er 22, the Pennsylvania Academy will host a Carles Symposium entitled "Mod ernism in Philadelphia." Participants will include:
Barbara
Wolanin, curator of the Carles exhibition; Perry Ottenberg, Carles collector; Jane
Piper, a painter and student of Carles; William C. Agee, art historian and critic;
and Barbara Rose, art hi storian and critic.
The Carles exhibition is supported by grants from The Pew Memorial Trust,
The National Endowment f or the Arts, Mr. and Mrs. Louis C. Madeira, Dr. and Mrs.
Perry Ottenberg, ahd Mrs . John Wintersteen.
After the run in Ph iladelphia, the exhibition will be on display at the
Corcoran Gallery of Art in Washington, D.C. from April 28, 1984 through June 17,
1984, and at the National Academy of Design in New York City from September II, 1984
through November 4, 1984.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets
in Philadelphia, just two short blocks north of City Hall. It is convenient to public transportation and parking . It is open to the public from 10:00 a.m. to 5:00 p.m.
Tuesday through Saturday, and lf OO to 5:00 p.m. on Sunday. General admission is
$2.00, senior citizens admissi
1
is $1.50, and student admission is $1.00.
The Pennsylvania Academy o f the Fine Arts, founded in 1805, is the oldest art
museum and art school in North America. Its collection of over 4,000 works of
American art is housed in its t h ird building, a National Historic Landmark, designed
by Frank Furness in 1876, and r es tored to its original Victorian splendor in 1976.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS ANNOUNCES
STUDENT AWARDS HINNERS
(Philadelphia, Pa., - May 24, 1983) - The Pennsylvania Academy of the Fine
Arts has announced the names of the student awards winners, who were selected on
the basis of the work they submitted for the 82nd Annual Student Exhibition which
went on display in the Academy's main galleries at Broad and Cherry Streets on
May 12 and which continues through June 5. This year 127 students participated in
the show, and approximately 500 works of art are on display.
The Annual Student Exhibition in its current form dates from 1902, when the
first lJilliam Emlen Cresson Traveling Scholarships were awarded. Subsequently,
the Lewis S . Ware and J. Henry Schiedt Memorial Traveling Scholarships were established and, along with the Cresson, are the most prestigious of the student prizes
awarded each year.
The Cresson is a generously endowed scholarship established by Emlen and
Priscilla Cresson in memory of their son, who had been an accomplished Academy
student and later, a member of the Committee on Instruction. Five Cressons were
awarded this year and over 1,000 have been awarded since 1902. Cresson winners
travel in Europe and also receive a full tuition scholarship for the following
year. The Ware Scholarship was established in 1938 for European travel and three
were awarded this year. The Schiedt Scholarship, established in 1949, is for unrestricted travel to be used within two years and four months of the awarding.
Eleven Schiedts were awarded this year.
The 1983 winners of these awards are listed below:
Cresson- Katherine E. Kogan, Philadelphia, Pa; Pamela Reynolds MacClintock,
Philadelphia, Pa., and Hamden, Connecticut; Naomi Clara Pitcairn, Philadelphia, Pa.,
and Bryn Athyn, Pa.; Kathleen Frances Quigley , Media, Pa.; and Christopher M. Still,
Philadelphia, Pa., and Dunedin, Florida.
Ware - Linda Jean Daniels, Philadelphia, Pa., and Auburn, New York; Gregory
Brian Frazier, Philadelphia, Pa.; and Headly Benjamin Harper III, Philadelphia,
Pa., and Pitman, New Jersey.
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STUDENT AWARDS CON'T
Schiedt - Philip George Adams, Philadelphia, Pa., and Berkely Heights,
New Jersey; Christina Lida Bothwell, Philadelphia, Pa., and Jenkintown, Pa.;
Philip James Carroll, Jr., Haddonfield, Jew Jersey; Douglas Charles Ferrin, Philadelphia, Pa., and Arcata, California; Beth Ann Foley, Philadelphia, Pa.; Susan
Patricia McFarland, Philadelphia, Pa., and Syracuse, Indiana; Kurt Edward Nordwall,
Philadelphia, Pa.; Shoji Okutani, Philadelphia, Pa., and Yamaguchi, Japan;
Owusu-Ansah, Philadelphia, Pa.; Mary Elizabeth Powers, Philadelphia, Pa.; and
and Janet Samuel, Philadelphia, Pa., and Greenwich, Connecticut.
In addition to the awards cited above, since The Pennsylvania Academy of
of the Fine Arts was established in Philadelphia in 1805 in the Commonwealth of
Pennsylvania, it was thought appropriate that the offices of the governor of Pennsylvania and of the mayor of Philadelphia be honored by the Academy with an award recognizing the contribution of the Commonwealth of Pennsylvania to the arts in America
and of the importance of the city of Philadelphia as a cultural center.
Two awards, of $1,000 each, have therefore been established to be given to two
graduating Pennsy lvania Academy students who have shown outstanding accomplishment
in the fine arts.
The awards are unrestricted in their use, are given upon the recommendation of the
faculty and are limited to those students who have in the preceding year, won a
Cresson, Schiedt, or a Ware Scholarship and are exhibiting in the Annual Student
Exhibition as candidates for a second award.
The winner
of the 1983 Governor's Award is Tom Armstrong of Philadelphia, Pa., and
La Grange, Kentucky. The winner of this year's Mayor's Award is Germaine Ledford
of Philadelphia, Pa., and Fairview Park, Ohio.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets
in Philadelphia, just two short blocks north of City Hall. It is convenient to
public transportation and to parking. It is open to the public from 10:00 a.m. to
5:00 p.m . Tuesday through Saturday, and 1 to 5 p.m. on Sunday. General admission
is $2.00, senior citizens admission is $1.50, and student admission is $1.00.
After the exhibition closes on June 5 at Broad and Cherry Streets, prizewinning work will be on display throughout the summer at the Academy's Peale
House at 1820 Chestnut Street.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
For Immediate Release
PH I LADELPHIA , PA . 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
THE PHOTO-SECESSION: THE GOLDEN YEARS OF PICTORIAL PHOTOGRAPHY IN M1ERICA,
AN EXHIBITION ON DISPLAY AT T~E PENNSYLVANIA ACADEl~ OF THE FINE ARTS FROM
JUNE 24 THROUGH SEPTE~ffiER 27, 1983
(Philadelphia, Pa., - l'Iay 27, 1983) - From June 24 through September 4, 1983,
The Pennsylvania Academy of the Fine Arts at Broad and Cherry Streets will have on
display an exhibition of approximately 200 photographs by major turn-of-the-century
American photographers whose best work was produced from 1895 - 1910.
Organized by the Currier Gallery of Art in Manchester, New Hampshire, the exhibition will include works by such master photographers as Alfred Stieglitz, Edward
Steichen, Gertrude Kasebier, Clarence Hhite, and Alice Boughton. Alfred Stieglitz
founded the Photo-Secession in 1902, and it was disbanded by 1910. It was during this
dynamic time that photography began to be appreciated as a fine art in America.
Stieglitz himself was the motivating force in fighting the battle for the offical recognition of photography as a fine art. This founder of modern photography
and focal figure in the development of modern American art championed the experimental,
not only in his work and the work of many other photographers, but also in painting,
sculpture, and the written word. In the exhibitions he organized at his famous 291
Gallery in New York City and through his journal Camera Work, Stieglitz inspired
several generations of artists to pursue their artistic vision. Stieglitz's life
and concerns are summed up in his self-definition written in 1921: "I was born in
Hoboken. I am an American. Photography is my passion. The search for Truth my obsession."
This exhibition, organized by William I. Homer, Professor of Art History at the
University of Delaware, and Robert M. Doty, Director of the Currier Gallery of Art,
Manchester, New Hampshire, brings together for the first time since 1960 the works
of the Photo-Secessionists. It is partially funded by a generous contribution from
Mr. and Hrs. Robert A. Hauslohner.
