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Title
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1984 PAFA Press Release
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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 ART S
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA . 19102
215 9 72-7600
For more information, contact
Kirby F. Smith, Public Information Officer
(215) 972 - 7642 (Academy)
843 - 9917 (Home)
For Immediate Release
THE MORRIS GALLERY OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS PRESENTS
LIVB WOOD SCULPTURE, A PERFOilliANCE BY BIKO Ffu.""J ON SUNDAY, FEBRUARY 12, 1984
(Philadelphia, Pa. - January 13, 1984) - The Horris Gallery of The
Pennsylvania Academy of the Fine Arts will present Live Wood Sculpture, a
performance by Philadelphia sculptor Eiko Fan, in the
rot~~da
of the Academy's
museum at Broad and Cherry Streets on Sunday, February 12, 1984 at 2:00 p.m.
In Live Wood Sculpture, sculptor, actor, dancers and musicians walk together
to bring sculptures to life.
This hou~~ long multimedia performance is
des.igned to delight both
grCT~ups
and children alike.
The event is free
with museum admission.
Eiko Fan's sculptural creations, which l ook , smell, and feel like trees,
are brought to life by the people who wear, dance on, and ride them.
Each
event is a fresh improvisation based on ideas generated by her sculpture.
During
part of the performance, the audience will be invited to participate by donning
her costumes and playing her handmade instruments.
Those who wish to participate
should wear black clothing.
Regarding the nature of her work Eiko Fan has said:
I make wood sculptures which are brought to life
by human body movements. My wooden costumes induce the dancers to become creatures because they
restrict classically trained dancers to the exploration of primitive animal-like movement. The
musicians are also integrated into visual aspects
of the performance.
Our concerts are based on a three-way interaction
between the sculptures themselves, the dancers, and
the musicians. Once a moving performer puts on a
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p. 2
sculptural costume, both the performer and the sculpture
are transformed into a living version of that sculpture,
Most of these creatures are accompanied by specific corresponding musical intruments, and some costumes are actually musical intruments themselves.
The order of appearance of these characters and some
basic motions and interactions are predetermined so that
there is a skeletal structure for each performance which
is otherwise spontaneous.
Eiko Fan was born in 1951 in Tokyo, Japan.
She received a certificate
from The Pennsylvania Academy of the Fine Arts and was awarded the Academy's
prestigious Henry Schiedt Traveling Scholarship.
In addition, she holds the
B.F.A. and M.F.A. degrees from the University of Pennsylvania (1981, 1982).
Also performing with Eiko Fan will be Joel Levine,
recorder;
Hitoshi
Maeda, percussionist; Jerry Tannenbaum, percussionist; Floyd Green, movement ;
Helen Bronte'Stewart, dancer; Jessie Braun, dancer; and Gussy Hopkins, dancer.
This performance is partially funded by a grant from the Pennsylvania
Council on the Arts.
The snow date for this performance is February 19, 1984.
The Pennsylvania Academy of the Fine Arts is located at Broad and
Cherry Streets.
It is open to the public from 10:00 a.m. to 4:00 p.m. Tuesday
through Saturday, and 12:00 p.m. to 4:00 p.m. on Sunday.
General admission
is $2.00, senior citizens - $1.50, and students - $1.00.
Free admission on
Tuesdays.
# 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
PICTORIAL PHOTOGRAPHY IN PHILADELPHIA: THE PENNSYLVANIA ACADEMY'S SALONS, 1898-1901, AN
EXHIBITION ON DISPI.J..Y AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM !FARCH 9-APRIL 18, 1984
(Philadelphia, Pa, - January 20, 1984) - From March 9, 1984, through April 18, 1984,
The Pennsylvania
Acade~
of the Fine Arts at Broad and Cherry Streets will display
over 150 works by 72 American and European turn-of-the-century photographers, as well as
documents and memorabilia of the period , in an exhibition entitled Pictorial Photography in Philadelphia : The Pennsylvania Academy's Salons, 1898-1901.
This show will
offer a unique opportunity for students, collectors, and camera buffs to see these
photographs and assorted memorabilia since the exhibition will be seen only at the
Pennsylvania Academy.
Following the success of last summer's exhibition, The Photo-Secession: The
Golden Years of Pictorial Photography in America, this spring's exhibition will present
a closer look at the origins of artistic photography in Philadelphia. The role of
Philadelphia photographers and the Pennsylvania Academy l.V"ill be considered in regard
to the development of modern attitudes toward photography. A survey of the most advanced pictorial photography in American during the late nineteenth and early twentieth century, Pictorial Photography in Philadelphia is an important, original
contribution to the scholarship of the history of photography.
Dr . \hlliam Innes Horner, professor of art history at the University of Dela"ltlare
and author of Alfred Steiglitz and the Photo-Secession, organized this show and Has
co-director of our earlier Photo-Secession e]~hibition. In this new· show, Dr . Romer
has moved backward in time to discover the roots of American pictorial photography
in Philadelphia and trace the "Photo-Secession" movement as it developed in the four
international photographic "Salons" held at the Pennsylvania Academy between 1898 and
1901. As the first truly international Salons in America, based on avant-garde principles of pictorialism, the four exhibitions were of crucial importance in winning
acceptance for photography as a fine art.
These pioneering shows featured · the work of local photographers
experimenting with artistic uses of the camera since the 1880's. The
who had been
leaders among
them, such as Robert S. Redfield, Jo~ G. Bullock, William Rau, and the VaQX family,
formed an aesthetic based on naturalism - a clean, direct style derived from scientific or documentary photography that sought for pictorial effects of
com~osition,
lighting, framing, and subject. Also appearing in Philadelphia's Salons were many
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?ICTORIAL PHOTOGRAPHY COlP T
2
younger photographers such as Edward Steichen, Gertrude Kasebier,
who later f01L."'1d their Hay to Alfred Steigli tz' s "Little Gallery
0 )
Cl'
T .
t~l e
Holland Day,
Photo-Secession"
at 291 Fifth Avenue in New York City. In general, this group was more interested in
"painterly"
imager~T,
often involving manipulation of the lens or the print to create
blurred, atmospheric effects. Ultimately, the "soft-focus" style dominated the Salons,
and inspired the group exhibition of the Photo-Secession artists at the Academy in
1906, examined in. our exhibition last summer .
The historical context for these Salons in Philadelphia will be represented by
earlier work from local photographers active in the adventuresoIT'.e Philadelphia Photographic Society. This group, which held its first exhibition in 1885-1886, was nationally,
even internationally famous for the quality and energy of its camera work. Perhaps
the most prominent photographic association in America in this period, the Society
and its exhibition drew the most sophisticated
avant-garde work in the United States
and abroad from both professionals and amateurs, particularly women . Susan Macdowell
(Mrs. Thomas) Eakins, her sister Elizabeth MacdoHell Kenton, and Eakins'
students
Alice Barber Stephens and Amelia van Buren demonstrate the range and invention of
Philadelphia's amateur photographers in the 1880's and '90s.
In 1898 the Photographic Society joined with the Academy to sponsor the first
International Photographic Salon, which attracted work from allover the United States
and Europe. The exciting diversit3T and liberality of the first Salon was gradually
polarized, however, by philosophical disputes within the Society . The struggle for
control of the Salon between the "old" naturalist photographers and the "new" pictorial
schools l..;ri thin the SOCiety tells much abouth the warring aesthetics of photography in
this period. The eventual triumph of the "new" photographers in Steigli tz ' s circle / and
their domination of theBe Salons (as lorell as the subsequent nPhoto- Secession
movement) marks an important episode in the history of the medium . Photography was
firmly established as an art, but Philadelphia's "naturalism" had been supplanted by
New York!s "pictorialism."
On
March 21 and March 28 the public is invited to attend two special Pictorial
Photography in Philadelphia lectures which will take place in the Academy's auditorium
at Broad and Cherry Streets , at 5:45 p.m. Ken Finkel, curator of prints and photographs
at the Library Company of Philadelphia will speak on March 21.
The title of Kr.
Finkel's lecture is "From the Centennial to the Salons: Philadelphia Art Photography
Emerges." Debbie NorriS, conservator at the Center for the Conservation of Art and Historic Artifacts, located in Philadelphia, will come to the Academy on March 28,
to discuss the care of historic photographs and will comment on turn-of-the-century
techniques. In addition, gallery talks based on the exhibition will also be held on
Sunday afternoons, March 18, 25, and April ,S . Both the lectures and the Su,,-:.da:JT
gallery talks are free 1-Jith the price of !IlUSeUlTI admission.
- 30 -
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 Immediate Release
AN EXHIBITION OF PAINTINGS BY GLENN RUDDEROW AND SCULPTURE
BY 'MIKE COHEN TO BE ON VIEW IN PEALE HOUSE GALLERIES OF THE PENNSYLVANIA
ACADEHY 0 F THE FINE ARTS FROM FEBRUARY 9 THROUGH MARCH 2, 1984
(Philadelphia, Pa. - January 23, 1984) - The works of two artists will
be on view in the Peale House Galleries of The Pennsylvania Academy of the
Fine Arts, 1320 Chestnut Street, from February 9 through March 2, 1984.
This
exhibition will be composed of paintings by Glenn Rudderow and sculpture by
Mike Cohen.
An opening reception, to which the public is invited, will be he ld on
Wednesday, February 8, 1984 from 5:00 p.m. to 7:00 p.m.
A native of New Jersey1s Cumberland County, Glenn Rudderow says that the
marshlands of southern New Jersey are the inspiration for his large, sweeping,
and dramatic landscapes.
be on display.
Over twenty works in both oils and watercolors will
According to Rudderow, he has chosen to depict the landscapes of the
Garden State in order to create a "... feeling of intimacy between the viewer
and the painting.
The purpose being to express a statement which transcends
the technical components of the painting in order to evoke both the emotional
and subjective response.
It is hoped that the appeal of these paintings cul-
minate in a feeling of presence for the observer.
"Most of the paintings deal with a suspended moment in time that, while
stimulating the senses, also creates a bond between the real and ethereal
~spects
of nature and art, and the human ability to integrate the two,tf said the artist.
Rudderow received his certificate from The Pennsylvania Academy of the Fine
Arts in 1976 and was the recipient of the Academy1s prestigious Cresson European Traveling Scholarship and a Thouron Prize for Composition.
He has exhibited
in the Annuals at The Pennsylvania Academy of the Fine Arts (1975) and at
The National Academy of Design (1976); and had a one man show at The Philadelphia
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p. 2
Art Alliance in 1977.
In 1981 Rudderow received a New Jersey State Council
on the Arts fellowship grant, which was used to complete a group of paintings
of the Cumberland County, . New Jersey, landscape. These paintings are on display
in Cumberland County public buildings.
Mike Cohen, the other artist in the show, will have his wood sculptures
on view.
With the exception of a semester of metal-working courses at a
craft school, Cohen is entirely self-taught.
Formerly the owner of the
Rittenhouse Gallery in Philadelphia, Cohen is currently a full time sculptor.
His work is included in many New York and Philadelphia prive.te collecti.ons.
In commenting on his work, Cohen says,
"Whatever the subject, I am
interested in the form, not the picture. The confluence of volumes carries
the message which is, I hope, one of solidity, weight, and strength.
If
there is a message I suppose it deals primarily with man in the trials of life.
However, there is also grace and formal elegance in the work.
Many pieces
are enhanced with brass sheathing secured to the wood with escutcheon pins.
The purpose is to emphasize form, but it gives, in addition, a rich and varied
surface reminis cent of the medieval and unearthed objects."
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 Tuesday through
Saturday from 10:00 a.m. to 4:00 p.m., and Sundays from 12:00 p.m. to 4:00 p.m.
No a dmission charge.
For more information call, (215) 972- 7642.
# 30
I
II
~
1
J
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA . 19102
215 972-7600
Eor further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
for Immediate Release
THE PENNSYLVANIA ACAD~IT OF TIlE FINE ARTS TO RECEIVE CHARLES DEMUTH PAINTING AND
ACQUISITION FUNDS FROM THE PHILADELPHIA MUSEUM OF ART IN EXCHANGE FOR JOHN S. PHILLIPS
EUROPEAN DRAWING COLLECTION
(Philadelphia, Pa. - February 1, 1984) - The Pennsylvania Academy of the Fine
Arts announced today that it had reached an agreement with the Philadelphia Museum
of Art which provides that the Academy will receive a Charles Demuth painting, Box of
Tricks, and funds from the Philadelphia Museum of Art in exchange for over 2,400
European drawings, most of which were given to the Academy in the bequest of John S.
Phillips. These funds were generously contributed to the Philadelphia Museum of Art
for this purpose by Philip I. Berman and his wife Dr. Muriel Berman of Allentown, Pa.
The Bermans are members of the Charles Willson Peale Society of The Pennsylvania Academy
of the Fine Arts, and Mr. Berman is a trustee of the Philadelphia Museum of Ar,t .
Charles E. Mather III, chairman of the board of The Pennsylvania Academy, commented
on the agreement that "the public needs, as well as those of the institutions themselves,
have been well served by this transaction. I am particularly appreciative of the cooperative spirit in which these matters have been conducted."
The Pennsylvania Academy of the Fine Arts is the oldest art school and museum in
the country, having been founded in 1805. In its early years the Academy maintained
a collection of European art, both for public display and for study by its art students.
As the years progressed, however, the Academy's emphasis shifted to the collection
and study of American art.
Frank H.Goodyear , Jr., president of the Academy, said of the agreement bet1-leen
the ~~o institutions:
Through much of the nineteenth century, the Academy's museum
was the principal fine arts museum in Philadelphia. It exhibited both European and American works of art. With the establishment of the Philadelphia Museum of Art, and other fine
arts institutions in Philadelphia, the role of the Acadmey's
museum has changed. Increasingly, it has become a museum of
American art.
The Pennsylvania Academy is recognized today as a repository
for one of the outstanding collections of American art in
the world. The Academy's board of trustees and professional
staff, in seeking to focus on its strengths, has deliberately
sought to affirm that strength through the exhibition and
collection of American art.
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ACADEMY RECEIVES DEMUTH PAINTING CON'T
2
The sale of the Academy's 1uropean drawings collection to the
Philadelphia Museum of Art, on so many levels, makes great
sense. The Museum not only has great strengths in its European
holdings, but a professional staff with expertise in European
art. Its facilities also allow for the exhibition and study
of European art to a greater extent. The sale strengthens the
Academy's ability to acquire American works of art, in the
name of John S. Phillips, and, of course, with the addition
of Charles Demuth's Box of Tricks the permanent collection is
greatly enriched.
Finally, on behalf of the trustees and staff of the Pennsylvania
Academy, I want to thank Mr. Philip I. Berman and Dr. Muriel
Berman for their generous contribution, which in great part
enabled this important agreement to take place.
The drawings were bequeathed to the Ac ademy in 1876 under the will of John S.
Phillips, were done entirely by European artists. Because the Academy now specializes
in American art, this collection of European drawings is no longer consistent or
congruous with the artistic emphaSis of the institution. This collection is now virtually never used for study by the art students at the Academy's school.
The Pennsylvania AcadeIDJT of the Fine Arts believes that the purpose of the Phillips
. gift will be better fulfilled by the sale of this collection to the Philadelphia
Museum of Art, which does maintain an extensive collection of European art and has
the curatorial staff and expertise in European art for the proper presentation, display, and cataloguing of these drawings.
The sum received from this sale by The Pennsylvania Academy of the Fine Arts
will be added to its endowment fund, as a separately identifiable portion thereof,
to be known as the John S. Phillips Fund. The principal of this Fund will not be
expended, and the income thereof may be used only for the acquisition, maintenance,
and preservation of works of art, and any works of art so acquired with the income
from this Fund shall be designated as part of the John S. Phillips Collection. The
Demuth painting, Box of Tricks, will be retained by the Pennsylvania Academy, will
not be sold or exchanged, and will be desi gnated , i'Acquired
b~T
Exchange, John S. Phillips
Collection."
~
.