There will also be on view at The Pennsylvania Academy's History Gallery a
selection of memorabilia associated with the early photography exhibitions held at
the Academy. The Pennsylvania Academy was one of the first institutions in the country to accept Stieglitz's definition of photography as a major art form, and to display photographs as such.
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PHOTO-SECESSION CON'T
There will be two lectures in conjunction with the exhibition. On Thursday,
June 23, the evening of the members reception, William I. Homer, co-director of the
exhibition, will lecture on "Alfred Stieglitz and The Photo-Secession." This lecture
will begin at 5:30 p.m. and is open to members of the Academy and their guests.
The second lecture will be held on Thursday, June 30, when Robert M. Doty, codirector of the exhibition, will speak on "Transitions in Painting and Photography
at the Turn of the Century." This lecture will begin at 5:45 p.m., and is open
to the public. Free with museum admission. No reservations are required.
In association with this summer exhibition, the Academy is sponsoring a
photography contest which is open to the public. The subject will be the Fourth of
July in Philadelphia· The best entries will be exhibited in the Horris Gallery
of the museum at Broad and Cherry Streets from August 26 through September 4, 1983.
Beginning June 1, entry forma and contest rules will be available through the
Academy's public information office (972- 7642), Contestants must submit their entries
for judging by the curatorial staff by July 22.
After its run at the Pennsylvania Academy, the Photo-Secession exhibition will
travel to the Heckscher Huseum, Huntington, NY, the Horcester Art Museum, V{orcester,
~~.
The Cleveland }1useum of Art, Cleveland, OH, and the Albright-Knox Art Gallery,
Buffalo, NY.
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets
in Philadelphia, just two short blocks north of City Hall. It is convenient to public transportation and parking. It is open to the public from 10:00 a.m. to 5:00 p.m.
Tuesday through Saturday, and 1:00 p.m. to 5:00p.m. on Sunday. General admission is
$2.00, senior citizen admission is $1.50, and student admission is $1.00.
The Pennsylvania Academy of the Fine Arts, founded in 1805, is the oldest
art museum and art school in North America. Its collection of over 4,000 works of
American art is housed in its third building, a National Historic Landmark, designed
by Frank Furness in 1876, and restored to its original Victorian splendor in 1976.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS SPONSORS FOU~TH OF JULY PHOTOGRAPHY CONTEST
IN CONJUNCTION WITH S~lliER EXHIBITION
(Philadelphia, Pa., - June 1, 1983) - Traditionally, the Fourth of July in Philadelphia has been a time for jubilant celebration - hot air ballon races, bands playing
the music of John Philip Sousa, parades, street fairs, picnics in the park. Now all
camera buffs have an opportunity to record this activity.
In conjunction with its summer exhibition - - The Photo-Secession: The Golden
Years of Pictorial Photography in America
the Pennsylvania Academy is sponsoring
a photography contest open to anyone with a camera. The theme of the contest is "Philadelphia on the Fourth of July, 1983," and all entries must be taken on that day.
~rank
H. Goodyear, J r. , Kathleen Foster, Linda Bantel and Judith Stein of the Academy's curatorial sta f f , a nd Bill Blanco, head of the photography department at the Art Institute
of Philadelphia, and Paul Runyon, curator of Philadelphia's Photography Place Gallery
and ex-curator of New York's Light Gallery will be the judges. Based on both overall
quality and the originality o f the interpretation of the theme, they will select at
least 20 winning photographs which will be exhibited in the Horris Gallery of the Ac ademy ' s museum at Broad and Cherry Streets from August 26 through September 4, 1983 .
Beg inning June 1, entry forms and contest rules will be available through the Academy's public information office at the Peale House, 1820 Chestnut Street, (215) 972- 7642.
RULES AND REGULATIONS
1)
The image should be no larger than 11" x 14". All prints must be labeled with title
and the participant's name, address and day telephone number.
2)
For framing his or her print for exhibition purposes, each applicant must provide
one bla ck frame with glass, which will be returned when the photographs are returned.
Be sure the frame allows space for a mat. The Academy will mat and frame the winning photographs.
3)
No three dimensional photographs will be accepted.
4)
The fee for the first two entries is $10; each entry thereafter is $10. Only
one entry per photographer will be selected for exhibition.
5)
All participants are responsible for their own insurance. The Pennsylvania Academy
will exercise every reasonable care with entries, but cannot assume responsibilit y
for photographs damaged either while in transit or in storage. Those objects,
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PHOTOGRAPHY CONTEST CON'T
however, accepted for display in the }1orris Gallery will be insured by the Academy.
6)
All entries must be hand-delivered to the Academy's Public Information Office
in Peale House at 1820 Chestnut Street, on either July 20 from 10:00 a.m. to
12:00 p.m., or July 21 from 2:00 p.m. to 4:00 p.m., or July 22 from 10:00 a.m.
to 12:00 p.m. No entries will be accepted after July 22nd or via mail. Entrants
will be notified of the decision of the curatorial staff by August 5. All decisions
are final.
7)
Rejected entries may be picked up from the Public Inf ormation Off i ce on August
17 from 10:00 a.m. to 12:00 p . m., August 18 from 2:00 p.m. to 4:00 p . m., or
August 19 from 10:00 a.m. to 12:00 p.m. The Academy is not responsible for photographs that are not picked up du r ing these times.
8)
Three prizes will be awarded. First prize is a contributing membership t o the
Academy, the benefits of which include Peale Club privileges (the Peale Club is
the Academy's members dining room); a 5% discount on works purchased from Academy
exhib i tions; the Academy's 1984 calendar; advance notice of all exhibitions, lectures, and films; invitations to members preview receptions for all exhibition
op enings; the Academy's newsletter; private tours of the Academy for friends and
f amil y ; use of the Academy archives and library by appointment; admission to
the Academy for one year; free admission to lectures, films, and concerts; a
"Behind t he Scene s Tour" for new members; discounts in the museum shop; and a member
preview r ec eption for Morris Gallery exhibitions. Second prize is a Family membersh i p and third prize is an Individual membership, both of which include the benefits
l i sted in the Contributing membership section, except for Peale Club privileges, the
5% d i scoun t on works, and the 1984 Academy calendar.
As ment ioned e arlier, this photo contest will augment the exhibition The Photo-
Se ces sion: The Golden Years of Pictorial Photography in America, which will be on
di sp l a y at t he Ac a demy at Broad and Cherry Streets from June 24 through September 4, 1983.
Thi s s how c ontains approximately 200 photographs by major turn-of-the-century American
phot ographe rs whose bes t work was produced from 1895 - 1910. Organized by the Currier
Gall e r y of Art in Manchester, New Hampshire, the exhibition will include works by such
maste r phot ographers as Alfred Stieglitz, Edward Steichen, Gertrude Kasebier, Clarence
White, and Al i ce Boughton. Alfred Stieglitz founded the Photo-Secession in 1902, and
it was d isb anded in 1910. It was during this dynamic time that photography bega n to
be appre cia ted as a fine art in America.
Th i s exhibition, organized by William I. Homer, Professor of Art History at the
University of Delaware, and
R~bert
M. Doty , Director of the Currier Gallery of Art,
Manchester , New Hampshire, brings together for the first time since 1960 the works of
the Photo-Secessionists. It is partially funded by a generous contribution from Mr.
and Mrs. Robert A. Hauslohner.