Charles Demuth attended The Pennsylvania Academy of the Fine Arts from
1905 - 1910. He was born and spent the last years of his life in Lancaster, Pa.,
but he was an active participant in the international art world of Paris and New
York during the first quarter of the twentieth century . The simplified form and the
structural style that he encountered in the paintings of Cezanne and the French
cubists were central to his thinking. Because of ill health, Demuth did not make
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3
ACADEMY RECEIVES DEt,ruTH PAINTING CON'T
many paintings in oil; his major output was in the medium of watercolor. Box of
Tricks was painted by Demuth in 1919. The medium is tempera on academy board, and the
work measures 19t by 15t." It was in 1919 that Charles Demuth started a new series
of paintings in tempera, all of the~ larger than his previous watercolors. The titles
of these 1919 works are Duchampian and are notable for their double-entrendre,
such as Box of Tricks, Backdrop for East HLynne, Riseaf · the · Prism, . In . the Province,
In tbeKey of Blue, and Gloucester or Mackerel 35¢ a Pound. These semi-abstract
landscapes are original to Demuth and incorporate his own cubist techniques in which he
used prisms, facetings, spot- light effects - all those elements which add up to a
"box of tricks .," The painting is aptly titled. The artist has devised a magical abstract landscape that teases and charms the viewer.
~llien
Boxaf Tricks is received by the Academy, it will immediately go on view
in the museum at Broad and Cherry Streets, so that the public
to see this l.mnortant painting.
- 30 -
~ay
have an opportunity
,-
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
WOMEN'S HISTORY WEEK TO BE OBSERVED AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS WITH A
LECTURE BY AWARD-WINNING AUTHOR CHARLOTTE STREIFER RUBINSTEIN ON YJffiCH 4, 1984, AT 2 P.M .
. .. .... MARGARET WASSE~..AN LEVY TO BE SPECIAL GUEST
(Philadelphia, PA - February 14, 1984) -
The Pennsylvania Academy of the Fine Arts
invites the public to attend a lecture by Charlotte Streifer Rubinstein entitled
"Murals and Monuments by American Women Artists." This lecture, which marks the Pennsylvania Academy's observance of Women's History Week this year, will take place on Sunday,
March 4, at 2 p.m., in the Academy's auditorium at Broad and Cherry Streets, and is free
with the price of museum admission.
Charlotte Streifer Rubinstein will survey the s·ometimes surprising and Ii ttleknown works by women artists for large public spaces. Her book, entitled American
Women Artists: From Early Indian Times to the Present, won the prize for "Best
Humanities Book" of 1982 from the Association of American Publishers. Ms. Rubinstein
teaches studio art, art history, and women's study courses at Saddleback College in
Mission Viejo, California.
"I consider this a myth-breaking lecture," states Rubinstein, alluding to the
tendency to think of women's art as only domestic and intimate in scale. POinting to
women's "heroic accomplishments, previously hidden from view," Ms. Rubinstein will
reveal the tradition for contemporary large-scale work by artists such as Alice
Aycock, Mary Miss, Joyce Kozloff, and many others. Beginning with nineteenth-century
projects, Ms. Rubinstein will discuss a variety of monumental sculpture, paintin~s,
and decorating projects done b~T women for state capitals, public parks, and international fairs. Many of these artists, such as Mary Cassatt, Violet Oakley, Cecilia
Beaux, and Beatrice Fenton, were students or faculty members at the Pennsylvania Academy,
the first art school in America to offer women and men equal access to a professional
fine arts curriculum.
In addition to the lecture, t he Pennsylvania Academy will salute Women's History
Week with the installation of several of our collectio~s of paintings and sculptures
by women artists throughout the main galleries. They represent a range of styles, media,
and subject matter; the earliest date from the turn-of the century. A softly-nodeled
bronz e of a young mother and child is by Bessie Potter Vonnoh, a specialist in small
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2
WOMEN'S HISTORY WEEK AT THE ACADEMY CON'T
in _imate
compositions, whose career was launched in 1893 when she
\.:3. 8
one of Lorado Taft's
sculpture assistants at the World's Columbian Exposition. Emily Bishop, an extremely
talented artist whose early death prevented her from ever achieving her career and
artistic potential, is represented by a project for a public monument she did in Charles
Grafly's composition class at the Academy. The 1930's and 1940's was an era concerned
with emphasizing the nature and quality of the materials used to create sculptures.
Works such as Jane Wasey's Polar Bear (1947) and Alice Decker's wood piece, Whom Shall
I Fear (1948), fall into this category. On view also is one of the Academy's more recent
acquisitions, a large black wooden totem, Cascades, Perpendicular
I (1980-82), by Louise
Nevelson, one of America's most acclaimed constructivist sculptors.
Pennsylvania Academy alumna) Hargaret Uasserman Levy, whose portrait bunt of
Hell~T
S.
Drinker (1945), will be included among the sculptures in the main galleries, will be a
special guest at the Rubinstein lecture. The artist is a vigorous eighty-five years old
and still sculpting.
Mrs. Levy was born and received her art education in Philadelphia. She was trained
at the Tyler School, Temple University; The Pennsylvania Academy of the Fine Arts (1939-40's ;
and at the Summer School in Skowhegan, Maine. Her most influential teachers include
Boris Blai, Stephen Lewis, Jose de Creeft, Harry Rosin, Earl Hortter and Gerd Utescher.
Her sculptural oeuvre ranges from representational works rendered in bronze and marble
to abstractions in acrylic and stainless steel. In regard to h3r work, she states: "Art
must have life. You have to get the essence of
somethi~deeper
than just the material. It's
something that has lasted over the centuries, regardless of time or culture."
During a long and productive career, she has exhibited in numerous regional
exhibitions, and nationally at The Pennsylvania Academy of the Finp Arts Annual Exhibitions
(1950, 1954, 1956, 1958), The Detroit Institute of Art (1958-1960), the Rin5ling
Mu~eum
of Art, Sarasota, Florida (1960), and the National Academy of Design, New York City
(1963, 1978) . Mrs .
Le~T ' s
work is included in many Philadelphia area public
collectio~s,
such as The PenIlsylvaL.ia Academy of the Fine Arts, Philadelphia Huseum of Art, Dre}:el
Uni versi ty ano. Haverford College.
The Academy has rotated its permanent collection to include paintings as well as
sculpture by women artists.
Painters with strong Academy connections, such as Anna
and Margaretta Peale, Mary Cassatt, Celilia Beaux, Violet Oakley, and Margaret Richardson
will have works on view throughout the main galleries. A quiz, in the form of a gallery
guide, will spotlight works by women painters and sculptors in an entertaining fashion.
,
'
This guide, entitled the\\Women's History Week Ouiz,1 encourages Academy visitors
t b.2:'oughout the month of Harch to look at various works of art, and the images therein ,
a:;:~d
guess
~,;hether
in order if, as we
or not a female or ;::tale artisJL; executed them. Congratulations are
ex~ ect,
our visitors fail the quiz.
- 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
CONTEMPORARY PHILADELPHIA PHOTOGRAPHERS TO BE ON VIEW IN THE MORRIS GALLERY
OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM MARCH 9 THROUGH APRIL 22
(Philadelphia, Pa. - February 21, 1984) - In conjunction with the Pennsylvania
Academy's spring exhibition Pictorial Photography in Philadelphia:
The Pennsylvania
Academy's Salons, 1898-1901 (which opens March 9 and runs through April 18), the
Academy's Morris Gallery will present the work of several contemporary photographers
with a Philadelphia connection.
In the past, the Morris Gallery has shown the work of
such important photographers as George Krause, Ray Metzker, and Mark Cohen.
The impetus
of the major historical exhibition mentioned above prompted the Morris Gallery committee
to select a representative group of artists working today who demonstrate the energy and
diversity of the medium.
Among those included in the Morris Gallery exhibition are:
Bill Bamberger,
currently a resident of North Carolina, who has focused his attention on the residents of
Durham County, N.C.; Alida Fish, who teaches at the Philadelphia College of Art and works
with a view camera to concentrate on still-life images with art-historical reference
points; Peter Sasgen, whose work is directed toward expressionist and figurative motifs;
William E. Williams, a teacher at Haverford College, who has recently shown a body of
work entitled Philadelphia Parties and Portraits; Paul Cava, a collagist, who incorporates
historical photographic images into his work; Laurence Salzmann, best known for such
documentary series as "Last Jews of Radauti," and "La Baie"; David Lebe, an irt-structor
at Philadelphia College of Art, who has used a penlight to Ifdraw" on his still-life and
figure studies; Judith Steinhauser, professor of photography at Moore College of Art,
·
2
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who most recently has been doing hand-colored fl oral images; Catherine Jansen, associate
professor at Bucks County Community College, who uses such alternative photographic
processes as color Xerox on cloth.
Judith Stein, coordinator of the Morris Gallery states the following about
the new show:
Timed to coincide with the historical exhibition, Pictorial
Photogra h in Philadel hia: the Penns Ivania Academ 's Salons
~~~~~, the Morris Gallery's show of Contemporary Philadelphia
Photographers presents the work of nine artists working today.
While the diversity of contemporary approaches and techniques is
well represented, the selection is but a small sample of the
excellent work done by the large and active photographic community
in Philadelphia.
Catherine Jansen doesn't employ a camera, preferring instead
to use a Xerox machine. Paul Cava doesn't consider himself a
photographer at all, although his collages all include historical
photographic images. David Lebe "draws" in front of the camera
with a penlight. Lebe, along with Judith Steinhauser and Alida
Fish augment their prints with the old fashioned technique of hand
coloring. Before shooting, Fish first constructs her setups of
vintage book illustrations and real insects, and Laurence Salzmann
escorts his models to a street corner to pose over a steam vent.
While Bill Bamberger mines his subjects in Durham County, North
Carolina, William Williams finds his people at posh urban parties.
Issues of human sexuality are investigated in the work of Peter
Sasgen, David Lebe, Paul Cava, and Laurence Salzmann.
Informal talks will be given in the Morris Gallery at noon, Friday, on March 16
by Peter Sasgen; March 23 by Paul Cava; March 30 by William Williams; and April 13 by
Alida Fish.
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.
Committee are:
Currently serving on the Morris
G~llery
Exhibition
Ofelia Garcia, Anne D'Harnoncourt, Jennie Q. Dietrich, Harold Jacobs,
Janet Kardon, Jay Richardson Hassey, Charles E. Mather III, John Moore, Jody Pinto,
Mark Rosenthal, Acey Wolgin; Pennsylvania Academy student Katherine E. Cogan; and Academy
,
staff members Frank H. Goodyear, Jr., Kathleen A. 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
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 (Rome)
AN EXHIBITION OF PAINTINGS AND PRINTS BY JACK BOOKBINDER TO BE ON VIEW IN THE
PEALE HOUSE GALLERIES OF THE PE1'NSYLVANIA ACADEHY OF THE FINE ARTS FROM
HARCR 8 THROUGH APRIL 6, 1984
(Philadelphia, Pa., - February 21, 1984) - Over 38 works by Philadelphia
artist Jack Bookbinder will be on display in the Pennsylvania Academy's Peale
House Galleries, 1820 Chestnut Street, from March 8 through April 6, 1984.
Bookbinder's lifetime of great accomplishment in the fine arts, both as a
painter and administrator, has prompted the Academy to honor him with this
exhibition of his oils, oil drawings, and lithographs.
An opening reception, to which the public is invited, will be held on
Wednesday, March 7 from 5:00 p.m. to 7:00 p.m.
Bookbinder is known for his soft realist approach to his subjects,
which are always charged with human emotion.
Philadelphia , the city where
Bookbinder resides, furnishes an abundance of motifs which appear in his work,
as do the sands, resorts, docks, and water of the New Jersey and New England
coastli nes.
Bookbinder's artwork conveys an atmo sphere of duration, of
arrested time, . and his palette is moderately deep-toned.
Jack Bookbinder was born in Odessa, the Ukraine, in 1911.
He
studied at The Pennsylvania Academy of the Fine Arts under Henry HcCarter
and Daniel Garber.
The artist received a B.S. in Education from the
University of Pennsylvania in 1934, and his Master of Fine Arts from the
Tyler School of Art, Temple University in 1946 .
He al so holds an Honorary
degree from Moore College of Art.
Until his retirement in 1977, Bookbinder served as director of
art education of the Philadelphia public schools.
He has been a faculty
member at the Barnes Foundation, the University of Pennsylvania, The Pennsylvania
Academy of the Fine Arts, and The Pennsylvania State University.
Bookbinder's
-NORE-
2
BOOKBINDER CON'T
influence as a teacher and as an administrator has been instrumental in
steering many students into the fine arts profession.
He has written the articles I';History of Sculpture," and "Art in the
Life of Children" for Compton's Encyclopedia, and is the author of Invitation
to the Arts, and The Gifted Child, His Education in the Philadelphia Public
Schools.
Bookbinder has produced and narrated the television programs
"Fifteen Steps to the World of Art," "Art and the Artist," and "Artist U.S.A."
which were aired on Philadelphia's public broadcasting channel in the 1960's
and 1970's.
With guest appearances by artists such as Jacques Lipschitz,
Hobson Pittman, Walter Stuempfig, and Franklin vJatkins, as well as art
historians, these programs documented both modern and classical art.
Jack Bookbinder has exhibited extensively in the United States
and abroad, including the Metropolitan Museum of Art, New York; Museo Bellas
Artes, Mexico City; and The Royal Academy, London.
He has had one man shows
at The Pennsylvania Academy of the Fine Arts, the Philadelphia Art Alliance,
and the Woodmere Art Gallery.
Mr. Bookbinder's works are in the permanent
collections of The Library of Congress; the National Gallery of Art,
Washingt on , D.C.; the Philadelphia Museum of Art; The Pennsylvania Academy
of the Fi ne Arts ; and the Yale University Art Gallery.
His most recent
in a long list of priz es and honor s, are The Pennell Memorial Prize - The
Philadelphia Water Color Club (1983), Grumbacher Gold Medal - Allied Art of
America (1982), and first prize in oil painting at the Philadelphia Sketch
Club (1981).
Among the societies and assoctations Mr. Bookbinder belongs
to are the National Academy of Design, the American v·l ater Color Society,
Audubon Artists, the Philadelphia ~Jater Color Club, and the I:'ello"'tJsfiip of
The Pennsylvania Academy of the nne Arts.
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
Sa t ur day f rom 10 . 00 a.m. t 0 4 : 00 p.m., and Sundays from 12:00
No admission charge.
j) .i:1.
>CJ
4:00 p.m. '
For more information call, (215) 972- '1642.
#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
NEWS
For Immediate Release
PICTORIAL PHOTOGRAPHY IN PHILADELPHIA: THE PE1~SYLVANIA ACADEMY'S SALONS, 1898-1901,_ AN
EXHIBITION ON DISPLAY AT THE PE1"TNSYLVANIA ACADEHY OF THE FINE ARTS FROM MARCH 9 - APRIL 18, 1984'
...... LECTL~ AND GALLERY TALKS ALSO PLAmiED
(Philadelphia, Pa. - February 27, 1984) - From Harch 9, 1984, through April 18, 1984,
The Pennsylvania Academy of the Fine Arts at Broad and Cherry Streets will display over
150 works by 72 American and European turn-of-the-century photographers, as well as
documents and memorabilia of the period, in an exhibition entitled Pictorial Photograuhy
in Philadelphia: The Pennsylvania Academy's Salons, 1898-1901. This show will offer a
unique opportunity for students, collectors, and camera buffs to look at these photographs
and assorted memorabi lia since the exhibition will be seen only at the Pennsylvania Academy.
Following the success of last summer's exhibition, The Photo-Secession: The Golden
Years of Pictorial Photography in America, this spring's exhibition will present a closer
look at the origins of artistic photography in Philadelphia.
professor of art history at
the~niversity
Dr. William Innes Homer,
of Delaware and author of Alfred Stieglitz and
the Photo-Secession, organized this show and was co-director
of our earlier Photo-Secession
exhibition. In this new show, Dr. Homer has moved backward in time to discover the roots
of American pictorial photography in Philadelphia and trace the Photo-Secession movement
as it developed in the four international photographic Salons held at the Pennsylvania
Academy between 1898 and 1901. As the first truly international Salons in America, based
on avant-garde principles of pictorialism, the four
ey~ibitions
were of crucial importance
in winning acceptance for photography as a fine art.