After its run at the Pennsylvania Academy, the Photo-Secession exhibition will
travel to the Heckscher Museum, Huntington, NY, the \-i'orcester Art Huseum, Worcester,
~~,
The Cleveland Huseum of Art, Cleveland, OH, and the Albright-Knox Art Gallery,
Buffalo, NY.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public InforNation Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
NEWS
for Immediate Release
WALL SCULPTURE BY KEN VAVREK WILL BE ON EXHIBIT IN THE PENNSYLVANIA ACADEHY
OF THE FINE ARTS' HORRIS GALLERY FROM JULY 8 THROUGH AUGUST 21
(Philadelphia, Pa. - June 27, 1983) - From July 8 through August 21, 1983,
the Morris Gallery of The Pennsylvania Academy of the Fine Arts will feature
Philadelphia artist Ken Vavrek's new large-scale ceramic sculpture. Created under
a 1983 Pennsylvania Council on the Arts Craftsmen's Fellowship, these major wall
pieces will have their premier viewing at the Academy.
An opening reception, to which the public is invited, will be held on Thursday, July 7, from 5:00 p.m. to 7:00 p.m.
Vavrek's abstract sculpture is inspired by his love of the American landscape.
City bridges, roofs, water towers, billboards and smokestacks are hinted at as much
as desert cliffs, canyons and horizons. Slab-built and multisectioned, the sculpture
is surprisingly varied in mass and form. Although the slab forms appear solid from
a frontal view, a side angle shows that many of them are shell-like constructions
which allow access to interior space. An article on his work in the Harch 1983 issue
of Ceramic Monthly suggests that Vavrek regards these changing factors of solidity
and fragility as a "kind of metaphor for reality."
While they make reference to landscape forms, these deep reliefs are essentially abstract configurations. Vavrek works with a high-temperature stoneware clay,
first applying high-fire soft-toned glazes, and then brushing on the low-fire brighter colors. The pieces are fired a minumum of three times and it is not unusual for
Vavrek to go on
~o
five firings to correct and balance the subtle coloration.
In connection with this exhibition, Ken Vavrek contributed the following
statement:
Thrusting desert mountains have shapes, forms, and
surfaces that directly relate to my experiences in
pushing clay around. By urban environment stands
in high contrast to t~e intense absence of man in
those western spaces. My mind is energized by this
disparity. Shards, obliterated foundations, and
strange fossils in the desert coupled with the tops
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VAVREK CaN'T
of buildings, billboards, various architectural
structures, and oblique intersections in the city
are among the things that shape my art.
In addition to these exterior concerns I try to
remain faithful to the material and to some degree
expose the process of constructing the forms. Looking
back I find these internal involvements help reveal
a sense of strength, vulnerability, space, and time.
And it's not irrelevant that I'm interested in the
way cloud shadows enhance a sunny day.
A Professor of Art at Hoore College of Art, Vavrek took both his B.F.A.
and M.F.A. degrees at Ohio University. In 1977 he received a National Endowment
for the Arts Craftsmen's Fellowship and in 1974 he helped to found Philadelphia's Clay
Studio. His work is represented in the public collections of the Cleveland Museum
of Art, the Hilwaukee Art Center, the Kalamazoo Institute of Art and the private
collections of R. Joseph Monsen, Seattle, and Ben Short, New York City. In Philadelphia, he is represented by the Richard Rosenfeld Gallery.
The Morris Gallery displays the work of outstanding contemporary artists with
a connection to Philadelphia, determined by birth, schooling or residence. The
exhibitions are chosen by a cOllmittee composed of area artists, museum personnel,
collectors, and the curatorial staff of The Pennslyvania Academy. Currently
serving on the Morris Gallery Exhibition Committee are:
Richard J. Boyle, Vincent
Desiderio, Murray Dessner, Anne D'Harnoncourt, Jennie Dietrich, Leslie Fenton,
Harold Jacobs, Janet Kardon, Charles E. Mather III, Dr. Perry Ottenberg, David
Pease, Jody Pinto, Mrs . William T~olgin; and from the Academy staff - Frank H.
Goodyear, Jr., Kathleen Foster, Linda Bantel, and Judith Stein, Coordinator.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
For Immediate Release
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
ANTHONY VISCO'S VIA DOLOROSA TO BE ON DISPLAY IN THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS' MORRIS GALLERY FROM SEPTEMBER 15 THROUGH OCTOBER 23
(Philadelphia, PA - September 6, 1983) - Via Dolorosa, an exhibition by
Anthony Visco, will be on view in the Morris Gallery of The Pennsylvania Academy
of the Fine Arts from September 15 through October 23, 1983.
An opening reception, to which the public is invited, will be held on Wednesday,
September 14} from 5:00 to 7:00 p.m.
That the adjective "contemporary" is not necessarily synonymous with "avantgarde" in today's art world is well demonstrated by Visco's forthcoming Morris
Gallery exhibition. Entitled Via Dolorosa, this show includes a group of classical
sculpture and drawings related to the artist's recently commissioned reliefs of
The Stations of the Cross for Old St. Joseph's Church, Philadelphia.
Regarding the challenge he faced as a contemporary artist working in a traditional fashion, Visco has said: "I found that the classical vernacular permitted the
broadest range of possibilities. Its conventions provided a sense of order without
the confines of style, to be contemplative without vagueness, and a provocativeness
that is not cryptic. When one no longer sees art as a chronological order of events
but a world of dynamics in which one is free to choose, there is no longer the responsibility to create the next phase in art."
A native Philadelphian,Visco began his art education with classes in drawing
and printmaking at the Fleisher Art Memorial from 1964-66. He received a B.F.A.
degree in sculpture (1970) from the Philadelphia College of Art, where he studied
under Natalie Charkow and Halter Erlebacher. Hhile on a summer fellowship at the
Skowhegan School of Painting and Sculpture in 1969 he met Red Grooms, who sparked
his interest in representational art and narrative content. Up to that point, Visco
had been a nonfigurative artist. In 1970 he was the recipient of a Fulbright-Hays
grant to travel to Italy where he studied at the Academia Delle Belle Arti in
Florence. Of his time abroad Visco has said: '~y studies there taught me that
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VISCO CaN'T
following a tradition is just as difficult as not following one. I learned to lose
my fear of the past, that classicism was by no means a re-creation of the past
anymore than avant-gardism was an approximation of the future. Florence convinced
me of something I believed intuitively as a young student, that classicism is not
a period but a sense of order and design." In addition to the Fulbright-Hays
grant, Visco has been awarded The Elizabeth T. Greenshields grant from Canada for
figurative sculpture (1975-76) and a Pennsylvania Council on the Arts Fellowship
for Sculpture (1982).
His Morris Gallery show will consist, in part, of the fifteen plaster reliefs
and related drawings for The Stations of the Cross done for Old St. Joseph's
Shrine, on the occasion of the 250th anniversary of its founding. Visco will exhibit
the second version of this commission, which is more finely modelled than the set
permanently installed in Philadelphia's oldest Catholic church. The artist included
for the design of the frame architectural motifs which were already in place as
part of the church's structure and did extensive research to find foliage and
animals that have symbolic meanings specific to the Passion. For example, a camel,
symbol of endurance, appears in the 9th Station; and cypress trees, traditional
indicators of death, are depicted in the 2nd Station. Other pieces in the show
are works done for St. Anastasia, Kennett Square; reliefs for St. Genevieve,
Flourtown; and the model of a commission in progress for Old St. Joseph's, of
the Crossing of the Red Sea.
The Morris Gallery displays the work of outstanding contemporary artists
with a connection to Philadelphia, determined by birth, schooling or residence. The
exhibitions are chosen by a committee composed of area artists, museum personnel,
collectors, and the curatorial staff of The Pennsylvania Academy. Currently serving
on the Morris Gallery Exhibition Committee are:
Anne D'Harnoncourt, Jennie Dietrich,
efelia Garcia, Harold Jacobs, Janet Kardon, Charles E. Mather, III, John Hoore,
Jay Richardson Massey, Jody Pinto, Mark Rosenthal,
M~s.