The Pennsylvania Academy's willingness to display avant-garde photography at the turnof-the-century should come as no surprise, for at the time of the Salons the Academy was
the oldest art museum and art school in the country, and one of the most progressive. By
1886, when the first exhibition of photographs opened, the Academy's tradition of cooperating with smaller, sometimes
experimenta~
artists' associations was already well estab-
lished. In the previous decade, the photographers had been preceded by etchers and
water colorists. Logically, photography joined the ranks of such Hminor" media (including
printmaking~
water color, charcoal, pastels and a host of Hc.ecorative" and graphic arts)
that had been revived or discovered in the 1870's and 1880's. Kathleen A. Foster, curator
,
of The Pennsylvania Academy of the Fine Arts, explains that photography had not only
been included in the museum's exhibition program, but had been implemented in the Academy
school's curriculum as well. "Aside frorl. this general willingness to sponsor experimental
- more -
2
PICT0RIAL PHOTOGRAPHY CON'T
artis ts I organizations, If states Foster , "the Acade!!!y I s managemen t held a special inte:;-"e3 t
in photography . Thomas Eakins, wbo served as a professor
~nd
then director of the school
until his resignation in 1886, was one of the most enthusiasti c and innovative artist
photographers of this period. Practicing photography as both a tool and an artistic medium
in its own right, Eakins encouraged the use of the camera by his students,
~aDJ
of whon,
including his wife Susan Macdowell EakinS, exhibited at the Academy's salons. 'I
These four international pbotographic Salons are today considered landmarks in the
history of American photograpby. The Salons were cosponsored by the Pbotographic Society
of Philadelpbia , founded in 1861, which is the country's oldest
pbotog~aphic
organization.
Work was selected with the avowed intent lito show only such pictures produced by photography as may give distinct evidence of individual artistic feeling and execution. II
Since the Academy's tradition of leadership in presenting Annual Exhibitions of painting
and sculpture stretched back to the beginning of the nineteenth century, its decision
to host thes e comprehensive exhibitions of photographs endorsed the idea that photography
was an artistic medium.
A histori cal reconstruction of the Salons is not possible bec aus e of the number of works
involved , a total of more that one thousand photographs , and because much of the material
has been los t or destroyed. Therefore the present exhibition contains representative
examples by the photographers whose original Salon entries are unlocated , as well as some
of the rare prints that were actually exhibited at the Acade2Y's Photographic Salons.
On March 21 and March 28 the public is invited to attend two special Pictorial PhotographJr lectures which will take place in the Academy 's auditorium at Broad and Cherry
Streets, at 5:45 p.m .
Ken Finkel, curator of prints and photographs at the Library
Company of Philadelphia, will speak on March 21. The title of ~r. Finkel's lecture is
IIFrom the Centennial to the Salons: Philadelphia Art Pbotography Emerges . It Debbie NorriS,
conservator of photof,rap"bs at the Center for the Conservation of Art and Historic Artifacts,
located in Philadelphia, will speak at the Academy on March 28. Ms. Norris's lecture is
entitled Itldentifying and Caring for Vintage Photographs.
It
In addition, gallery talks
based on this exhibition will be delivered on Sunday afternoons at 1 : 00 p .m. by UniverSity of
Delaware graduate students who assisted Dr . Romer with research for the show. Valerie
Livingston will speak on March 11, Lisa Waite on March 18, 'Enomas Somma on April 8, and
Fiona Dejardin on April 15. The lectures and SQnday gallery talks are free with the price
of muse1.J.I!l admission .
- 30 -
~N~YlGAR5WING. r5m~
ERICAN TREASURE
Broad and Cherry Streets
Philadelphia, PA 19102
215-972-7600
WOMEN'S HISTORY 110NTH, MARCH 1984
"I very earnestly believe in the text which is that
there should be no sex in Art . . . I am pointing,
I know, to a millennium at least in the woman's view
if I predict an hour \vhen the term 'Homen in Art'
will be as strange sounding a topic as the title
'l1en in Art' would be now."
Cecilia Beaux, 1915
'.
i
This gallery guide to the permanent collection of the Pennsylvania
Academy of the Fine Arts is written to stimulate your perception of
the possible differences between art made by women and art made by
men. Are there, in fact, any differences? We challenge you to
define them.
The numbered map on the reverse of this page shows the location of
paintings and sculpture described in the quiz questions.
Can you
identify these works of art as masculine or feminine? Examine the
works of art carefully before you look at the museum labels!
(1)
In 1933 I designed animal sculptures for the friezes and doors
of Harvard University's Biological Laboratories.
(2)
"Our Picnics.
. Our Banquets.
. Our Friends
. Have
at last a raison d'etre.
. Seen in color and design . .
It amuses me.
. To recreate them.
. To paint them."
(3)
I used strong color to unify the design of this modern still
life rull of personal memorabilia.
(4)
"The Lord is my light and my salvation; whom shall I fear?
the Lord is the strength of my life; of vlhom shall I be afraid?"
I think of Psalm 27 as the artists' psalm.
(5)
This portrait of a little Irish girl shows the straightforward
directness that is characteristic of my art ideas.
-------------------------------------------------
-(6) I use realism to suggest
mystery in everyday objects. If
you look carefully, you'll find
that my painting isn't all "up front."
GALLERY
PLAN
SECOND FLOOR
(7) I use realism to emphasize the
seriousness of my subject matter.
"If art isn't for the people, who's
- it for?"
-.
(8) I exhibited this study for a
monument to American Agriculture at
the Panam~ Pacific Exposition of 1915.
(9) I began as an illustrator for
popular magazines in the early 1900s.
The intense colors ,and strong outlines
of my painting foreshadow my career
as a mural painter.
I
~r
(10) At the turn of the century, this
ambitious double portrait ,von many
prizes.
I taught at the Pennsylvania
Academy and frequently served on international art juries.
, )0-
I
3
(11) By understanding of human relation
ships often adds a special dimension to
the "society" portraits for which I am
famous.
(12) The French painter Edgar Degas
said of me, "I am not willing to admit
that a woman can draw that well."
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PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHI LAD EL PHI A,<I PA . 1 91 02
2 1 5 972 -7600
For further inlormation, contact:
Kirby F. Smith, Public Information Officer
(215) 972 - 7642 (Academy)
843 - 9917 (Home)
A QUIET RIOT AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS ON
SATURDAY, MARCH 31 AT 11:00 A.M .. .. A TREAT FOR THE WHOLE FAMILY
(Philadelphia, Pa. - March 20, 1984) - On Saturday, March
31, at 11:00 a.m., there will be a Quiet Riot at The Pennsylvania Acdemy
of Fine Arts at Broad and Cherry Streets in Philadelphia.
The Quiet Riot, in this instance, is a national touring
comedy team that has earned a reputation as an innovator in comedy theater.
They blend verbal comedy with mime, improvisation, dance,and audience
participation to create ~ unique, high energy performance. This is an
event meant to entertain the whole family.
Quiet Riot is being presented at the Academy by Young
Audiences of Eastern Pennsylvania.
Bill Mettler and Kevin O'Connor, along with their sound/
lighting technician, Dave Mettler, will use the twentieth century art
objects on display in the Academy's main galleries as the starting point
for their performance.
Through the use of mime, storytelling, and improvisation, the Quiet Riot will discuss the "five senses!! as they relate to the
works of art and as employed by the artists in creating the paintings and
sculpture on display. The forty-five minute presentation promises to
be both educational and entertaining.
Admission to this event is free for Academy members and
children up through the age of eighteen, and is free with museum admission
to the general public.
The Pennsylvania Academy of the FineAtts museum is located
at Broad and Cherry Streets in Philadelphia. It is open to the public
from 10:00 a.m. to 4:00 p.m. Tuesday through Saturday, and 12:00 p.m. to
4:00 p.m. on Sunday.
General admission is $2.00, senior
is $1.50, and student admission is $1.00.
free on Tue~aays .
~.
- 30 -
citizen admission
Admission to the museum is
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA, PAo 19102
BROAD AND CHERRY STREETS
215 972-7600
For further iIlforruation , contact :
Kirby F . Smith , Public Info~ation Officer
(215) 972 - 764 2 (Academy)
84 3 - 9917 (Home )
NEWS
For Immediate Release
THE AMERICAN SOCIETY OF A.."NCIEJn INSTRUHENTS TO PERFORM THREE SU1IDAY CONCERTS
AT THE PENNSYLVANIA ACADEHY OF THE FINE ARTS ON APRIL 1, 8, and 15
(Philadelphia , Pa. - March 22 , 1984) - The Pennsylvania Academy of the
Fine Arts will be the settiIlg for a series of concert s by t~e ;~erican Society
of j.,ncient Instruments - Florence Rosensweig, Dusie directo::' - on tJ,ree
cCI'secutive Sundays , .4.pril 1, 8, and 15 at 2:00 p.m. , in the IL°.lSeUlIi rotunda
at Broad and Cherry Streets .
These concerts , sponsored by the l;offien!s
Co~ittee
of the Pennsyl van~ a Academy of the Fine .4rts , are free with the price of
iliUS8Uffi
admission .
Continuing a fifty -five year tradition, tote .An.cerican SOCiety of
..LDcient Inst:ru..rr;ent s will perforn a progloam of F.:3naissance and baroque
rusic on authentic eighteenth centuI7 viols and hErpsichord .
chamber
Included iIl
(1659-1695) , Georg
Philipp Telemann (1681-1767), Girolamo frescobaldi (1583-1643), Antonio
Vivaldi (1680- 174 3), and Arcangelo Corelli (-;653-1713) .
t:be program are ffi2.ster composers such as Henry Purcell
The audience will have an opportl.mi"GY, at the close of each concert ,
to
exami~e
the beautifully crafted authentic lllstrJIDents and ask questions .
Ferforming in the ensemble are the follu.;ing: Florence
de viole) > TboIT.8.;:- LiSaTlc
i, p::.:::'ces sus de viole) , Michael Shahan
viola CE. gamba) , 1vel:v~ Jaco"b.s ( -{ioi&.
.:: t 8.mo:c-e),
Sialer Moscovitz (viola d I amo1'e), aTIQ ThoIDa~ Hac:!:Jl:'fh t \ h&'T;:::: ieno:;':::: .
I
j:cY",]\:;ssus
de viole) , oertram GreenspaL
Ftc)~oeLs",ei g
,
.-
\ D~2'''=- -?~ SJ~
l
00
The FeIlrlsylvaDla .4.cademy of the fine Arts is the DiGest 2!':
ID::SSUlIo and art se:hool ir~ l~ortb America . Loca"[.eo. just two short blockE nortt
of C;i ty Hall, the Acac.emy is c lose to all pub li c transporta ti on 8.71d parking.
Admission to the
~1
~useum
.00 for students .
is $2.00 for adults,
~I
.50 for senior citizens, and
There is free acirr.ission for the public on Tuesdays and
I18I1bers of the Academy are admitted witbout charge during all open hours .
~o1useUIL
bours are luesday througb Saturday :ro:r.
SOo~L ~<, E ::::'0::1
12 nOOD to 4: 00
p.IL .
- 3C: -
1
C : 0(; a. ffi.
"(;0
1,: 00
r.IL.
and
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA , PA. 19102
BROAD AND CHERRY STREETS
NEWS
215 972-7600
For more information, contact:
Wendy P. Hetzger, Public Information
Coordinator (215) 972- 7642 (Academy)
732- 0721 (Home)
ror Immediate Release
HOBSON PITT¥.cAN: HIS WORK AND HIS I1TFLUENCE TO BE ON VIEW IN THE PEALE HOUSE GALLERIES OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM APRIL 12 THROUGH MAY 4, 1984
(Philadelphia, Pa . , March 3 0 , 1984) - Hobson Pittman, His Work and His Influence,
an exhibition of thirty-fi ve works of art by this Philadelphia artist, will be on display
in The Pennsylvania Academy of the Fille Arts's Peale House Galleries , 1820 Chestnut Street,
Philadel phia, from April 12 to May 4, 1984 .
This exhi bition of oil paintings, water colors,
and pastels, crnsists of works from Bryn Mawr College I s Hobson Pittman collection. Seven
of the pastels and all the water colors will be on exhibit for the f irst t ime.
An opening reception, to which the public is invited, will be held on Wednesday,
April 11) from 5:00 p.m. to 7:00 p.m .
.
'
Hobson Pittman was born in North Carolina in 1900 and remembrances of his youth
spent in the rural south inspired him throughout his life .
subjects at the
PeD~sylvania
He studied art and academic
State College, Columbia University, and. the Carnegie
Institute of Technology in Pittsburgh, as well as in Europe.
The subjects of Pittman's
works are primarily foloral and may be seen in his landscapes, garden scenes, still
lifes , and studies of flower bouquets.
J..n a ddition t o be ing an accor:.plishec1. art is t
teacher.
~ }~obSOj}
Pitt::an
1-JaS
a lso a dis t i ne-uished
Perhaps the words of tribute to Pittman,when he received the Penn State Medal
in 1963) best reveal his dual talents. This medal was presented to a Ifdistingui shed American
pa i nter and an inspiring teacher who has devoted much of his life to encouraging others
to discover their ovm skills. If
Pittman served for thirty- one years as director. of a:c·c
at the Friends Central Country Day School in Overbrook, PA, and was for many years an
inst ruc t or in pa inting and cri ticism at the Pennsy lvania State University (1932-1 965) ,
The Pem1syl vania AcaderJY of the Fi ne Arts (1949 .unti l his death in 1972 ) and i n his (yvn
hOlli8 iJ Bryrl Mawr. The proof of his succes s as an artist and an ins t r uctor is t he fact
that elever, of Pi ttma.TJ.' s students are current faculty members of the Academy .
Hobson Pittman was widely recognized throughout his life for his achievements in paint1'lg.
In addition to a number of prizes awarded to him by art LTJ.stitutions, such as The Permsylvania
Academy's Scheidt Memorial Traveling Prize (1943 ) , The Cla:CK Prize of t', e Corcoran
Ga llery in Washington, D. C. (1 94 8) , and the National Ac ademy of Design Gold Medal (1953) ,
-
other honor s were bestowed on him .
He was elected t o t he Nati ona l Acacierr:y of Design in 1953
- more -
...
,~ n
2
Con' t
_on 1956, Pittman was tne recipient of a Guggenheim Fellowship to study and paint in
Eul'cD e and the Near East.
He was elected an honorary member of the International Instititute
of ATts and Letters in 1960.
Internationally known as a master colorist, Pittman's works are in many collections,
including The Pennsylvania Academy of the Fine Arts, the Metropolitan Museum of Art, the
Philadelphia }1useum of Art, and the
~~itney
Museum of American Art, to name just a few.
In conjunction with the exhibition Hobson Pittman:
His Work and His Influence
there will be a showing of recent works of former students of Hobson Pittman, all of whom
are alumni of the Pennsylvania Academy and some of whom are currently on the faculty of
the Academy.
Works of art by faculty members Joseph Amarotico, Murray Dessner, Tom Ewing,
Jim Leuders, stan Merz, Dan Miller, William Omwake , Elizabeth Osborne, Jody Pinto, Bruce
Samuelson, and Lou Sloan, will be on display.
~Ted
Also on view will be works by Academy alumni
Danzinger, 'Nick Fehr, John Formicola, James Havard, Barkley Hendricks, Peter Lister,
Gilbert Lewis, Sonya Pollack, Anthony de Reinzi, and Barbara Sosson, to name several.
There
will be approximately thirty works on display, in oil on canvas, acrylic, water color, and
mixed media, and many will be available for purchase.
As Dan Miller, assistant dean of faculty of the Pennsylvania Academy school notes,
"This exhibition of Pittman's former students has been arranged to honor Hobson Pittman,
one of the Acade:tny i s 1i:!OS-~ infl12ential teac1:1ers, Who was a fac12.1 ty :c.eu:ber at our school for
over twenty years until his death in 1972. It is a tribute to the wisdom and liberality
of Pittman's approach to teaching that there is such variety in the works in this
supplementary exhibition."
Hobson Pittman: His Work and His Influence is sponsored by The Pennsylvania Academy of
the Fine Arts School with the assistance of the Friends of the Hobson Pittman House.
When
Pittman bequeathed his house, Silver Beech, and many of his own works to Bryn Mawr College
in 1972, the Friends of the Hobson Pittman House was formed to help maintair. Silver Beech
and to conserve and restore the Pittman 'Collection.
The Friends of the Hobson Pittman House are sponsoring a lecture by Dan Miller, on
Thursday, April 26, 1984 at 6:15 p.m. in the Peale House Galleries.
A former student of
Hobson Pittman, Miller will speak on his recollections of the artist as a teacher and a
painter.
A reception will precede the lecture at 5:00 p.m.
person for the reception and
Pittman's works.
lectu~e.
Subscriptions are $10 per
Proceeds will go to a fund for the conservation of
For ticket information, call Bryn Mawr College Office of Events at (215)
645 - 6214.
The Peale House Galleries, located at 1820 Chestnut Street, display a rotating
series of stimulating exhibitions of paintings, sculpture, drawings, and graphics. These
exhibitions are sponsored by the Academy school, for the benefit and education of its
students, and feature artists who have not recently exhibited in the Philadelphia area.
Hours are Tuesday through Saturday from 10:00 a.m. to 4:00 p.m., and Sunday from noon
to 4 p.m.
No admission charge.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA , PA . 19102
NEWS
For Immediate Release
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information OfficeJ
(215) 972-7642 (Academy)
843-9917 (Home)
THE SYMPATHY OF ALL THINGS, AN EXHIBITION OF PRINTS, BOOKS, M1) PHOTOGRAPF..8 BY f0TTHONY
PETER GORNY TO BE SHO~~ IN THE PENNSYLVANIA ACADEMY OF THE FINE ARTS'S MOPiliIS GALLERY
FROM MAY 4 THROUGH JUNE 17, 1984
(Philadelphia, Pa - April 13, 1984) - Anthony Peter Gorny's exhibition entitled
The Sympathy of All Things, which contains approximately 35 prints, 100 small-scale
photographs, and an assortment of the artist's unique books, papers, and hand-written
diaries, will be on viffiv in the Morris Gallery of The Pennsylvania Academy of the Fine
Arts, located at Broad and Cherry Streets, from May 4, 1984, through June 17, 1984.
An opening reception, to which the public is invited, will be held on Thursday,
May 3, from 5:00 p.m. to 7:00 p.m . in the Morris Gallery .
In his recent Artforum article, "A Use for Beauty," critic Kenneth Baker pinpointed
the contemporary reticence to describe art in terms of beauty, indicating how frequently
the word has been shanghaied by advertising for disreputable ends. Baker built a strong
case for the return of the critical use of the tem
"beauty'~
stating:
The beauty of works of art is not something
objective or fixed, like their measurements. It
is their intimation of a rightness (of form, conception, execution, and their relations) that relieves
us from the discomfort of wishing things in the work
to be otherwise than they are: a quality that awaits
objectification through the discourse of interested
observers.
Visitors to Anthony Peter Gorny's Morris Gallery exhibition
ma~T
well find thenselves
discoursing on the nature of beauty in contemporary art. The exquisite beauty and
crisp visual intelligence of Gorny's work derives from the artist's bravura skills
at rendering and his masterful ability to create images with multiple allusions to
the world of ideas.
A printmaker and photographer who is a member of the Academy school's teaching staff,
Gorny will show a large selection of his recent lithographs, etchings, and photographs.
Some of the thirty-five prLDts are from the cycle B.M.F.V.V. Bene Merente Fecit Vivus
Vivo (Made Well for the Deserving: Those Who Are Alive). The one hundred small photos
will be hung to form Predella Panels, arranged to reveal the major iconographic and
pictographiC themes of Gorny's recent work. Long active in the production of unique
I
books and papers, Gorny will also exhibit a survey of his 'bookworks, which range from
intimate, hand-written diaries to large-scale framed volumes with painted covers.
Gorny coaxes great subtleties of form and content to emerge from his lithographs.
- more -
.--
'tJY CON 'T
'
2
~
, ( i ntriguing are his subjects that one almost takes for granted his superb technical
hand ling of nuances of texture, line, and light and dark. Gorny gives a lot to his
audience and calls upon them to look long and hard at his images; and they are rewarded
for their efforts. Because lithography is a process of printing a reverse image, any
lettering directly on the stone has to be done backwards if it is intended to be legible
in the final print . Gorny scrawls notes on his prints which one sees backwards. The viewer
may wish to use a mirror to read his works or may
d~cide
not to decode the message.
Born in Buffalo , }; .Y., in 1950, Gorny rece ived his B.F.A. degree from State University
College at Buffalo in 1972 and his M.F. A. from Ycle University in 1974. Before joining
the faculty at the Pennsylvania Academy, he taught at Tyler School of Art from 1974 to
1982, where he was an associate professor of art. In 1983 he was awarded a Pennsylvania
Council on the Arts Fellowship.
Collections in which his work is represented include: Philadelphia Museum of Art,
National Collection of Fine Arts, The Vatican Library, Pratt Graphics Center Collection,
Kyoto University Collection of Fine Arts, Yale University Art Gallery, The Brooklyn
Huseum, and the New Orleans Museum of Art.
Solo eLhibitions of his work include: Jeffrey Fuller Fine Arts, Philadelphia, 1982;
Nexus Gallery, Philadelphia, 1981, 1982; Jane Haslem Gallery, Washington, D.C., 1981.
Group shows include: American Artist as Printmaker, The Brooklyn Museum, 1983;
Impressions: Experimental Prints, Institute of Contemporary Art of Virginia Museum, 1983;
The New Image, Associated American Artists Gallery, 1982 ; Contemporary Realist Prints,
Nelson Atkins Gallery, Kansas City, 1982; Bookworks, Portico Gallery, Philadelphia, 1982;
The Great American Fan Show, Lerner-Heller Gallery, New York, 1981; 57th Annual Print
Exhibition, The Print Club, Philadelphia, 1981 (awarded Board of Governors' Purchase
Prize); Contemporary American Drawing in Black and
~~ite,
The
Brookl~~
Museum, 1980;
N.A. M.E. Gallery, Chicago, 1979.
On Friday, May 18, at noon, 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. Currently serving on the Morris Gallery Exhibition
Committee are: Ofelia Garcia, Anne d'Harnoncourt, Jennie Q. Dietrich, Harold Jacobs,
Janet Kardon, Jay Richardson Massey, Charles E. Mather III, J chn Moore, Jody Pinto, Mark
Rosenthal, Acey Wolgin; Pennsylvc)2ia -"l.c8.demy student KatherinE E. Cogan; and
Academy staff members ,Frank H.Goodyear, Jr., Kathleen A. 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
NEWS
215 972 - 7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
For Immediate Release
THE 83rd ANNUAL STUDENT EXHIBITION OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS OPENS
TO THE PUBLIC ON MAY 10 AND CONTINUES THROUGH JUNE 3, .1984
(Philadelphia, Pa., April 23, 1984) - The 83rd Ann~al Student Exhibition of The
Pennsylvania Academy of the Fine Arts will be on display in the Academy's .main galleries
at Broad and Cherry Streets from May 10 through June 3, 1984. This year 112 students are
participating in the show and approximately 700 works of art in all media (painting, sculpture,
water color, graphiCS , and drawing ) will be on display.
The Annual Student Exhibition . is very important to the ongoing spirit of The Pennsylvania
Academy, as noted by its president, 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'm sure that this year's exhibition
will be no different from those of previou~ 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 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 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 Ivare Scholarship was established in 1938 for European travel and three were
av~arded
last
~Tear.
ThB Schiedt 3cholarshi~, established in 1949, is for lli1restricted travel to be used
withiL""l hm ;years a:ld four Iwnths of receipt. Eleve:l Schiedts were awarded last year.
In order GO be eligible for participation in the Annual Student Exhibition, one must be
a full-time third or fourth year student who has satisfactorily c~pleted all required courses.
Those students who qualify are assigned to hang their works on a wall of approximately 8' x 12'
in the main galleries at Broad and Cherr y Streets. Those students with free-standing sculpture
are assigned a comparable amount of floor space in the
- more -
~alleries.
This show frequently
p. 2
offers students their first chance to assemb le a body of work in a major exhibition, and
to present that work in the company of peers.
Ephraim Weinberg, director of the schoools
of the Academy, comments on the significance of this opportunity:
"The Annual Student
Exhibition presents an uncensored series of theses by students intended to relate that work
to past and
pr~sent
colleagues and the public as well as to award prizes to groups of dis-
tinction for travel abroad. "
* * * * * ** * * * * * * * * *
Another aspect of the Annual Student Exhibition is on display at the Academy's Peale
House Galleries at 1820 Chestnut Street, Philadelphia, from May 10 through June 3, 1984.
The winners of the Student Spring Prizes will be on view in these galleries.
All Academy students are eligible to compete for these prizes, unlike the Cresson,
Schiedt and Ware Traveling Scholarships, which are open only to third and fourth year students.
The Academy faculty judges works in all media;
graphics and mixed media.
painting, sculpture, water colors, drawings,
Eight new awards were added to the Student Spring Prizes this
year; thus, a total of fifty cash prizes, amopnting to $11,000, as well as numerous special
notices, will be presented.
Most of the works on display will be available for purchase.
The Pennsylvania Academy of the Fine Arts, a lNational Historic Landmark, is located
at Broad and Cherry Streets, just two short blocks north of City Hall.
Museum hours are
Tuesday - Saturday 10:00 a.m. to 4:00 p.m. and Sundays 12 noon to 4:00 p.m.
$2.00 general, $1.50 senior citizens, and $1.00 for students.
Admission is
Free admission on Tuesdays.
The Peale House Galleries, located at 1820 Chestnut Street, Philadelphia, observe the
same hours as the museum.
There is no admission charge.
(215) 972- 7600.
# 30
For more information call
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
Tl:IE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO HOLD STUDENT AWARDS CEREMONY ON
WEDNESDAY, MAY 9, AT 4:00 P.M.
(Philadelphia, Pa., - April 24, 1984) - On Wednesday, May 9, 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 wi l l 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.
Audrey Flack, an outstanding artist whose photo-realist
paintings have been widely exhibited, will be the guest speaker. The ceremony will be
followed by the Academy student, membership, and alumni opening of the Annual
Stude~t
Exhibition which opens to the public on Thursday, May 10 and will run through June 3, 1984.
Approximately $150,000 in scholarships and awards are given to the students at this
ceremony. The traveling scholarships cited earlier are the mos t 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 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 annually to
two graduating students who have shown outstanding accomplishment in the Tine arts.
The award~ 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 EL~ibi. tion for
a second award.
This special consideration is given to these graduating students in anticipation ,of their
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2
AWARDS CEREMONY CaN'T
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 W. Wilson Goode
have been invited to present awards, and the Academy's Charles E. Mather III, chairman
of the board, Frank H. Goodyear, Jr., president, and Ephraim Weinberg, director of the
schools, will take part in the ceremonies.
In addition, Audrey Flack, a prominent photo-realist artist, will deliver a speech
to graduating students on this special occasion. The selection of Ms . Flack as a speaker
is especially appropriate because her relationship to the Pennsylvania Academy has
been established through her work both as an artist and teacher . Several of Ms. Flack's
works were exhibited in the Academy show of 1981, Contemporary American Realism Since 1960,
and earlier this year her painting entitled World War II (April 1945) was on display in
the museum rotunda. She is participating in the school curriculum by taking part in
the Academy's Visiting Artists Program, during the current semester, and is conducting
challenging critiques of works of art by advanced students ..
After the Annual Student Exhibition closes, prize- winning works will be on display
throughout the summer at the Academy's Peale House at 1820 Chestnut Street.
- 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 Informat i on Officer
(215) 972- 7642 (AcadeBY)
843- 9917 (Home)
NEWS
For Immediate Release
THE PENNSYLVM~IA ACADEMY OF THE FINE ARTS TO DISPLAY A ~~JOR RETROSPECTIVE EXHIBITION
ENTITLED FRANK STELLA: PRINTS 1967-1982 FROM JUNE 22 , 1984 THROUGH AUGUST 5, 1984
(Philadelphia,
pa.-
May 24 , 1984) - The Pennsylvani a Academy of the Fine Arts will
display Frank Stella: Prints 1967- 1982, an exhibition consisting of eighty-three prints
created by one of America's most distinguish ed painter- printmakers and the Charles
Bliot .Norton lecturer at Harvard University this past winter.
Although there have been notable retrospectives of the printmaking activities of
prominent American artists such as Jasper Johns, Jim Dine, Robert Motherwell, and Robert
Rauschenberg, the graphic art of Stella has never been presented in its full range. Stella's
contributions to the field of graphic
~rt
have been prolific and
iD~ovat ive,
and this
major retrospective is long overdue.
At
a~e
hJenty-three and a year out of Princeton, the artist made his debut in a
show at New York 's Museum of Modern Art . In 1970, at age thirty- three, he became the
youngest painter ever to be given a retrospective by the Modern. Visitors to the Pennsylvania Academy will now have t he chance to study closely the prodigious talent of the
former art-world Wunderkind as they survey the (U vers i t~T of styles and techniaues of
his masterful prints which have been installed in the galleri es in a chronological sequence.
Beginning with the artist's first prints, this exhibition includes the lithographs
of the Black Series
a~d
Star of Persia I and II, both done in 1967 . The selected pieces
illust rate the wide range of the artist's imager y from the somber elegance of hi s earl y
Black Series to the dazzling color and energetic design of the Polar Co-Or dinates of 1980
and the monumental lyricism of the recent Circuits.
~fuen
Frank Stella began working with prints in 1967 he was already well known as a
painter. In describ i ng the relati onship between these two spheres of Stella's art making,
organi zing curator Richard H. Axsom, associate professor of art history at the University of Michigan , Dearborn, has written:
In his prints as in his paintings, Stella l.JOrks i n
series. Each series elucidates his investigat ion of
a specific formal problem, the solution to "Thich is
embodied i n a set of variations. Stella's prints in-variably correspond in their imagery to his paintings ,
yet they are realized in entirely new ways. In the hands
of an artist like Stella, changes of mat erial and sC8.1e
- more -
FRANK STELLA CON'T
2
inevitably lead to changes in conception as well. The
prints are a part of the continuum of transformation
that is basic to his aesthetic. They have generated a new
realm of discourse for his visual arguments, parallel
to that of his paintngs and as restlessly inventive.
Stella's first prints were lithographs. It is interesting to recall that
in the late 1950's, knowledge of the techniques of hand lithography had all but been
forgotten. Determined to docament the craft before it disappeared, farseeing
individuals such as June Wayne, who founded the Tamarind Workshop in Los Angeles, began
to train the master printers necessary for the production of lithography.
In 1967 Stella arrived in California to teach at the University of California at
Irvine. But his refusal to sign a required state loyalty oath prevented him from taking
up the teaching post. Stella then accepted an invitation from Kenneth Tyler to make lithographs in his newly established Gemini workshop in Los Angeles. Tyler had been trained
at Tamarind. During the last eighteen years, Stella has collaborated with Tyler and his
staff in Los Angeles and in Bedford Village, New York, where the printer opened Tyler
Graphics Ltd., in 1974, as well as with the master printers of the Petersburg Press Ltd.,N.Y.
The majority of the exhibited prints are on loan from Gemini G.E.L., Tyler Graphics, and
Petersburg Press.
Challenged by the possibilites of the print media, Stella has produced during fifteen years of printmaking a compelling body of work: almost two hundred prints, the
majority of which are part of twenty-four series. Lithography was his favored technique
from the start, although he has experimented with virtually every process, including
screen printing, intagliO, and relief printing. Stella has been an important figure in the
expansion of the technical range of contemporary printmaking. He is one of the most ambitious colorists working with the planographic processes, having combined as many as
sixty-five colors in a single lithograph and one hundred and fifty
colors in a screen
print. His recent large-scale experiments with intaglio/relief printing- the Circuits
and Swan engravings of 1982- are significant milestones in the modern history of the
print. Beyond the importance of Stella's contributions to the technical development of
the print are the originality and sheer beauty of the works themselves.