William Wolgin; and from
the Academy staff - Frank H. Goodyear, Jr., Betty Romanella, Kathleen Foster,
Linda Bantel, and Judith Stein, assistant curator. In addition, two Academy
students, cLeslie Fenton and Vincent Desiderio, are members of this committee.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA, PA . 19102
BROAD AND CHERRY STREETS
215
972-7600
NEWS
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
For Immediate Release
COLLECTORS'CIRCLE OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO PRESENT
DANIEL J. TERRA LECTURE ON SEPTEMBER 25
(Philadelphia, PA - September 22, 1983)
Recently The Pennsylvania Academy
of the Fine Arts founded a Collectors' Circle, a special group composed of collectors,
persons interested in American art, and active museum-goers. The chairmen of the
Collectors' Circle are Mrs. Meyer P. Potamkin of Philadelphia, Pa., Mr. Harvey S.
Shipley Miller of Fort Washington, Pa., and Mr. Allen J. Modell of Flourtown, Pa.
The Collectors' Circle, which is a small self-governing body within the Academy's
organization, will present a program of activities each year, both scholarly and
practical, related to American art and the collection thereof. During a typical year,
such a program might include lectures, seminars, and workshops on American art by
other collectors, curators, scholars, connoisseurs, famous artists, conservation
experts, and dealers.
The group' s activities will be inaugurated on Wednesday, September 28, at
5:45 p.m. when Daniel J. Terra will deliver a lecture to Collectors' Circle members.
Terra, a native of Philadelphia, is Ambassador-at-Large for Cultural Affairs- Department of State, founder of the Terra Museum of American Art in Evanston, Illinois, and
a collector of American art. The subject of his talk concerns the duties,
responsibilities, and obligations of being a collector. The lecture will take place
at the Academy's museum at Broad and Cherry Streets.
Those interested in becoming members of the Collectors' Circle should contact
Henriette Rogers, c/o The Pennsylvania Academy of the Fine Arts, Broad and Cherry
Streets, Philadelphia, PA
19102.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA. 19102
215 972-7600
For further information, contact:
Wendy Pollard, Public Information
(215) 972-7642 (Academy)
545-0398 (Home)
For Immediate Release
'l'HE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO PRESENT THE EXHIBI'rION
PHOENIX, AT THE PEALE HOUSE FROM OCTOBER 6 THROUGH OCTOBER 31, 1983
(Philadelphia, Pa., October 5, 1983) -' Phoenix, an exhibition which describes
the evolution of The Pennsylvania Academy of the Fine Arts' Peale House from a
funeral home into a modern art school, will be on display L."'l the Peale House galleries
1820 Chestnut Street, from October 6 through October 31., 1983.
Phoenix will consist of photographs, blueprints, and documents illustrating
the architectural transformation of the Peale House. Over fifty photographs will be
on view, depicting the Peale House before, during and after renovation, its architect~
John T. Windrim, and other buildings he designed. There will also be a variety of
documents on display, such as Windrim's will, the Peale House National Register of
Historic Places certificate, and the award Dagit & Saylor Architects received from
the Philadelphia chapter of the American Institute of Architects for Architectural
Merit for the renovation of the Peale House. In addition, there will be works of
art in all media by Academy alumni and students, who were asked to use the Peale
House as their theme.
Curators for this exhibition are Daniel Miller and Louis Sloan,assistant
deans of the Academy's school and long-time faculty members. Both were closely
involoved in the planning of the new Peale House and the movement of the school into
its new quarters.
Concerning the show, Dan Miller comments: "The exhibition is not only honoring
the building and its transformation, but is also an in-depth look at its forgotten
architect, John T. Windrim."
The Oliver H. Bair Funeral Home was built in 1906 and is undoubtedly a product
of its time. It was one of the largest such establishments in the country. John T.
Windrim (1866 - 1934) was a Philadelphia architect of considerable stature. Among
other buildings he designed in Philadelphia are The Franklin Institute, the
Municipal Court Building in Logan Circle, and the old Bell 'I'elephone Office Building
on the parkway, to name a few.
Funds to support this renovation project have come from more than 350 doners
whose generosity made this effort possible. This exhibition was made possible in
particular by the National Endowment for the Arts DeSign Arts program.
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact
Wendy Pollard, Public Information Coordinator
(215) 972- 7642 (Academy)
545- 0398 (Home)
For Immediate Release
AN EXHIBITION BY BILL HOFFMAN TO BE ON VI~~ IN THE PEALE HOUSE GALLERIES OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROH NOVEl·illER 9, 1983 THROUGH NOVEMBER 30, 1983
(Philadelphia, Pa., October 24, 1983) - Over thirty ~'lOrks by Bill Hoffman will
be on display in The Pennsylvania Academy's Peale House Galleries, 1820 Chestnut
Street, from November 9, 1983 through November 30, 1983.
An opening reception, to which the public is invited, will be held on Hednesday,
November 9, 1983 from 5:00 p.m. to 7:00 p.m.
This multimedia exhibition consisting of Oils, watercolors, and gouaches, will
fea ture Bill Hoffman's recent urban and rustic landscape paintings. Hoffman I s strong
interest in architectural styles has resulted in a series of paintings of churches
and buildings in Camden, New Jersey. A number of these will be included in the show.
In his work, Hoffman tries to reconcile two conflicting aesthetic concerns:
" ... One is the love of paint and the challenge of using it to create a significant
form; the other is the desire to 1 freeze I a certain scene, some little aspect of a
person I love or a certain part of my life for all time - to make my painting timeless.
It is a constant struggle to reconcile these two motivations; but it is a struggle
I enjoy. II
Roffman attended The Pennsylvania Academy of the Fine Arts and was the recipient
of the Academy's prestigious Cresson European Traveling Scholarship and a Topan Prize.
He received an M.F.A. in 1967 from the Tyler School of Art and is currently an
associate professor in the art department at Rutgers University, Camden College of
Arts and Science. Hoffman has exhibited in many one man shows in Pennsylvania, New
Jersey; and New York. He was awarded a Fellowship from the New Jersey State Council
for the Arts in 1980 and has been the reCipient of numerous purchase prizes. His
work is included in the collections of th~ New Jersey Museum at Trenton; the city
of Camden; the Camden County pultural and Heritage Commission; and Touche Ross & Co.
The Peale House Galleries are located at 1820 Chestnut Street. Hours are
Tuesday through Saturday 10:00 a.m. - 5:00 p.m. and Sunday 1:00 p.m. - 5:00 p.m.
Admission is free.
#30
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
NEWS
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS AND THE FAIRMOUNT PARK ART ASSOCIATION
SPONSOR A CONFERENCE ON "SCULPTURAL MONUMENTS IN AN OUTDOOR ENVIRONMENT" ON NOVEMBER 2
(Philadelphia, Pa., - October 24, 1983) - "Sculptural Monuments in an Outdoor
Environment" will be the timely topic of a conference to be held on Wednesday,
November 2, 1983, from 9:00 a.m. to 4:30 p.m., at The Pennsylvania Academy of the
Fine Arts, Broad and Cherry Streets in Philadelphia. The conference is sponsored
by the Academy and the Fairmount Park Art Association and represents an opportunity
for professionals to share ideas with owners, curators, art historians, conservators,
restoration architects and grant administrators, about ways to solve sculpture conservation problems. Particular emphasis will be given to bronze monuments displayed
outdoors.
Talks and discussions will focus on establishing the nature and severity of
technical and aesthetic problems, placing works of art in an appropriate historical
perspective, evaluating the treatment options and identifying funding sources.
The subject, "Sculptural Monuments in an Outdoor Environment," is important
because it is part of a large public concern--the destruction of these nonuments caused
by our industrial environment. The signs of destruction are inmediately visible to
anyone who has watched the changes on the surface of a sculpture displayed outdoors.