This exhibition has been organized by The University of Michigan Museum -of Art and
The American Federation of Arts, under the curatorial direction of Richard H. Axsom.
The project has been supported by a grant from the National Endowment for the arts.
Accompanying the exhibition is a fully illustrated publication, The Prints of
Frank Stella: A Catalogue Raisonne 1967-1982 ($19.95), written by Richard Axsom and
available in the Academy's museum shop. A hardcover edition ($50) is available from
the co-publishers, The University of Michigan Museum of Art and Hudson Hills Press, Inc.,
and The American Federation of Arts. In addition, an illustrated handbook containing a
brief essay on Stella as a printmaker by Professor Axsom, a checklist of the works in the
- more -
FRANK STELLA CON'T
the exhibition, and a glossary of printmaking terms, has been produced for the show.
This handbook is available for $1 in the museum shop of The Pennsylvania Academy of
the Fine Arts. Also available is a limited edition exhibition poster produced on
75 x 52" 130 lb. special neutral Curtis Colophon paper in an edition of 1,000 Ilhich retails
for
$100 plus $25 for postage and handling. An : additional ~OO posters which have
been signed by the artist are available for $400 plus $25 for postage and
handling. For further information about the posters, which are available through The
Metropolitan Museum of Art, The Mezzanine Gallery, please call (212) 879-5500.
Aft er its appear ance at the ·Aca.demy, the exhibition will travel to the following
art institutions:
Memorial Art Gallery, University of Rochester, Rochester, NY, from
August 19 through October 14, 1984; Laguna Gloria Art Museum, Austin, TX, from
November 16, 1984 through January 6, 1985; Brooks Memorial Art Gallery, Memphis, TN,
from February 3 through Harch 31, 1985; Beaumont Art Museum, Beaumont, TX, from May 18
through June 23, 1985; Nelson Gallery-Atkins Museum, Kansas City, MO, from July 13
through August 25, 1985; Columbus Museum of Art, Columbus, OH, from October 13 through
December 1, 1985; and the Los Angeles County Museum of Art, Los Angeles, CA, from January 9 through March 2, 1986.
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 a.m. to 4 p.m. Tuesday
through Saturday, and 12 noon to 4 p.m. on Sunday. General admission is $2, $1.50 for
senior citizens, and $1 for students. The public is admitted free of charge on Tuesdays.
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.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA, PA . 19102
BROAD AND CHERRY STREETS
NEWS
215 972-7600
For further information, contact
Wendy P. Metzger , Public Information Coordinator
(215) 972- 7642 (Academy)
732- 0721 (Home)
For I mmediate Release
THE
ACADEMY OF THE FINE ARTS ANNOUNCES
STUDENT AVJARDS WIN'"NERS
PEh~SYLVANIA
(Philadelphia , Pa., May 30, 1984)- 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 83rd
A~ual
Student Exhibition which went on display in the
Academy's ma in galleries at Broad and Cherry Street s on May 10
June 3.
~nd
which continues through
This year 112 students participated in the show, and approximate ly 700 works of
art are on display.
The Annual Student ELhibition in its current form dates from 1902, when the first
William Emlen Cresson Traveling Scholardships 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 Lnstruction .
1,000 have been awarded since 1902.
Five Cressons were awarded this year and over
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, es -
tablished in 1949, is for illlrestricted travel to be used within two years and four months
of the awarding . Seven Schiedts were awarded this year .
The 1984
win~ers
of these awards are listed below:
Cresson- Brett Bigbee, Danville, ME; Garth C. Herrick, Ambler, PA; Lauren Ann Litwa,
Media, PA; James Alan Moss, Indiana, PA; and David Eric Veenstra, New Canaan, CT.
Notice:
Special
Beverly Crymes DaviS, Wenonah , NJ; and James Boyle, Kingston, PA .
Ware- Toni Famulari, Phoenixville, PA; Hilda H. Shen, Philadelphia, PA; and David
Thomas Shevlino, Jersy City, NJ.
Special Notice :
Nicolas McGowan, East Burke, VT.
Schiedt- Joseph Richard Braby, Maitland, FLA; Leslie Jean Fenton, Broomall, PA; Peter L.
James, Audubon, PA;
Diana Nell Lehr, Bloomsburg, PA; Shoji Okutani, Philadelphia, PA; Kai K.
Pham, Philadelphia, PA; Naomi C. Pitcairn, Bryn Athyn, PA.
Philadelphia, PA.
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Special Notice: Philip M. Dubroft
}-' .
r.
In addition to the awards cited above, si.nce The Pennsylvania Academy of the Fille
Arts was established in Philadelphia i n 1805 i n the Commonwealth of Pennsylvani a. , 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 Pennsyl van ia to the arts ill America and the importance of the ci ty of .
Philadelphia as a cultural center .
Two awards, of $1,000 each , have theref ore been established to be given to two graduatillg Pennsylvania Academy students who have shown outstandillg accomp lishment in the fine arts .
The Governor's and the Hayor 's awards are unrestricted in their use, and are given upon
the recommendation of the fa cu lty .
The awards are l imited to those students who have in
the preceeding year, won a Cresson , Schiedt , or a Ware Scholarship and are exhibiting in the
Annua l Student Exhibition as candidate for a second award .
The winner of the 1984 Governor's Award is Christopher Mark Still of St. Petersburg ,
FLA .
NJ .
The winner of this year's Mayor's Award is Kathleen Frances Quigley of Willingboro,
Two other prizes awarded this year were the Watkins Grant s and the Hobson Pittman
Memorial Pri ze.
Established in 1973 by Mrs. Watkins, the Franklin C. Watkins Memorial
Grants consis t of three $800 cash pri zes that are t o aid talented students of painting
to meet expenses other than tuition.
The recipients of this year ' s award were Kate
Javens, West Chester, PA ; Robert A. Minnick, Moorestown , NJ; and Michelle Strader,
Bridgeport , PA .
The Hobson Pittman Memorial Prize was endowed by the late Hr. Pittman , a former Academy
faculty member and recognized artist . This cash prize of $1,000 is to be awarded to a talAnted
student for high achievement in experimental painting . This year 's winners were
Jess~ca
Dale Levine, Sharon , PA ; and Matthew David McGoff , Philadelphia, PA .
Both the Watkins Grants and Pittman Memorial Prizes were first awarded in 1973.
Un-
like the Cresson, Schiedt, and Ware competitions which allow the students to submit artwork for only one of the travelillg scholarships, the Watkins Grants and Pittman Memorial
Prize
are open to all students competing in the Annual Student Exhibition .
The Pennsylvania Academy of the Fine Arts is located at Broad and Cherry Streets in
Philadel phia, just two short blocks north of City Hall .
It is open to the public from
10:00 a .m. to 4:00 p.m. Tuesday through Saturday, and 12 noon to 4:00 p.m. on Sunday.
i s convenient to publi c transportation and to parkillg.
citizens $1 . 50, and students; $1 . 00.
General admission is $2.00, senior
Free admission on Tuesdays. For more inf ormation,
call (215) 972- 7600.
After the exhibition closes on JQne 3, 1984 at Broad and Cherry Streets, prizewinning work will be on display until September 14, 1984 at the Academy's Peale House
Galleries at 1820 Chestnut Street , Philadelphia.
#30
It
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPHIA, PA. 19 102
215 972-7600
NEWS
UPDATED SCHEDULE
Red Grooms: A Retrospective
June 21, 1985 - Sept. 29, 1985
Oct. 18, 1985 - Jan. 5, 1986
19th and 20th Century Water Colors
by American Masters
Images of A Vanished Life: Plains
Oct. 26, 1985 - Jan. 5, 1986
Indian Drawings from the Collection
of the Pennsylvania Academy of the
Fine Arts
American Graphic Arts: Water ColQrs,
Jan. 23, 1986 - April 13, 1986
Drawings and Prints in the Collection
of the Pennsyl vani a Academy of the Fi ne Arts
Annual Student Exhibition
May 7, 1986 - June 1, 1986
Franz Kline
June 26, 1986 - Sept. 28, 1986
Drawing toward Building: Philadelphia
Oct 2, 1986 - Jan. 4, 1987
Architectural Graphics 1732-1984
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 WOO (A COMPEl-IDIUM OF FORM) AN EXHIBITION BY WOOFY BUBBLES TO BE SHOWN IN THE PENNSYLVANIA
ACADEMY OF THE FINE ARTScrS·MORRIS GALLERY FROM JUNE 29 THROUGH AUGUST 19, 19t14 .•..........
WOOFY BUBBLES PERFORMANCE SCHEDULED FOR JULY 12
(Philadelphia , Pa. - June 14,1984) - From June 29, 19H4, through August 19, 19H4,
the Morris Gallery of The Pennsylvania Academy of the Fine Arts will have the opportunity
to chronicle the growth and metamorphosis of the work of Woofy Bubbles in an exhibition
entitled The Woo (A Compendium of Form).
An opening reception, to which the public is invited, will be held on Thursday,
June 28,
from 5:00 p.m. to 7:00p.m. in the Morris Gallery.
Whether you call him Christopher Hodge, the name given to him at birth, or Woofy
Bubbles, the alter ego he created as his performance persona, is immaterial; he answers to
both. Ever since 1970, when the artist first breathed life into the mysterious creature
he termed the Woo, Hodge has maintained this dual identity. As he describes it, "My search
for Woofy Bubbles (that elusive free spirit) came about through my desire for a new
identity that would free me from the formalities of my given name and allow me to escape
the confines of humanity."
Like Hodge, the Morris Gallery show will have two aspects. Firstly, the exhibition
will chart the growth of the Woo from a singular flat shape used as a module, into its
various sculptural identities as body art. Photographs and videotapes will provide documentation of the forms in action. A habitat of the costumes and a set for a special performance
(see following paragraph) will be installed. Also on view will be miniature soft-
sculptural objects, related watercolors and gouaches, many of which have never before
been exhibited, and hand-painted wearable art.
A second part of Hodge's show will consist of an actual performance, "In Search of
the Woo," to be presented on Thursday, July 12, 1984, at 6:00 p.m. at the Academy. Here the
wearer and manipulator of the individual pieces acts as a puppeteer to bring to life an
entire SCUlpture. Performed amidst its own biological setting, "In Search of the Woo"
is accompanied by an original sound score and narration. This event is open to the public.
General admission is $2, $1.50 senior citizens, and $1 stUdents; members of the Academy
are admitted without charge.
Christopher Hodge was born November 6, 1944, in Lima, Peru. He has lived with his
family throughout South and Central America and Canada. He holds a B.F.A. degree (1967)
from the Philadelphia College of Art where he has since also lectured, andhe has traveled
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WOOFY BUBBLES CONT'D
2
extensively in Europe~ North Africa, and the Far East.
Regarding his unique brand of performance art, Hodge acknowledges the influence of
his exotic travels:
The Japanese influences are certainly present; ritual
involved in everyday life; inventive packaging of people
and objects; layering of clothing, revealing through
slow unwrapping the inner contents with surprise; equal
value placed on crafted utilitarian objects as on those
of painting and sculpture. In Kabuki dance, music,
costume, set, martial arts, spoken word and narration,
create for me one of the most modern of complete
theater forms.
Woofy Bubbles appeared for the first time December 8, 1970, in the Kleine Komeide
Theatre, Amsterdam. Hodge has been the recipient of a 1981 fellowship from the National
Endowment for the Arts, and has received special projects grants from The Pennsylvania
Council on the Arts in 1982 and 1983.
Live performances designed and executed by Hodge include: "Flying Magic Carpet,"
1974, at the Philadelphia Museum of Art; "Mexxmas," 1976, La Mamelle Arts Center,
San Franciso; "Landing on the Blue Plain: In the Garden of Woo," 1976, Group Motion,
Annenberg Center, and Academy of Music, Philadelphia; "Woo World Players," Noguchi's
Variable Landscape, 1979, Philadelphia Museum of Art; "The Yellow Pants" and "Dance
Day," 1983, Painted Bride Art Center, Philadelphia.
Since his participation with Southworks Gallery in the early 1970's, Hodge's
work has been exhibited many times in Philadelphia: Institute of Contemporary Art, 1979;
Philadelphia College of Art and a solo exhibition at Janet Fleisher Gallery, 1977;
solo exhibitions at Eric Makler Gallery, 1978 and 1980; solo exhibition at Marian
Locks Gallery, 1982. Along with other NEA Craft Fellows, Hodge exhibited work in South
Carolina, 1981, and at the Center for Textile Arts, Berkeley, California, 1984.
On Friday, July 20, at noon, the artist will deliver an informal gallery talk at
the museum at Broad and Cherry Streets; free with the price of admission.
The Morris Gallery, located in the Academy museum at Broad and Cherry Streets,
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. Currently serving on the Morris Gallery Exhibition Committee are:
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; Pennsylvania Academy alumna Katherine E. Cogan; and Academy staff members
Frank H. Goodyear, Jr., Kathleen A. Foster, Linda Bantel, Betty Romanella and Judith
;\
Stein, Morris Gallery Coordinator.
- 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 RECEIVES $10,000 GRANT FROM THE
PHILADELPHIA FOUNDATION
(Philadelphia, Pa., - June 19, 1984 ) - The Pennsylvania Academy of the Fine
Arts has received a two-year $10,000 grant from the William P. Gest Fund of The
Philadelphia Foundation to support the Academy's Morris 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 committee composed of area artists, museum personnel
and collectors, and the curatorial staff of the Academy. There are six Morris
\
Gallery exhibitions annually.
"The Morris Gallery exhibitions are among the most important programs of
The Pennsylvania Academy of the Fine Arts," stated Frank H. Goodyear, Jr., president
of the Academy. "They demonstrate our commitment to support the finest work
being made by Philadelphia-area artists. Since its inception in 1977, many of
Philadelphia's best artists have exhibited in the Morris Gallery.
"All of us at the Academy are particularly grateful to The Philadelphia Foundation for its support of this vital program. The Foundation has joined with the
Academy in recognizing the importance of the local artistic community," concluded
Goodyear.
The Philadelphia Foundation, founded in 1918, is composed of 99 funds
totaling $43 million in assets. More than 300 agencies receive grants each year,
in the areas of social services, community activities, health care, culture, and
education. Grants are restricted to the five-county Philadelphia region and are
approved by a seven-member Distribution Committee.
- 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
WOOFY BUBBLES ANIl THE WOO WORLD PLAYERS TO PERFOIDf "IN SEARCH OF THE WOO'/ AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS ON THURSDAY, JULY 12, AT 6 P.M.
(Philadelphia, Pa. - June 27 , 1984) - Well-knoh'TI Philadelphia artist Christopher
Hodge, a.k.a. Woofy Bubbles, and the v100 World Plc.yers, will present a special performance
of "In Search of the Woo" at The Pennsylvania Acade:Jy of the Fine Arts at Broad and Cherry
::;treets on Thursday, July 12, at 6 p.m. This perfonance will begin in the Academy museum
rotunda and end in the Morris Gallery, where Bubbles 's exhibition entitled The Woo
tA Compendium of Form) will be on display from June 29 through August 19,
19~4.
Woofy Bubbles and t he \<100 World Players, which will include dancers Debi Glermon,
Mark Chatman-Royce, and Shellie Steier, will enlive:!J. the galleries of the Pennsylvania
Academy as they perform amidst a setting of miniat1:re soft-sculptural objects and bandpainted wearable art, much of which may be seen i n the Morris Gallery installation. For
the production, Hodge has created spectacular new I' li fe forms," creatures with names such
as Woozopus, WooTwoo, and Woophyta. These exotic beings inhabit the carnivorous landscape
known as the World of Woo. Here the wearer and manipulator of the individual costumed
"life forms" acts as puppeteer to animate an entire sculpture. Despit e the hilarity of
these sculptural images, Hodge asserts that his unique brand of performance art has conceptual links with such di sparate presentations as Dadaist and Surrealist performance,
Kabuki theater, and even animal mating rituals .
This biological farce i s accompanied by an original, pre-recorded sound score and
narration. The narrative, a numorous pseudo- scientific treatise written by John Musall,
is set to music by Jeff Cain and Charles Cohen witi lyrics by Stuart Horn. The Woo World
players are directed by chor ,e ographer Jac Carley.
Regarding his forthcoming exhibition and performance, Hodge has stated:
My interests, in searching for a more compelling art form,
have led me t o extend my painting background into threedimmensional space, creating sculptural figures (with biological
overtones) in a landscape within an art-performance reference.
This work has l ed me to collaborations with other artists,
writers, musici ans, and dancers, which produce exciting, rewarding results impossible to imagine as a sole creator.
The Pennsylvania Acadeny of the Fine Arts is located at Broad and Cherry Streets in
Philadelphia. The performance of lIIn Search of the Woo" will take place from approximately
6 p.m. to 6:45 p.m.
$1 students. For more
(215) 972-7600.
General admission for this event is $2, $1.50 senior citizens, and
info~ation,
members of the public should cal l the Academy at
- 30 -
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)
(;43-9917 (Home)
A HAJOR ARCHITECTURAL EXHIBITION, THE TRADITION OF PHILADELPHIA'S ARCHITECTS AS SEEN
THROUGH DRAWINGS_, TO OPEN AT THE Pl!;NNSYLVANIA ACADEMY OF THE FINE ARTS IN OCTOBER 1985
.... ..... WILL INCLUDE DRAWINGS BY CONTEMPORARY PHILADELPHIA ARCHITl!;CTC;
(Philadelphia, PA - June 29, 19(;4) - From October 17, 1985 through January 5, 1986,
the exhibition The Tradition of Philadelphia's Architects as Seen through Drawings will
be on display at The Pennsylvania Academy of the Fine Arts at Broad and Cherry Streets in
Philadelphia. This show is organized jointly by The Pennsylvania Academy of the Fine Arts,
the Philadelphia Chapter of the American Institute of Architects, and the Foundation for
Architecture. The purpose of the exhibition is to illuminate the rich tradition of Philadelphia's architects as represented in their drawings and to make more visible the architect's influence on the form and spirit of the city.
The Pennsylvania Academy's building at Broad and Cherry Streets in Philadelphia is
a National Historic Landmark and one of architect Frank Furness's best preserved masterpieces. Therefore, it seems particularly appropriate that the Academy's museum will display
approximately two hundred drawings created by Philadelphia architects from the colon1al times
to the present. Since Philadelphia has long been a center for architecture, the drawings in
the show will relate to projects, both realized and unrealized, for this city and throughout
the world. This exhibition will approach architecture not only as a profession and fine
arts discipline, but will demonstrate that architectural drawing maintains its own
technical and aesthetic integrity while it relates to the fluctuations of taste and
fashion which have shaped the other fine arts. This exhibition is being organized by Linda
Bantel, curator of The Pennsylvania Academy, in cooperation with the following guest curators:
Jeffrey A. Cohen, architectural historian; G. Holmes Perkins, professor of architecture
and urbanism, Graduate School of Fine Arts, University of Pennsylvania; and George E.
Thomas, architectural historian and lecturer, University of Pennsylvania. A twenty-minute
audio-visual presentation, which will explore the dynamics between architectural drawings
and the other fine arts, as well as science, technology, engineering, and socioeconimic conditions, will be installed in the galleries. An illustrated catalogue, with
major historical analysis contributed by James F. O'Gorman, Grace Slack McNeil Professor
of American Art, Wellesley College, will be available. In addition to the catalogue, a
descriptive brochure will be available to the public free of charge.
Approximately fifty of the drawings on display will be by contemporary Philadelphia
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ARCHITECT'S DRAWINGS CONT'D
2
architects, selected from a competition held on June 29 and 30, 19~4. The
organizers of the show invited architectural firms, registered architects and ?raduate
architects who are presently practicing in the six- county Philadelphia region l Philadelphia ,
Bucks, Montgomery, Delaware, Chester and Camden counties) to submit preliminary sketches
or design drawings of actual buildings or unrealized projects for any location, completed
at any time during the author's practice. There were no restrictions on the size of
works submitted or on the type of media employed.
It is the intention of this exhibition to include works that have been prepared
specifically for design development or for presentation to clients or public.
All drawings submitted were originals and were prepared by or for members of the
firms or individuals who were responsible for the designs illustrated.
OVer 200 drawings by 65 architects were submitted for this competition, and a Selection Committee of distinction was chosen to judge entrys at the Pennsylvania Academy on
Friday, June 29 and Saturday, June 30.
The Selection Committee consists of:
John Morris Dixon, editor, "Progressive Architecture";
John Hejduk, dean, Irwin S. Chanin
School of Architecture, Cooper Union; Charles W. Moore, FAIA: James F. Q'Gorman,
Grace Slack McNeil Professor of American Art, Wellesley College; and John Zukowsky,
curator, department of architecture, Art Institute of Chicago . This committee will select
for exhibition forty to fifty drawings which in its sole discretion exemplify excellence
and originality in both draftsmanship and conception. Advisors to the Selection Committee
include Leslie M. Gallery, executive director, Foundation for Architecture; Frank H.
Goodyear, Jr., president, The Pennsylvania Academy of the Fine Arts; Linda Bantel, curator,
The Pennsylvania Academy of the Fine Arts; and a representative of the Philadelphia
chapter, AlA.
- 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 TO RENOVATE GALLERIES IN AUGUST & SEPTEMBER
(Philadelphia, Pa. - July 30, 1984) - From August 7 through September 20,
The Pennsylvania Academy of the Fine Arts will be renovating some of the
galleries in the museum at Broad and Cherry Streets
and, as a consequence,
visitors will be restricted to certain areas of the Furness building.
liloofy Bubbles's Morris Gallery exhibition The Hoo (A Compendium of Form)
has been extended through September 2, and visitors to the Academy from August
7 thTough September 2 will be allowed into the Morris Gallery only. All other
galleries in the museum will be closed. After the Woofy Bubbles exhibition
ends, and until September 20, Academy visitors will be able to visit the
museum shop and look at the Victorian interior of the build.ing from the
grand staircase.
Most areas of the building will be closed to the public.
Because of these restrictions, visitors will be given free admission
to the museum throughout the entire period of the renovation, from August 7
through September 20.
All of the museum's galleries will be open on Friday, September 21, when
the Academy's next main gallery exhibition, A Growing American Treasure:
Recent Acquisitions and Highlights from the Permanent Collection opens to
the public.
The Pennsylvania Academy of the Fine Arts, a National Historic Landmark,is
located at Broad and Cherry Streets, just two short blocks north of City
Hall. Hours are Tuesday through Saturday, from 10 a.m. to 4 p.m. and Sundays
from 12 noon to 4 p.m.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
For Immediate Release
PHILADELPHIA , PA . 19102
215 972-7600
For further i nformation, contact :
Kirby F. Smi th, Public Informati on Officer
(215) 972- 7642 (Academy)
843- 9917 (Home)
ANXIOUS TOYS : RECENT vlORK BY BRIAN MEUNIER, AN EXHIBITION OF PAINTED WOOD SCULPTURE, '
TO BE SHOmr AT THE PENNSYLVANIA ACADEHY OF THE FINE AHTS' MORRIS GALLERY FROM
SEPTEMBER 14 THROUGH OCTOBER 28, 1984
(Philadelphi a, Pa. - August 24 , 1984 ) - The Morri s Gal l ery of The Pennsylvania
Academy of the Fine Arts will display the exhibition Anxious Toys : Recent Work by
Brian Meunier, a selection of approximately eight to ten free - standing sculptures in
wood and enamel , from September 14, 1ge4, through October 2e, 1984.
An opening reception, to which the public is invited, will be held on Thursday ,
September 13, from 5:00 p.m. to 7:00 p.m., in the Morris Gallery, located in the
Furness building at Broad and Cherry Streets.
Visitors to the Morris Gallery will have the opportunity to see the scope of
Brian Meunier's current works. Ranging in size from three to eleven feet, most of
these pieces have a large base construction supporting smaller, more literal forms
often inspired by early American agricultural and nautical implements.
Dr. Judith E. Stein, coordinator of the Morris Gallery, describes the artist 's work as
combining
Ii
a whimsical visual intelligence with an impressive and fresh formal vocabulary.
Meunier's images playfully build on such recoenizable subjects as a ship's helm, a squid
or a crustacean."
Born in Gardner, Massachusetts , in 1954, Brian Meunier studied at the University
of Massachusetts (B.F.A., 1976) and the Tyler School of Art, where he received an
M.F.A. degree in 197e. The artist is the recipient of a Ford Foundation Grant for
the Humanities (1975-76), and a Mellon Grant (1982) .
Currently represented in Philadelphia by the Janet Fleisher Gallery, Meunier
has shown locally at the Nexus Gallery (197e), Wilcox Gallery, Swarthmore College
(1979), Moore College of Art and the Fl eisher Art Memorial (1982). His work has
been exhibited at the Barbara Okun Gallery, St . Louis (1979), and the Karen Lennox
Gallery, Chicago
(19~3).
On Friday, October 5, at noon, the artist will deliver an informal gallery talk at
the museum at Broad and Cherry Streets; free with the price of museum admission.
The Morris Gallery displays the work of outstanding contemporary artists with
a connection to Philadelphia, determined by birth, schooling, or residence . The
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BRIAN MEUNIER CON'l' I D
2
exhibitions are chosen by a committee composed of area artists, museum personnel
and co llectors, and the curatorial staff of the Academy. Currently serving on the
Morris Gallery Exhibition Committee are:
Cynthia Carlson, Jennie Q. Dietrich,
Dr. Helen M. Herrick, Harold Jacobs, Jay Richardson Massey, Charles E. Mather, III,
Cheryl McClenney, John Moore, Mark Rosenthal; Pennsylvania Academy alumna Katherine
E. Cogan; and Academy staff members Frank H. Goodyear, Jr., Linda Bantel, Betty
Romanella, and Judith E. Stein, Morris Gallery Coordinator.
- 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 - 7652 (Academy)
543 - 9927 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
ANNOUNCES THE ACQUISITION OF A JOHN SINGLETON
COPLEY PAINTING ... GIFT OF THE FAMILY OF
HENRY S. McNEIL
(Philadelphia, Pa., September 5, 1984) - Frank
H. Goodyear, Jr., president of The Pennsylvania
Academy of the Fine Arts, announced today that
the Academy had acquired a major painting,
Robert Chamblett Hooper (oil on canvas, 50 x
39 3/4"), by John Singleton Copley (1738 - 1815).
This purchase, in loving memory of Henry S.
McNeil (1917 - 1983), past president of the
Pennsylvania Academy, was made possible by his
wife, Lois F. McNeil and, in honor of both
parents, by their children. The painting
will go on view when the Academy presents its
exhibition, A Growing American Treasure: Recent Acquisitions and Highlights from the
Permanent Collection, which opens to the public on September 21, 1984 and Tuns through
April 14, 1985.
"The Copley portrait of Robert 'King' Hooper is an important addition to the
Pennsylvania Academy's collection of American art," said Goodyear. "It represents a
milestone in the long history of collecting the best American art here at this museum.
Copley portraits of this quality rarely come on the art market, and we are all very,
very appreciative of the donors - the family of Henry S. McNeil - for making this acquisition possible. The City of Philadelphia has been enriched by their generosity."
In December of 1975, Frank H. Goodyear, Jr., then curator of the Academy museum,
articulated the strengths and weaknesses of its collection in a report to the Collections
and Exhibitions Committee, noting one of the Academy's undisputed strengths was its
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p. 2
COPLEY ACQUISITION CONT'D
large and exceptional collection of eighteenth and early nineteenth century paintings
by such artists as Benj amin Wes t, Charles Willson Peale and his family, Gilbert Stuart,
and Thomas Sully.
The most glaring omission was a work by John Singleton Copley, whose
portraits are among the most r emarkable produced in Colonial America
be the first shipped abroad f or exhibition.
and believed to
Onl y one major painting by him is owned by
a Philadelphia institution, a portrait of Mr. and Mrs . Thomas Mifflin (1773) in the
Historical Society of Pennsylvani a.
This gifted Boston artist was born in 1738, the
same year as Benjamin West and , like West , t ravel ed to Europe and settled ' in London
where he distinguished himself as both
a
port r ai t and history painter .
Goodyear urged
that a portrait from Copley's Ameri can period must become the Academy's number one acquisition priority. A date of the l at e 1760' s was most sought after, since the general
consensus was that it was Copley ' s bes t American period. It is also noteworthy that
it was in 1765 that Charles Wi lls on Peale , then a young, aspiring artist, visited Copley
in Bosten and was awed by his "picture room. II
The Robert "King" Hooper portrait was painted in 1767. Hooper was a member of a
prominent family of Har b1ehead, Massachusetts, who made his fortune in the fishing
industry. As his affable appearance sugges t s , Hooper was regarded by his peers as hospitable and friendly, and was admi red as a generous philanthropist. The epitome of the
self-possessed efficient man of affai rs, Hooper, letters in hand, quill at ready, is
seated on a Queen Anne side chair next to a slant-top desk covered with green cloth
and studded with brass tacks. (This i s one of the few portraits where Copley used a desk
rather than a cloth-covered tab l e.) On the desk next to the silver inkwell is the letter
written "To-/Rob t Hooper Esq . /in/ Marblehead/New England , " for which Hooper appears to
be preparing a response. In the background are a flamboyant red- tasseled curtain and
column, baroque conventions that Copley had learned by copying English portraits from
the prints readily available in Bos t on. Such devices had obvious aristocratic associations
that enhanced the stature of the sitter.
The portrait of "King" Hooper was owned by his descendants until 1980 when it
was given to Harvard University from whom the Academy purchased it. Its pendant of
Mrs. Robert Hooper (Hannah White) was pur chased from Copley's granddaughter in 1864 by
James Lenox and is now in the Lenox Collection of the New York Public Library. Mrs.
Hooper, equally stout, is depi cted decked out in her finest jewels, lace, and satins.
The two portraits probably became separat ed some time after Mrs. Hooper's death in 1776
because Mr. Hooper remarried'. Cop l ey also painted a miniature of Rgbert Hooper that
is now in the collection of t he Di plomatic Reception Rooms of the State Department
Washington, D.'C. The Robert Hoopers are the first of a series of important portrait
commissions Copley received in Marblehead , primarily from the Hoopers and their relatives.
By the period of 1765-67, when Copley painted the Hoopers, he was secure in his
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cOPLEY ACQUISITION CONT'D
3
career as the social portraitist of Boston. He had refined his style to the point where
he could limn a likeness that had both breadth and presence while infusing the subject
with life and personality unknown in American painting up to this time. Likewise unsurpassed were his technical skills in transcribing the material stuff in a picture fabric, metal, wood, fruit. This was an astonishing feat considering Copley was, for all
intents and purposes, self-taught, and developed his genius in relative isolation from
the major artistic centers.
The portrait of Robert "King" Hooper is a first-rate example of Copley's work
produced at the peak of his American career. It not only fills an important gap in the
collection, but relates well to Academy artists like Charles Willson
Peal~who
were ins-
pired by him. This is one of the Academy's most important acquisitions of this century.
Henry S. McNeil was elected to the Academy's board of trustees in 1961, and served
the Academy with extraordinary distinction, devotion, loyalty, and generosity. He was
president of the Academy from 1977-81, a period of unequaled growth in the Academy's
modern history. By the early 1970's
he became active on the Committee on Collections
and Exhibitions, serving as its chairman in 1975.