In addition, there are other kinds of destruction which are disturbing, such as
vandalism, neglectful maintenance of sculptural sites, and general lack of respect
for the environment.
A conference on this subject is important because there are now ways to mini·mize the potential effects of these adverse forces upon outdoor SCUlpture.
The majority of monuments in Philadelphia are bronze scupture, which will be
the main topic of this conference. If there is sufficient interest, further conferences may be held on the particular problems of stone and ferrous metals.
Virginia Norton Naude, sculpture conservator of The Pennsylvania Academy of the
Fine Arts and organizer of the conference states: "We are at a point where sufficien.t
- more -
2
MONUMENTS CON'T
scientific evidence is available to approach the task of arresting deterioration of
bronze objects with confidence that the time and money spent on this work will have
positive long-term results."
"This conference is unique in addressing a particular audience," Ms. Naude
continues. "Most decisions about the care of outdoor monuments are made by owners
and custodians whose expertise is not in technical fields and who cannot readily find
concise and responsible information which would enable them to feel comfortable about
those decisions they are asked to make concerning sculpture for which they are
responsible. This symposium is an opportunity for such persons to hear conservation
professionals speak directly to these concerns. At this meeting visual records
of treatments that have protected monuments that are an important part of our cultural
heritage will be presented."
The presentations at the conference will focus on establishing the nature and severity
of technical and aesthetic problems, placing the works of art in an appropriate
historical perspective, evaluating options for treatment, and identifying fllIlding
sources.
The speakers at the conference are: Frank H. Goodyear, Jr. - president of The
Pennsylvania Academy of the Fine Arts; Mrs. Naude; Andrew Lins - conservator of
sculpture and decorative arts, Philadelphia Museum of Art; Phoebe Dent Weil chief conservator, Washington University Technology Associates, Sculpture Conservation Laboratory, St. Louis, Missouri; Dan Riss - conservator, National Park
Service, Division of Conservation, Conservation Laboratory, Harpers Ferry Center,
West Virginia; Arthur Beale- director, Center for Conservation and Technical Studies,
Harvard University Art Museum; Penny Balkin Bach - project director, Fairmount Park
Art Association; and Steven Tatti - sculpture conservator, 1-Tho conserved ten bronze
sculptures in Fairmount Park this past summer.
The proceedings of the conference will be published and made available through
the two sponsoring institutions.
- 30 -
, I.
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
~43-9917 (Home)
For Immediate Release
MARCY
PHILADELPHIA, PA . 19102
DRAvlINGS TO BE SHOWN IN THE PENNSYLVANIA ACADEMY OF THE FINE ARTS'
MORRIS GALLERY FORM NOVEMBER 4, 19~3 THROUGH JANUARY 1, 19~4
HER.~ANSADERns
awry . n
Recognizable objects like books, chairs, and trees are recurring motifs, and she
often includes her own reworking of historical compositions when they augment the
content of her drawing. For example, a rendering of a nineteenth-century painting of
the destruction of Pompeii is part of her work called Sevasso, named after the Italian
town devasted several years ago by an exploding chemical factory.
Hermansader's drawings are characterized by an elaborate treatment of the paper
surface: it may be cut, ripped back, woven in strips, or opened up like an Advent
calendar. She is delightfully obsessed with pattern. Working with either black or
light-toned paper, colored pencils, acrylics, and thread, she lovingly recreates the
intricacies of marbleized book paper, wood grain, or patchwork quilts.
- more -
2
HERMANSADER CON'T
1111 want to create a real feast for the eyes," Hermansader has said, "an image
that is intense and mysterious." Regarding the question of narrative in her work, she
wants each drawing to "feel as full and complex as a world. Within this world there is
often a suggestion of a story. A running theme of these stories is the process of
renewal. Renewal involves destruction, fear, and pain as well as certain brightness,
magic, or spiritual power."
Born in Glen Cove, Long Island, in 1951, and raised in Connecticut, Hermansader
grew up in an unusual environment. Both her parents were Pennsylvania Dutch who
had left their traditional communities to pursue careers as artists. Today she regards
her own aesthetic sensibility as close in feeling to the color mosaics and decorative
embroidery her mother made as she was growing up.
During her undergraduate years at the Philadelphia College of Art (B.F.A., 1973),
Hermansader studied with Raphael Ferrer, Cynthia Carlson, Don Gill, and Ree Morton,
who introduced their receptive student to the Chicago Imagists and the diverse world
of folk art. In 1977 she received a National Endowment for the Arts Painting Fellowship which she used for travel in China. As an Invited Artist at Philadelphia's Fabric
Workshop in 1979, she created a cape and a wall hangine.
Her works are in the permanent collections of the Philadelphia Museum of Art, the
Museum of Fine Arts, Boston, and the Vermont Council on the Arts. She has had solo
exhibitions at Janet Fleisher Gallery, Philadelphia (1983); the Eric Makler Gallery,
Philadelphia
(19~0,
1981); the Bethel Gallery, Bethel, Conn.
boro Museum, Brattleboro, Vt.
(197~).
(197~);
and the Brattle-
Group exhibitions she has shown include: For
Real with Jack Beal, Katonah Gallery, Katonah, N.Y. (1980); Material Pleasures,
Museum of Contemporary Art, Chicago (1980); New England Drawing Competition, De Cordova Museum, Lincoln, Mass. (1979).
On Friday, November 4, at 12:00 p.m., the artist will deliver an informal
. gallery talk at the mus eum at Broad and Cherry streets.
The Morris Gallery
displays the work of outstanding contemporary artists with
a connection to Philadelphia, determined by birth, schooling or residence. The
exhibitions are chosen by a committee composed of area artists, museum personnel,
collectors, and the curatorial staff of The Pennsylvania Academy. Currently serving
on the Morris Gallery Exhibition Committee are: Anne D'Harnoncourt, Jennie Dietrich,
Ofelia Garcia, Harold Jacobs, Janet Kardon, Charles E. Mather, III, John Moore,
Jay Richardson Massey, Jody Pinto, Mark Rosenthal, Mrs. William Wolgin: and from the
Academy staff - Frank H. Goodyear, Jr., Kathleen Foster, Linda Bantel, Betty
Romanella and Judith Stein, Morris Gallery coordinator.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
For Immediate Release
PHILIP PEARLSTEIN: A RETROSPECTIVE TO BE ON VIEW AT THE PENNSYLVANIA ACADEMY OF THE
FINE ARTS FROM DECEMBER 16, 1983 TIfROUGH FEBRUARY 19, 1984
(Philadelphia, Pa. - November 17, 1ge3) - From December 16, 1983, through February 19,
1984, The Pennsylvania Academy of the Fine Arts will display Philip Pearlstein: A
Retrospective. The exhibition, which contains 114 paintings, drawings, and works on
paper, is the first comprehensive survey since 1970 devoted to this leading "new realist"
artist, and the first to be seen in Philadelphia. The 70 paintings in the retrospective include Pearlstein's student works of the late 1940's while at the Carnegie Institute of Technology, Pittsburgh; the Abstract Expressionist-influenced landscapes that
evolved after his move to New York in the 1950's; and Pearlstein's celebrated return
to realism of the early 1960's to the present.
It is fitting that Philip Pearlstein:
A Retrospective will be shown at The Perlllsyl-
vania Academy of the Fine Arts because the artist's work with the figure complements the
Academy's traditions and programs. "Figure painting has always been at the center of
our program, both as a museum and a school, for almost two hundred years,n says the
Pennsylvania Academy's curator, Kathleen A. Foster. "We're please to have this opportunity to review the career of a major American artist such as Pearlstein, who has
demonstrated the continuing relevance of figure study within the context of modernism.n
In addition, Philip Pearlstein's work is familiar to Academy visitors, for several of the
artist's paintings and drawings have been included in three group shows
Pennsylvania Academy:
org&~ized
by the
8 American Contemporary Realists (1977), Contemporary American
ltealism Since 1960 (1981), and Perspectives on Contemporary America..Tl Realism:
Art on Paper from the Collection of Jalane and Richard Davidson (1982-1983).