A serious collector himself, McNeil
recognized the importance of the Academy's incomparable collections of American art. It
was his
generosity~
along with others, that provided the initial support to begin the
ongoing conservation of Academy works of art. In recognition of Henry S. McNeil's advocacy of American art, His family generously established at the Academy the Henry
S. McNeil Acquisitions Fund. This fund will continue the interests of its namesake,
acquiring principally works of American art of the 18th - 19th centuries. The acquisitions
will reflect the needs of the collection in the areas of historic American portraiture,
genre , landscape) and still life painting. With these funds the Academy will be in a
stronger position to meet one of the main responsibilities of museums - the acquisition of
works of art for public enjoyment. This John Singleton Copley portrait is the first
acquisition of this fund to come into the Academy's collection.
"Henry was deeply involved in almost every aspect of The Pennsylvania Academy of the
Fine Arts during his twenty-two year association with the museum," Lois F. McNeil said
today. "He enthusiastically advocated the strengthening of the American collection through
key acquisitions. One of Henry's goals had been to acquire a John Singleton Copley for
the Academy's collection. It is a pleasure to be able to see this goal achieved as a
f~tting
tribute to his commitment
to excellence and to his serious interest in American
art . "
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact:
Wendy P. Metzger, Public Information Coordinator
(215) 972- 7642 (Academy)
732- 0721 (Home)
For Immediate Release
ANNUAL FACULTY EXHIBITION ON DISPLAY AT THE PEALE HOUSE GALLERIES OF
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM SEPTEMBER 20 THROUGH OCTOBER 5, 1984
(Philadelphia, Pa., September 5, 1984) - Works of art representative of
members of the Pennsylvania Academy school's distinguished faculty are on view
in the Peale House, 1820 Chestnut Street, Philadelphia, from September 20 through
October 5, 1984.
There will be paintings, drawings, graphics, and sculpture by Pennsylvania
Academy faculty members on display in both the front and student galleries at
the Peale House. Among the artists represented will be Joseph Amarotico, Jack ,
Barnet, Will Barnet, Arthur de Costa, Murray Dessner, Ofelia Garcia, Anthony-
\
Peter Gorny, John Hanlen, Homer Johnson, Karl Karhumaa, Robert Koffler, Jimmy C.
Leuders, Stanley R. Merz , Daniel D. Miller, Edith Neff, Edward O'Brien, Eo Omwake,
Elizabeth Osborne, Peter Paone, Henry Pearson, Mavis Pusey, Seymour Remenick,
Bruce Samuelson, Louis B. Sloan, and Roswell Weidner .
The Pennsylvania Academy of the Fine Arts is unique among American art
institutions. It is the oldest art school in America and, from its founding in
1805, has been a museum and school dedicated to teaching, collecting, and exhibiting
American art. The Academy school has . taught and produced some of the most prominent
names in American fine arts.
Thomas Eakins, Cecilia Beaux, William Merrit Chase,
Thomas Anshutz, Arthur B. Carles, Daniel Garber, John Sloan, and Morris Blackburn
are but a few of the students who later became Academy faculty members.
The Peale House Galleries, located at 1820 Chestnut Street, Philadelphia,
display a rotating series of stimulating exhibitions in all media. In addition
to Academy students, the shows in the Peale House Galleries feature artists who
have not recently exhibited in the Philadelphia area. These shows.are organized
for the benefit and education of Academy school art students. Hours are Tuesday
through Saturday from 10:00 a.m. to 4:00 p.m., and Sundays from 12 noon to 4:00 p.m.
No admission charge.
# 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 - 7652 (Academy)
543 - 9927 (Home)
For Immediate Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
ANNOUNCES THE ACQUISITION OF A JOHN SINGLETON
COPLEY PAINTING ... GIFT OF THE FAMILY OF
HENRY S. McNEIL
(Philadelphia, Pa., September 5, 1984) - Frank
H. Goodyear, Jr., president of The Pennsylvania
Academy of the Fine Arts, announced today that
the Academy had acquired a major painting,
Robert Chamblett Hooper (oil on canvas, 50 x
39 3/4"), by John Singleton Copley (1738 - 1815) .
This purchase, in loving memory of Henry S.
McNeil (1917 - 1983), past president of the
Pennsylvania Academy, was made possible by his
wife, Lois F. McNeil and, in honor of both
parents, by their children. The painting
will go on view w·hen the Academy presents its
exhibition, A Growing American Treasure : Recent Acquisitions and Highlights from the
Permanent Collection, which opens to the public on September 21, 1984 and runs through
April 1"4, 1985.
"The Copley portrait of Robert 'King' Hooper is an important addition to the
Pennsylvania Academy's collection of American art ," said Goodyear. "It represents a
milestone in the long history of collecting the best American art here at this museum.
Copley portraits of this quality rarely come on the art market, and we are all very,
very appreciative of the donors - the family of Henry S. McNeil - for making this acquisition possible. The City of Philadelphia has been enriched by their generOSity."
In December of 1975, Frank H. Goodyear , Jr., then curator of the Academy museum,
articulated the strengths and weaknesses of its collection in a report to the Collections
and Exhibitions Committee, noting one of the Academy's undisputed strengths was its
- more -
p. 2
COPLEY ACQUISITION CONT'D
large and exceptional collection of eighteenth and early nineteenth century paintings
by such artists as Benjamin West, Charles Willson Peale and his family, Gilbert Stuart,
and Thomas Sully.
The most glaring omission was a work by John Singleton Copley, whose
portraits are among the most remarkable produced in Colonial America
be the first shipped abroad for exhibition.
and believed to
Only one major painting by him is owned by
a Philadelphia institution, a portrait of Mr. and Mrs. Thomas Mifflin (1773) in the
Historical Society of Pennsylvania.
This gifted Boston artist was born in 1738, the
same year as Benjamin West and, like West, traveled to Europe and settled · in London
where he distinguished himself as both
a
portrait and history painter.
Goodyear urged
that a portrait from Copley's American period must become the Academy's number one acquisition priority. A date of the late 1760's was most sought after, since the general
consensus was that it was Copley's best American period. It is also noteworthy that
it was in 1765 that Charles Willson Peale, then a young, aspiring artist, visited Copley
in Bosten and was awed by his "picture room."
The Robert "King:! Fooper portrait was painted in 1767. Hooper was a member of a
prominent family of l1arblehead, Massachusetts, who made his fortune in the fishing
industry. As his affable appearance suggests, Hooper was regarded by his peers as hospitable and friendly, and was admired as a generous philanthropist. The epitome of the
self-possessed efficient man of affairs, Hooper, letters in hand, quill at ready, is
seated on a Queen Anne side chair next to a slant-top desk covered with green cloth
and studded with brass tacks. (This is one of the few portraits where Copley used a desk
rather than a cloth-covered table.) On the desk next to the silver inkwell is the letter
written "To-/Rob t Hooper Esq.lin/ Marblehead/New England," for which Hooper appears to
be preparing a response. In the background are a flamboyant red-tasseled curtain and
column, baroque conventions that Copley had learned by copying English portraits from
the prints readily available in Boston. Such devices had obvious aristocratic associations
that enhanced the stature of the sitter.
The portrait of "King" Hooper was owned by his descendants until 1980 when it
was given to Harvard University from whom the Academy purchased it. Its pendant of
Mrs. Robert Hooper (Hannah White) was purchased from Copley's granddaughter in 1864 by
James Lenox and is now in the Lenox Collection of the New York Public Library. Mrs.
Hooper, equally stout, is depicted decked out in her finest jewels, lace, and satins.
The two portraits probably became separated some time after Mrs. Hooper's death in 1776
because Mr. Hooper remarried. Copley also painted a miniature of Rgbert Hooper that
is now in the collection of the Diplomatic Reception Rooms of the State Department
Washington, D.C.
The Robert Hoopers are the first of a series of important portrait
commissions Copley received in Marblehead, primarily from the Hoopers and their relatives.
By the period of 1765-67, when Copley painted the Hoopers, he was secure in his
- more -
3
COPLEY ACQUISITION CONT'D
career as the social portraitist of Boston. He had refined his style to the point where
he could limn a likeness that had both breadth and presence while infusing the subject
with life and personality unknown in American painting up to this time. Likewise unsurpassed were his technical skills in transcribing the material stuff in a picture fabric, metal, wood, fruit. This was an astonishing feat considering Copley was, for all
intents and purposes, self-taught, and developed his genius in relative isolation from
the major artistic centers.
The portrait of Robert "King" Hooper is a first-rate example of Copley's work
produced at the peak of his American career. It not only fills an important gap in the
collection, but relates well to Academy artists like Charles Willson
Peal~who
were ins-
pired by him . This is one of the Academy's most important acquisitions of this century.
Henry S. McNeil was elected to the Academy's board of trustees in 1961, and served
the Academy with extraordinary distinction, devotion, loyalty, and generosity. He was
president of the Academy from 1977-81, a period of unequaled growth in the Academy's
modern history. By the early 1970's
he became active on the Committee on Collections
and Exhibitions, serving as its chairman in 1975.
A serious collector himself, McNeil
recognized the importance of the Academy's incomparable collections of American art. It
was his
generosity~
along with others, that provided the initial support to begin the
ongoing conservation of Academy works of art. In recognition of Henry S. McNeil's advocacy of American art, His family generously established at the Academy the Henry
S. McNeil Acquisitions Fund. This fund will continue the interests of its namesake,
acquiring principally works of American art of the 18th - 19th centuries. The acquisitions
will reflect the needs of the collection in the areas of historic American portraiture,
genre, landscape) and still life painting. With these funds the Academy will be in a
stronger position to meet one of the main responsibilities of museums - the acquisition of
works of art for public enjoyment. This John Singleton Copley portrait is the first
acquisition of this fund to come into the Academy's collection.
"Henry was deeply involved in almost every aspect of The Pennsylvania Academy of the
Fine Arts during his twenty-two year association with the ITlllseum," Lois F. McNeil said
today. "He enthusiastically advocated the strengthening of the American collection through
key acquisitions. One of Henry's goals had been to acquire a John Singleton Copley for
the Academy's collection. It is a pleasure to be able to see this goal achieved as a
fitting tribute to his commitment
to excellence and to his serious interest in American
art."
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHILADELPHIA , PA . 19102
BROAD AND CHERRY STREETS
NEWS
For Immediate Release
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 PRESENTS THE EXHIBITION A GROWING AMERICAN
TREASURE: RECENT ACQUISITIONS AND HIGHLIGHTS FROM THE PERMANENT COLLECTION ........ .
ON VIEW FROM SEPTEMBER 21, 1984 THROUGH APRIL 14, 1985
(Philadelphia, Pa. September 5, 1984) - Since its founding in 1805, The Pennsylvania Academy of the Fine Arts has been collecting American art. Periodically, a museum
likes to feature its most recent acquisitions. Because of temporary exhibitions and
outgoing loans, generally only a fraction of a museum's rich holdings can be displayed
at anyone time. For the first time in years, from September 21, 1984, through April 14,
1985, all fourteen of the Frank Furness galleries are going to be devoted to the permanent collection. At least one gallery will be installed in a manner similar to the 1876
installation, when the building first opened its doors to the public during America's
centennial celebration in Philadelphia. Unlike today when, for the most part, paintings
are hung in a single line at eye level with a reasonable space between each painting,
during the last quarter of the nineteenth century it was common to double- or triplehang pictures and tightly group them together. As then, this style of hanging will allow
the Academy to bring out many more objects from storage \than is normally possible. Thus,
while old favorites like Winslow Homer's Fox Hunt or Frank Duveneck's Turkish Page (both
of which have just returned from Paris, the last leg of a yearlong tour of a major
exhibition of masterpieces of American art) will again be featured in the galleries,
less familiar work will be recalled from loan, pulled out from storage, and put on exhibition. In total, approximately 500 works of art will be included In this show, which
has been organized by Linda Bantel, curator of the Pennsylvania Academy.
A Growing American Treasure is also an occasion to share highlights of the Academy's
acquisitions during the last six years. Over two hundred historic or contemporary
paintings, sculptures, and works on paper have been added to the collection. Many of
these objects will be incorporated chronogically into the reinstallation.
The Academy's eighteenth- and nineteenth- century collection of paintings and sculpture ranks as one of America's jewels. The museum has a first-class collection of portraits and history pictures by the first internationally recognized American artisbs Benjamin West, Charles Willson Peale and his family, Gilbert Stuart, Washington Allston,
John Vanderlyn, Thomas Sully - all artists who for the most part were involved in some
way with the Academy's formative years. To these strengths were added new works by
Allston and Sully.
- cont'd -
A GROWING AMERICAN TREASURE CONT'D
P. 2
The Academy's mid-nineteenth century landscape collection has been enriched by the
addition of a small luminist painting by the New York landscape painter Jervis McEntee.
In 1868-69 McEntee traveled to Europe with fellow Hudson River painter Sanford Robinson
Gifford. In Italy they made numerous sketches of picturesque ruins of which The Ruins of
Caesar's Palace is a superb example.
The figurative tradition has been the core experience of the Academy
museum and the school. This is due
at both the
partially to the legacy of Thomas Eakins, whose beaux-
arts education was transmitted to his students and through them it continues to be the
basis of the school's curriculum, and partially it seems to be a result of Philadelphia
collectors, perhaps in response to the art schools.
The Academy's twentieth- century collection reflects this realist bias. On the one
hand/efforts have been made to build on that strength. Thus a major new area of acquisitions
during the last six years has been in the field of new American realism, the subject of
one of the Academy's most popular shows (1981 )., which traveled in America and abroad.
The collection was augmented by important works by William Bailey, Emily Brown, Rackstraw
Downes, Sidney Goodman, Alex Katz, Philip Pearlstein, Fairfield Porter, Martha Mayer
Erlebacher, Don Nice, and Alfred Leslie. On the other hand, in recent years the Academy
has also tried to add art objects to the collection that reflect the movement in modern
abstraction. In the area of early moderns, the museum has acquired important pieces by
Morton Schamberg, Arthur B. Carles, Charles Demuth, and Edwin Dickinson. Of the postWorld War II artists, it has acquired works by Robert Motherwell, Mark Tobey, Robert
Rauschenberg, Kenneth Noland, Louise Nevelson, Richard Stankiewicz, David Smith, and Warren Rohrer.
The formation of a fine museum collection is a painstaking process that relies as
much on planning as serendipity. Generally speaking, the Academy uses its acquisition
funds to try to upgrade and refine the collection,' that is, to fill in gaps (like the
Jervis McEntee) or to create new areas of strengths (like the Robert Motherwell).
The
ey~ibition
will be accompanied by an illustrated catalogue containing a complete
checklist of accessions since 1978 and essays, by Academy staff, which discuss highlights
in the areas of contemporary art and nineteenth century paintings, sculpture, and
graphic arts.
The Academy will present several special events during the course of A Growing
American Treasure, all of which are open to the public. These include Sunday gallery
talks, symposiums, a walking tour, and a one-person play on the life of Walt Whitman.
Details follow:
SUNDAY GALLERY TALKS, FALL 1984
The opening of the exhibition A Growing American Treasure provides a timely opportunity for the general public to hear museum staff members talk about specific works in
the collection. The public is invited to come to the Academy on six Sunday afternoons this
- cont'd -
P.3
A GROWING AMERICAN TREASURE CONT'D
autumn for an informative and enriching experience. Listed below are the dates of these
thirty-minute talks and the works to be discussed. Each session begins at 1 :30 p.m., so
that those interested in taking a guided tour of the museum may do so at 2 p.m., when
the talk concludes. Sunday, September 30,1 :30 p .m. - Elizabeth Kolowrat, director of
museum education - Penn's Treaty with the Indians by Benjamin West/ Sunday, October 7,
1 :30 p.m. - Jeanne MacAlpine - school program coordinator - Fourth of July on Centre
Square / by John Lewis Krimmel/ Sunday, October 14, 1 :30 p.m., Linda Bantel - curator of
the
Acade~y
- will discuss a major new acquisition/ Sunday, November 4,1 :30 p.m., Eliz-
abeth Milroy, research associate - The Cello Player by Thomas Eakins/ Sunday, December 2,
1 :30 p.m., Judith Stein, assistant curator - A Little Girl (Fanny Travis Cochran) by
Cecilia Beaux/ Sunday, December 16, 1 :30 p.m., Susan James-Gadzinski, research associateIn Much Wisdom by Charles Grafly.