'.Jorks of
It is twenty years since Philip Pearlstein began painting from models in his studiO,
relieving these figure subjects periodically with landscapes and commissioned portraits.
In that time he has been both lauded as a seminal realist and reviled as a
of a passe style.
tec~.nician
Those who express these opinions agree, however, that Pearlstein has
been a major force in the re-examination of realism in contemporary American art.
In the 1950's Pearlstein, a consummate modernist, produced freely brushed,
expressio~
ist paintings whose open, incomplete forms reflected the influence of Willem de Kooning,
Franz Kline, and Mark Rothko. He became increasingly uncomfortable, however, with the
prevailing emphasis on the formal qualities of painting &ld turned aggressively to a
- more -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
215 972 -76 0 0
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
For Immediate Release
ARTIST PHILIP PEARLSTEIN TO SPEAK AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS ON
FRIDAY, DECEMBER 16 at 12:00 p.m . .... OPEN TO THE PUBLIC
(Philadelphia, Pa. - November 23, 1983) - The Pennsylvania Academy of the Fine Arts
invites the public to attend a gallery talk that will be delivered by prominent "new
realist" artist Philip Pearlstein on Friday, December 16, 1983
at 12 : 00 p.m
at the museum at Broad and Cherry Streets. This informal lecture, which is free with
the price of museum admission, will be conducted in the main galleries where the
exhibition Philip Pearlstein: A Retrospective will be displ ayed from December 16, 198~
t hrough February 19, 1984.
The gallery talk promises to be enl i ghtening and challenging, for the artist is
a man of l'lodest demeanor but strong conviction. In r egard to his treatment of the
figure, he has stated with characteristic vigor:
I believe I have made a contribution to humanism in
twentieth century painting - I rescued the human figure
from its tormented, agonized condition given it by the
expressionistic artists, and the cubist dissectors
and distorters of the figure, and at the other extreme
I have rescued it from the pornographers, and their easy
exploitations of the figure for its sexual implications.
I have presented the figure for itself, and allowed it
its own dignity as a form among others in nature .
The exhibition Philip Pearlstein: A Retrospective, which provides the setting for the
lecture, contains 114 paintings, drawings, and works on paper. This show is the first
comprehensive survey since 1970 devoted to Pearlstein, and the first to be seen in Philadelphia. The 70 paintings in t he retrospective include the artist's student works of the
late 1940 's while at the Carnegie Institute, Pitt sbur gh; the abs tract expressionis t influenced landscapes that evolved aft er his move t o New Yor k in the 1950's; and
Pearlstein's celebrated return to realism of the early 1960's.
Philip Pearlstein: A Retrospective has been organized by Russell Bowman, chief curator
of the Hilwaukee Art Museum, Milwaukee, Wisconsin. Partial funding for the exhibition's
appearance at the Pennsylvania Academy has been provided by the National Endowment for
the Arts.
After the run at the Academy, the show will travel to The Toledo Museum of Art, Toledo,
OhiO, from March
1~,
1984 through April 29, 1984, and the Museum of Art, Carnegie
Institute, Pittsburgh, Pa., from May 19, 1984 through July 15, 1984.
- 30 -
Pennsylvania Academv of the Fine Arts
Founded 1805
America's aidest Art Institution
on
PEARLSTEIN
"It seems madness on the part of any painter educated in the
twentieth-century modes of picture-making to take as his subject the
naked human figure, conceived as a self-contained entity possessed of its
own dignity, existing in an inhabitable space, viewed from a single
vantage point. For as artists we are too ambitious and conscious of too
many levels of meaning.
The description of the surface of things see~s
unworthy. Most of us would rather be Freudian, Jungian , Joycean and
portray the human by implication rather than imitation.
"The rules of the game are determined when the artist decides
which kind of faithful record of which aspect of the experience shall be
made.
For, regrettably, the artist cannot transmit the total experience.
The displayed forms themselves become only a point of departure.
"
"Figure Paintings Today Are Not Made in Heaven"
. Art News, vol. 61, no. 4, Summer 1962
"
. by staring at something a long time you hypnotise yourself.
You stare at something and it fills your entire field of vision,
your whole thinking.
If you s tare at it long enough, 1;vhich . you do if
you're trying to paint it, a belly button or a button on a coat, it grows
and grows and fills your whole consciousness.
So there's a natural
tendency to work large.
"
"An Interview with Philip Pearlstein"
Art In America, vol.59, Sept.jOct. 1971
"The nude figures I paint are unclothed artist's models. They
are posed in well-defined room spaces, not as beings lost in existential
universal space.
Specific, measurable, matter-of-fact, female and male,
all parts are rendered with uniform focus; a documentation of a set-up in
my studio. As I concentrate on detail after detail pulled by my eyes from
the setup right in front of me there is no room for existential doubt.
When working fro~ life everything is instantly verifiable, measurable.
Photographic images are not verifiable, they allow too much doubt.
"I deny myself the luxury of emotional anxiety and indecision
but I indulge instead in putting artifacts from different cultures
together with the racial and sexual mix of the models. Victorian or
primitive furniture, Navajo blankets, Japanese kimonos, all are seen under
electric lights.
If there is any symbolism in my work it is that this
cultural mix in my studio seems to become a metaphor for the cultural mix
that is New York City."
"A Realist in an Abstract World"
Unpublished typescript, 1977
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA. 19102
215 972-7600
NEWS
For further information, contact
Wendy Pollard, Public Information Coordinator
(215) 972-7642 (Academy)
545-0398 (Home)
For Immedia te Release
FULL STUDENT EXHIBITION TO BE ON VIEW IN THE PEALE
HOUSE GALLERIES OF THE PENNSYLVANIA ACADEl'1Y OF THE FINE
ARTS FROM DECEMBER 6 THROUGH DECEMBER 26.
(Philadelphia, Pa., November 23, 1983) - Over 100
works of art by students ,at The Pennsylvania Academy of
the Fine Arts will be on display at the Academy's Peale
House, 1820 Chestnut Street, from December 6 through
December 23, 1983.
The Full Student Exhibition includes painting, graphics
and sculpture . ' All Academy day students, from first through
fourth year, including part-time students, submitted one
work of art to a faculty jury and the pieces chosen by the
jury will compose the Academy's Full Student Exhibition.
Most of the works in this show are for sale, and with
the holiday season upon us, this is an excellent opportunity
to purchase, as gifts, works of art by the Academy's talented
students.
The Pennsylvania Academy of the Fine Arts, established
in 1805, is the oldest museum and art school in America,
The Peale House Galleries, located at 1820 Chestnut Street,
display a rotating series of stimulating exhibitions
spon~
sored by the Academy school; alumni, faculty, and student
works are on view.
Hours are Tuesday through Saturday from
10:00 a.m. to 5:00 p.m., and Sundays from 1:00 p,m, to 5 : 00
p.m.
No admission charge,
For more information call, (215)
972-7600.
- 30
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
For Immediate Release
TOM JUDD'S HYMN FOR A LANDSCAPE TO BE SHOWN IN THE PENNSYLVANIA ACADEMY OF THE FINE
ARTS' MORRIS GALLERY FROM JANUARY 20, 1984 THROUGH FEBRUARY 29, 1984
(Philadelphia, Pa. - December 14, 1ge3) - An exhibition of 6 paintings and 3
drawings by Tom Judd, entitled Hymn for a Landscape, will be on view in the Morris
Gallery of The Pennsylvania Academy of the Fine Arts, located at Broad and Cherry
Streets, from January 20, 1984, through February 29, 1984 .
An opening reception, to which the public is invited, will be held on Thursday, January 19, from 5:00 p.m. to 7:00 p.m. in the Morris Gallery.
Hymn for a Landscape, the first Morris Gallery show for 1ge4, presents a
timely change of pace in the gallery 's diverse ex...hibi tion program.
"He' re pleased
and excited about Tom Judd's exhibition , which is the first Morris Gallery show in
some time to feature large-scale oil paintings," said Judith Stein, the Academy's
assistant curator and Morris Gallery coordinator.
Tom Judd's Hynm for a Landscape is only partially about the land.
His large-
scale oil paintings frequently combine images of exteriors and interiors, blending
visions of the present with views of the past.
Judd's past, as reflected in his
work, includes his boyhood experience in Utah, a time when the Great Salt Lake
receded several miles, leaving wharves, docks, and dance halls stranded in a sea
of land.
Empty chairs, waiting drinks, beached boats, and outdated cars all figure
;'
prominently in the offbeat scenarios of Judd's never-never landscapes of passe chic.
Beneath the pink and blue skies in Evening's Doorway, paired curtains billow out
from the borders of a picture window, which frames not the land but a painting of
it.
A green shag rug in the room before it has the color and texture of grass .
A
floor lamp explodes light into the dusk-colored heavens as a gentleman exits, stage
right.
Judd's biography reads like a novel.
He has described his early life in the
following way :
Jedediah M. Grant was my great-great-grandfather. He
was the first mayor of Salt Lake City . He died when he
was forty of exhaustion from his religious obsession.
He left behind six wives (he was a polygamist) with
six sons, all under the age of one. Heber J. Grant was
born the day Jedediah died. He later became the president
of the Mormon church in 1917. Heber had three wives,
- more -
- JUDD CON'T
2
ten daughters, and no sons. My father was the oldest
son of Heber's daughter Mary. During his mission for the
Mormon church to New York City in 1936, my father discovered that, in his words, ITI didn't believe the Joseph
Smith story. More important, I discovered the world of
ideas, the arts, words, libraries, museums, and people,
people, people. 1T
~~ father and mother met in Panama during the war.
She was a stewardess, he a captain in the Army Air Corps .
After the war they were married and moved to Mt. Pleasant,
a small desert town in southern Utah. There they owned and
published the town newspaper, The Mt. Pleasant Pyramid.
They lived over the drugstore where my brother and sister
were born. Unfortunately they could not make a living off
the Pyramid. The family moved to Princeton, New Jersey,
where my father took a more lucrative job in advertising.
I was born two years later in Trenton in 1952. The family
moved back to Salt Lake City in 1954.
The artist studied painting at the University of Utah but dropped out to travel
in Europe for six months.
A chance meeting with Rafae l Ferrer in 1972 spurred Judd
to come to Philadelphia where he enrolled at the Philadelphia College of Art, from which
he graduated in 1975.
Tom Judd's work has been featured in solo exhibitions at the
Eric Makler Gallery, Philadelphia, in 1982 and 1980, and the Salt Lake City Art
Center, Salt Lake City, Utah, 1981.
Invitational:
Group shows in which he has participated include:
New in New York (1981); Contemporary Drawing:
Philadelphia, The Phila-
delphia Museum of Art (1979); Unique Beginnings, The University of Maryland, Baltimore
County (1979); Phillips Gallery, Salt Lake City (1977).
On Friday, February 17, at 12:00 p.m., the artist will deliver an informal
gallery talk at the museum at Broad and Cherry Streets.
The Morris Gallery displays the work of outstanding contemporary artists with
a connection to Philadelphia, determined by birth, schooling or residence.
The
exhibitions are chosen by a committee composed of area artists, museum personnel
and collectors, and the curatorial staff of the Academy.
Morris Gallery Exhibition Committee are:
Currently serving on the
Ofelia Garcia, Anne D'Harnoncourt, Jennie
Q. Dietrich, Harold Jacobs, Janet Kardon, Jay Richardson Massey, Charles E. Mather III,
John Moore, Jody Pinto, Mark Rosenthal, Acey Wolgin; and Academy staff Frank H.
Goodyear , Jr., Kathy Foster, Linda Bantel, Betty Romanella and Judith Stein, Morris Gallery coordinator.
A price list of works for sale is available at the Academy book shop, located
in the museum at Broad and Cherry Streets.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19102
215 972-7600
For further i nformation, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
/)43-9917 (Home)
NEWS
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS INVITES TF...E PUBLIC TO SPEND "AN EVENING FITE
PHILIP PEARLSTEIN" ON WEDNESDAY , JANUARY 25, 1984..... SY11POSIUM ALSO PLANNED FOR FEBRUARY
(Philadelphia, Pa. - December 14, 1983) - The public is invited to attend "An
Evening with Philip Pearlstein: Home Movies and a Tour" on l'iednesday, January 25, 1984,
from 7:00 p .m. to 9:00 p.m. at The Pennsylvania Academy of the Fine Arts, located at
Broad and Cherry Streets in Philadelphia.
The evening promises to be intriguing and informative.
Mr. Pearlstein will be
showing some of his t:home movies," films that he has made that represent a diary of
works in progress in his studio and on site locations. Following the movies, the artist
will lead a tour of the exhibition. The evening will conclude with dessert and coffee,
at which time Mr. Pearlstein will meet informally with those in attendance and will
autograph copies of the exhibition catalogue on sa.le in the museum sho:?
Admission for this event is $4.50 for members of the Academy and $6 for nonmembers. Reservations are not required; for more information, please call the membership
office at (215) 972-7630.
In addition, the Academy has organized a symposium
entitled "The Figure in Contem-
porary Painting: Meaning and Manner, \I "\-Jhich will be held in the Academ3T auditoriwil at
Broad and Cherry Streets on Saturday, February 4 from 9:30 a.TIl. to 4:15 p.m.
Speakers have been invited to discuss the use and interpretation of the human figure
in contemporary painting and the variety of styles which stress this imagery.
Participants in the symposium will include: Philip Pearlstein; Irving Sandler, art
critic and professor of art history, state University of New York at Purchase; Mark
Rosenthal,
curat~r
of twentieth century art, Philadelphia MuseQm of Art; Jody Pinto,
artist and faculty member of The Pennsylvania Academy of the Fine Arts; and Joan
Semmel, artist and faculty member of The Mason-Gross School of the Art s, Rutgers
University. Admission for this event is $8 general public, $6 Academy members,
el3 students, and an additional $6 per person for the entire program plus lunch.
Reservations
ar~
required; for more information, please call the membership office
at (215) 972-7630.
The setting for both of these events is the museum at Broad and Cherry Streets,
which displays the exhibition Philip Pearlstein: A Retrospective through February 19,
1984. This show, organized by Russell
Bo~man,
- more -
chief curator of the Milwaukee Art
2
EVENING WITH PEARLSTEIN CON'T
Museum, contains 114 paintings, drawings, and works on paper. The retrospective is
the first comprehensive survey since 1970 devoted to Pearlstein, and the first to
be seen in Philadelphia. The 70 paintings in the show include the artist's student
works of the late 1940's while at the Carnegie Institute, Pittsburgh; the abstract
expressionist-influenced landscapes that evolved after his move to New York in the
1950's; and Pearlstein's celebrated return to realism of the early 1960's.
In addition to the artwork, there is a 22 minute videotape on view in the galleries,
consisting of an interview of Philip Pearlstein by curator Russell Bowman, taped when
the retrospective opened in Milwaukee.
Partial funding for the Pearlstein exhibition's appearance at the Pennsylvania
Academy has been provided by the National
Endo~vment
for the Arts. After the run at
the Academy, the show will travel to The Toledo Museum of Art, Toledo, OhiO, from
March 18, 1984 through April 29, 1984, and the Museum of Art, Carnegie Institute,
Pittsburgh, Pa., from May 19, 1984 through July 15, 1984.
- 30 -
PENNSYLVAN·IA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact
Wendy Pollard, Public Information Corrdinator
(215) 972- 7642 (Academy)
545- 0398 (Home)
For Immediate Release
AN EXHIBITION BY LOIS EATON DOLLIN TO BE ON VIEW IN THE PEALE HOUSE GALLERIES OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM JANUARY 12 THROUGH FEBRUARY 3, 1984.
(Philadelphia, Pa., December 15, 1983) - Over twenty works of art by Lois
Eaton Dollin will be on display in the Pennsylvania Academy's Peale House Galleries,
1820 Chestnut Street, from January 12 through February 3, 1984.
An
opening reception, to which the public is invited, will be held on January
11 from 5:00 p.m. to 7:00 p.m.
This exhibition will include encaustic
paintin~
watercolors, and gouaches.
Dollin is a colorist of the neoimpressionist manner and her works recall the styles
of Bonnard and Matisse.
These paintings of luminous COIO*S hang in hand-burnished
gold or silver leaf frames which Dollin makes herself.
Roswell Weidner, currently a member of the faculty of The Pennsylvania Academy
of the Fine Arts school, was instrumental in Dollin's decision to pursue encaustic
painting.
This exhibition represents a rare opportunity to look at the encaustic
method since this technique is no longer commonly practiced.
Encaustic, or painting with wax colors, dates back to the ancient Eygptians .
The technique was perfected in the fourth century B.C. in Greece and was the most
popular style of painting in the early centuries of the Christian era but fell
into disuse in the eighth or ninth century. In encaustic paintings, hot melted
beeswax is usually combined with small percentages of varnish or linseed oil.
The
pigments are then added to the wax while it is in a warm liquid state and applied
to the canvas with brushes or spatUlas.
Encaustic paintings do not darken or
yellow with age because the wax binder makes them resistant to moisture damage
or decay, unlike the chemical agents in oil or tempera paintings that cause the
artworks to deterioate.
As a result of the encaustic painting method, surviving
Eygptian mummy portraits of the Hellenistic period still look fresher and more alive
than many other works of art handed down to us through the centuries.
- more -
p. 2
Arthur de Costa, faculty representative to the Academy board of trustees,
comments on the exhibition:
"Lois Eaton Dollin is a consummate master of encaustic.
This technique of painting with wax goes back to the Greco-Roman" civilization,
but she brillantly lifts it out of its ancient context and transforms it into a
totally modern means of exquisite nuance and daring virtuosity. II
Dollin was the recipient of The Pennsylvania Academy of the Fine Arts!
prestigious Cresson European traveling scholarship and graduated from the Academy
in 1955.
She received her B.F.A. and M.A. in 1957 from the University of Pennsylvania
and has taught at the Agnes Irwin School, Rosemont, PA, and the Baldwin School,
Bryn Mawr, PA.
Dollin has exhibited in several solo exhibitions and annual oil
exhibitions of The Pennsylvahia Academy of the Fine Arts, the Philadelphia Museum
of Art, Hoore Institute of Art, National Arts Club, and the University of Delaware,
to name just a few.
The Peale House Galleries, located at 1820 Chestnut Street, display a
rotating series of stimulating exhibitions sponsored by the Academy school;
alumni, faculty, and student works are on view.
Hours are Tuesdays through
Saturday from 10:00 a.m. to 5:00 p.m., and Sundays from 1:00 p.m. to 5:00 p.m.
No admission charge.
For more information call, (215) 972- 7642.
# 30
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA, PA . 19102
215 972-7600
For further information, contact
Kirby F.Smith, Public Information
Officer (215) 972- 7642 (Academy)
843- 9917 (Home)
AN EXHIBITION OF PETER PAONE'S PAINTINGS AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MARCH 11 - APRIL 24, 1983.
(Philadelphia~
Pa., March 4, 1983) - Paintings, an
exhibition of works by
Peter Paone, will be on display in the Morris Gallery at The Pennsylvania Academy
of the Fine Arts from March 11 to April 24, 1983.
An opening reception, to which the public is invited, will be held on Thursday,
March 10, from 5:00 p.m. to 7:00 p.m.
Somewhere between the world of realism and surrealism,
there is a world which deals with the reality of relationships, f avoring the substance of the imagination
rather than t he substance of every day vision.
Objects which seemingly have no real relationship to
each other in their existence are jux taposed in the
life of the artist. They have touched each other and
have become part of the vision, and in turn, have become his i conography.
There is no urgency in this vision. The private reality
has always been there and always will be. The viewer is
allowed to question his knowledge of it, and in doing so,
he often is uneasy and bewildered before the assemblage.
This, at first, implies fantas y ; this is not true. Instead, this is a re construction of reality, not an escape
from it.
Although the paintings in this exhibition have recourse
to the subject of dreams, subconscious visions and chance,
they are representational. In being so, the statement is
articulate and precise ... and to me, reality is reassembled.
For artist Peter Paone, who prepared this statement for
the Morris Gallery
exhibition, representational images are the springboard for fantasy. Paone's paintings bring together disparate objects, assembled for purposes which are not always
revealed to the viewer.
An inveterate collector with catholic tastes, Paone often uses his acquistions
as still life props.
his table top visions.
Kachina dolls and vintage Halloween favors preside in many of
This Morris Gallery show of Paone's recent paintings, which
are virtually unknown here in his native city, will include interior and landscape
scenes.
- more -
p. 2
Peter Paone was born is Philadelphia in 1936.
He attended classes at the
Albert C. Barnes Foundation in 1953- 54, and graduated from the Philadelphia
College dfAtti.n 1958. In 1965, at the age of 29, he was awarded a Guggenheim
Foundation fellowship and spent two years in London studying miniature paintings.
Paone was also the recipient of Tiffany Foundation grants in 1964 and 1965.
An
Associate Member of the National Academy of Design, he is currently on the
teaching faculty in the Academy school.
At the age of 14, Paone was given his first solo exhibition at the Print Club
in 1950.
Since then he has achieved a national reputation with Numerous one" man shows,
including those at the Makler Gallery, Phila. (1961, 1976); the Fort Worth Art
Museum (1964); Robinson Gallery, Houston (1971, 1973, 1974, 197:6); Roswell Museum,
Roswell, New Mexico (1977); Museum of the Southwest (1979); and Galerie E. Hilger,
Vienna (1982).
His work is represented in the collections of such institutions as the Museum of
Modern Art, New York; Philadelphia Museum of Art; The Library of Congress; and Victoria
and Albert Museum and the British Museum, London.
In conjunction with the Morris Gallery showing of Paone's paintings, the Print
Club will present an exh ibition of the artist's drawings and wa terc olors at the club
fr om March 11 through April 2.
The Morris Gallery displays the work of outstanding contemporary artists, with
a connection to Philadelphia, determined by birth, schooling or residence.
The ex-
hibitions are chosen by a committee composed of area artists, museum personnel, collectors, and the curatorial staff of The Pennsy lvania Academy .
the Morris Gallery Exhi b ition Committee are:
Currently serving on
Richard J. Boyle, Vincent Desiderio,
Murray Dessner, Anne d'Harnoncourt, Jennie Dietrich, Leslie Fenton, Harold Jacobs,
Janet Kardon, Charles E. Mather III, Dr.Perry Ottenberg, David Pease, Jody Pinto, Mrs.
William Wolgin; and from the Academy staff - Frank H. Goodyear, Jr., Kathleen Foster,
Linda Bantel, and Judith Stein, Coordinator.
- 30 -