SYMPOSIUMS
The core of the Academy's program of special events is a series of symposiums
which will exami~e aspects of the collection in specific and in general terms. Members
of the Academy's curatorial staff and several noted scholars and specialists in various
areas of American art ,>!ill appear on the programs. This series presents an opportunity to
participate in a "mini-course" in American art history and an opportunity to increase one's
understanding and appreciation of the rich heritage contained with in the
AcadeJr~y'
s walls.
The symposiums are scheduled in a historical progression from the eighteenth century to
the present: Saturday, October 13, 1984, 9:45 a.m. to 3:30 p.m. -"The Talents of our
Countryme~Y
Saturday, November 10, 1984, 10:00 a.m. to 2:30 p.m. -"A New Generation: Thomas
Eakins and His Circle"/ Saturday, December 8, 1984, 9:45 a.m. to 3:30 p.m. - "American
Art of the 1890's"/ Saturday, January 19, 1985, (time to be announced) - "Early Modernists"/
March, 1985, (day and time to be announced), "Contemporary Portraiture."
Those interested
in attending any of these symposiums should call (215) 972-7630 for further information.
ARCHITECTURAL TREASURES WALKING TOUR
_ _ _ _ FROM THE PHILADELPHIA COLLEGE OF ART TO THE PENNSYLVANIA ACADEMY
-----The jewel-like building by Frank Furness in which the Academy's treasures are housed
is itself a masterpiece of American architecture. From 1820 to 1900, an era of eclectic
revivalism in architecture, Broad Street bloomed with new monuments, by several American
architects, which still stand, either in their original condition or restored and renovated.
On Saturday, October 20, at 1 :00 p.m., the Pennsylvania Academy will offer a walking
tour of Broad Street architecture. The walk, with historical and architectural commentary by Craig Morrison, who was involved in several restoration projects, will
likely include the Philadelphia College of Art, the Academy of Music, the Bellevue
Stratford, the Masonic Temple, and will conclude at the Pennsylvania Academy where building
- cont'd -
A GROWING AMERICAN TREASURE CONT'D
P 4
tours will be followed by refreshments.
For further information, call (215) 973-7630.
ONE-PERSON PLAY: WILL STUTTS AS WALT WHITMAN
One of Thomas Eakins's most powerful portraits is his 1887 bust-length study of
Walt Whitman. It is a poignant image of the sixty-eight year-old poet. Though physically
weakened by a series of strokes, Whitman's inner vision never diminished. Eakins recognized this and described it on his canvas with heartfelt asuity. Eakins had met Whitman
only very shortly before painting the poet's portrait, but a close bond developed
between the two men. Both Whitman and Eakins had encountered fierce opposition to their
unconventional creative principles. In Whitman's portrait, Eakins paid homage to a
kindred spirit.
Will Stutts has been widely praised for his sensitive portrayal of Whitman. This
performance will take place in the Furness building at Broad and Cherry Streets, on
Sllilday, November 18, at 2:00 p.m.
The event is open to the public and is free with
the price of museum admission.
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 a.m. to 4 p.m.
Tue~day
through Saturday, and 12 noon to 4 p.m . on Sunday. General admission is $2, $1.50
senior citizens, and $1 for students. Regularly scheduled tours are given
at
11 a.m. and 2 p.m. Tuesday through Friday, and at 2 p.m. on Saturday and Sunday.
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 Lanmnark, 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
PHILADELPHIA , PA . 1910 2
2 15 9 72 -7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
FOR IMMEDIATE RELEASE
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS INVITES THE PUBLIC TO ATTEND A SERIES OF SIX SUNDAY
AFTERNOON GALLERY TALKS PLA1~ED IN CONJUNCTION WITH THE EXHIBITION A GROWING AMERIClln TREASURE:
RECENT ACQUISITIONS AND HIGHLIGHTS FROM THE PERMANENT COLLECTION .... FREE WITH MUSEUM ADMISSION
(Philadelphia, Pa. - September 18, 1984) - The Pennsylvania Academy of the Fine Arts
invites members of the general public to visit the historic Furness building at Broad and
Cherry Streets in Philadelphia on six Sunday afternoons this autumn for what will prove to
be an informative and enriching experience. The opening of the exhibition A Growing American
Treasure: Recent Acquisitions and Highlights from the Permanent Collection , on display from '
September 21,1984 through April 14,1985, provides a timely opportunity to hear museum
staff members talk about specific works of art in the Academy's collection. Listed below
are the dates of these thirty-minute talks and the works to be discussed. Please note that
each session begins at 1 :30 p.m., so that those interested in taking a guided tour of the
museum may do so at 2 p.m., when the talk concludes. Both the gallery talks and museum tours
are free with the price of admission,which is $2 general admission, $1.50 senior citizens,
and $1 students. Admission is free on Tuesdays. Hours are Tuesday through Saturday from
10 a.m. to 4 p.m. and
SundaY~Jrom._1_2 _p. gon
to 4 p.m.
Sunday, September 30, 1 :30 p.m. - Elizabeth Kolowrat, director of museum education - Penn's
Treaty with the Indians by Benjamin West. In 1771 West was commissioned by Thomas Penn, the
nephew of Pennsylvania's founder, to paint this well-known work of art, which portrays the
purchase of Pennsylvania from the Indians in 1681.
Sunday, October 7, 1 :3 0 p.m. - Jeane MacAlpine - school program coordinator - Fourth of
July on Centre Square by John Lewis Krimmel. Though the pump house is long gone, this early
nineteenth-century painting tells the story that links William Penn to the site where
City Hall now stands.
Sunday, October 14, 1 :30 p .m. - Linda Bantel - curator of the Academy - will discuss the
Academy's major new acquisition, John Singleton Copley's portrait of Robert Chamblett Hooper.
This painting is on display in Philadelphia for the first time in "A Growing American Treasure2 1
Sunday, November 4, 1 :30 p.m. - Elizabeth Milroy - research associate - The Cello Player
by Thomas Eakins. Eakins's sensitive portrayal of Rudolf Hennig, principal cellist with the
Theodore Thomas Orchestra, forerunner of the Philadelphia Orchestra, is a superb example
of the artist's late portrait style.
Sunday , December 2, 1 :30 p.m. - Judith Stein - assistant curator - A Little Girl (Fanny Travjs
~ och:a~by C e ~ ilia.B eaux. Dr. Stein's discussion uill illuminate t he story of Co chr8~'s
llllprl sonment In Phlladelphia in 1909 in connect i on with a pr otest on Hashi ng-t on Square .
Sunday , December 16 , 1 : 30 n.m. - Susan James-Gadzinski - research associate - In Much
Wi sdom by Charles Grafly . Grafly ' s symboli c scu l pt ur es r eflect t he tradition of t he artis t ' s
teacher, Thomas Eakins , with their emphasis on anatomy and the human form.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact:
irJendy P. Metzger, Public Information Coordinato
(215) 972- 7642 (Academy)
732- 0721 (Home)
For Immediate Release
AN EXHIBITION OF SCULPTURE BY MIKE MOSER AND PAINTINGS BY
CRANSTON WALKER TO BE ON VI111 IN THE PEALE HOUSE GALLERIES OF THE
PENNSYLVANIA ACAD~IT OF THE FINE ARTS FROM OCTOBER 11 THROUGH NOVEMBER 2, 1984.
(Philadelphia, Pa., September 27, 1984) - The works of sculptor Mike Moser and
painter Cranston Walker will be on view in the Peale House Galleries of The Pennsylvania
Academy of the Fine Arts, 1820 Chestnut Street, from October 11 through November 2, 1984.
An
opening reception, to which the public is invited, will be held on Wednesday,
October 10, 1984, from 5:00 p.m. to 7:00 p.m.
Over twenty sculptures by Moser will be included in his show, en·t itled Variations
on a Theme .
The artist uses wood, metal, and stone in his work, often combining two
of the three media.
The sculptures are both figurative and abstract, and are of human
scale.
A graduate of The Pennsylvania Academy of the Fine Arts (1975 - 1979), Moser is
currently the manager of the Academy's sculpture workshop on Ranstead Street.
1952, Moser was raised in Shamokin, Pennsylvania.
Born in
He began sculpting as a student at
Gettysburg College, Gettysburg, Pennsylvania, and has sinced received several prestigiOUS
awards.
In 1979 Moser received the Pennsylvania Academy's Schiedt Memorial European
Traveling Scholarship and in 1981 he was the reCipient of the National Academy of Design
Leila Gardin Sawyer prize as well as the National Academy of Design's Certificate of
Merit for Sculpture in 1984.
Manmade Landscapes is an exhibition of paintings and collages by Cranston Walker
that reflect the artist's view of a city environment.
There will be twelve large
collages which are up to eight feet in height and which consist of glass, foil, acrylic,
and soil,
Also included in the show will be eight to ten smaller photographic collages,
as well as colored pencil drawings, and gouaches.
- more -
p. 2
In a statement describing his work
Cranston
\~alker
writes: "For art to be valid,
it should relate to and reflect the times, environment, and circumstances in which
it is created. This includes art that is architectural, on-site, and audio-visual.
From this a more valid aesthetic is developed. It is my feeling that when this
aesthetic is maintained, this art will embrace a common denominator of the past,
present, and future. Rules are meant to be broken."
Born in Philadelphia in 1947, Cranston Walker attended the Samuel S. Fleisher
Memorial and The Pennsylvania Academy of the Fine Arts. While a student at the Academy,
,he received a Cresson European Traveling Scholarship (1969), the Charles
Toppan Prize for ,Drawing (1969), and the Thouron Prize in Composition (1969).
The Peale House Galleries, located at 1820 Chestnut Street, Philadelphia, display
a rotating series of stimulating exhibitions in all media. In addition to Academy
students, the shows in the Peale House Galleries feature artists who have not recently
exhibited in the Philadelphia area. These shows are organized for the benefit and
education of the Academy school art students. Hours are Tuesday through Saturday from
10:00 a.m. to 4:00 p.m., and Sundays from 12 noon to 4:00 p.m. No admission charge.
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHI LADELPHIA, PA. 19102
215 972 -"7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
FOR D1MEDIATE RELEASE
LIVE PERFORMANCE OF DANCE WITH ANIMATION BY KATHY ROSE TO BE PRESENTED BY THE PENNSYLVANIA
ACADEMY OF THE FINE ARTS ON SUNDAY, OCTOBER 21, AT 2 P.M ..... FR.EE WITH MUSEUM ADMISSION
(Philadelphia, Pa. - October12, 1984) - Kathy Rose, dancer, choreographer, and maker
of animated films, will bring her electrifying performance style to The Pennsylvania
Academy of the Fine Arts's auditorium at Broad and Cherry Streets on Sunday, October 21,
at 2 p.m.
Sponsored by the Academy's Morris Gallery Committee, the program eonsists of two
pieces, "Primitive Movers" and the Philadelphia premiere of "Strange Ditties," both of which
offer a unique blend of animation and dance. The performance is open to the general
public for the price of museum admission, which is $2 general admission, $1.50 senior
citizens, and $1 students; reservations are suggested.
In "Primitive Movers,"
Ms. Rose "throws" her animated creation onto a large screen
in front of the audience and with a single gesture creates her own dance company; then
she leads it in a tribal group dance. A stron~ rhythmical sound track of electronic
percussion starts and the piece begins.
Throughout the performance, animation accompanies the live dancer in choreographed
movement ranging from flat two-dimmensional figurative group dancers, to a dynamic buildup of bold abstraction, until finally, the dancer/creator is pulled into her own work.
"Strange Ditties" is almost totally abstract. The screen remains black except for
patches of whiteness which come and go. In describin~ Rose's recent performance of this
piece at the Danspace of St. Mark's Church, New York Times reviewer Jack Anderson
wrote: BAnd these constantly shifting white spaces served as frames for whatever parts
of Miss Rose's live dancing body happened to be in front of them. Since the rest of
the stage remained dark, the comings and goings of the white light allowed Miss Rose
to create her body into isolated bits."
Two animated shorts open the program, both created in a lighthearted and fantastic
vein. In the first, "The Mysterians," amorphous blobs continuously reshape themselves into bizarre creatures, sprouting multiple heads and limbs before melting back
into blobs. In the second, "Pencil .Booklings," while an artist looks through her sketch
book, the creatures she drew come to life and inform her that she has to be in a
cartoon before she can really be an animator.
- more -
KATHY ROSE CONT'D
2
Born in New York City in 1949, Kathy Rose was educated at the HighSchool of Music & Art
and holds a B.F.A. in film from the Philadelphia College of Art and an M.F.A. in Animation
/
from the California Institute of the Arts. She has studied modern dance, ballet, jazz,
and Dunham technique, and has performed widely with the Philadelphia-based multi-media
dance company Group Motion. The winner of numerous awards for her animated films, among
them, the Gold Hugo and Silver Plaque from the Chicago Film Festival, and first prize
at the Ottawa Animation Festival, she has received grgnts from the American Film Institute
and the National Endowment for the Arts (for "Primitive Movers"). Her work has been
exhibited world-wide in many museums, festivals, and theaters, including the Fantastic
Animation Festival, Museum of Modern Art, New York Film Festival, London Film Festival,
Edinburgh Festival, and the Beaubourg Center in Paris. Ms. Rose has given workshops and
lectures throughout this country as well as in Belgium and France, and was a visiting
instructor in 1979 at Harvard University.
For further information on reservations, members of the general public should
call the Academy's public information office
- 30 -
at (215) 972-7642.
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
PHILADELPHIA AREA PORTFOLIO DAY/CAREERS IN ART TO BE HELD AT THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS ON SATURDAY, OCTOBER 27, 19~4 ....... PUBLIC INVITED ....... FREE
(Philadelphia, Pa. - Octoberrt9, 1984) - For the first time in the event's sevenyear history in the Delaware Valley, The Pennsylvania Academy of the Fine Arts will
host Portfolio Day/Careers in Art on Saturday, October 27, from 11 a.m. to 3 p.m. in
the Academy School building at Broad and Cherry Streets. This program, sponsored
by the National Association of Schools of Art and Design (NASAD) , offers students,
parents, teachers, and guidance counselors an opportunity to meet representatives
of 37 art schools and universities from across the country in order to explore educational and career options in the visual and related arts. In conjunction with
Portfolio Day, the Pennsylvania Academy will conduct a financial aid seminar in the
Furness building at Broad and Cherry Streets from 10 a.m. to 11 a.m. Both Portfolio
Day and the financial aid seminar are open to the public free 'of charge.
Portfolio Days are held at various locations across the United States throughout
the academic year. Philadelphia area Portfolio Day at the Academy is expected to
attract approximately 2,000 visitors from Pennsylvania, New Jersey, and Delaware who
have responded to a poster campaign. These visitors will meet representatives from
NASAD member schools and will have access to information on career planning, portfolio preparation, and the specifics on the curricula of participating institutions.
Those interested in pursuing an education in the visual arts are encouraged to
bring their port.folios for an informal evaluation.
A financial aid seminar, which directly procedes the Academy's Portfolio Day,
will offer guidance on application procedures and eligibility requirements for
federal financial aid programs, including grants, loans, and work-study. In
addition, specific information of the Academy's financial aid plan will be given to
any prospective Academy School students. At the close of the seminar, a period of
time will be allotted for questions and answers.
For further information, members of the general public should call the Academy at:
(215) 972-7625 for details on the Portfolio Day program / {~t5) : 9 72-7618 for more
information on the finanCial aid seminar.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
PHILADELPH IA , PA. 191 02
21 5 972 - 7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
FOR IMMEDIATE RELEASE
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS TO PRESENT A SERIES OF FOUR SYMPOSIUMS ON
AMERICAN ART - THE FIRST, "A NEW GENERATION: THOMAS EAKINS AND HIS CIRCLE," TO BE HELD ON
SATURDAY, NOVEMBER 10, 1984 ..... PUBLIC INVITED
(Philadelphia, PA - October 29, 1984) - The Pennsylvania Academy of the Fine Arts
will present a "A New Generation: Thomas Eakins and His Circle," the first in a series
of four symposiums on American art, on Saturday, November 10, 1984, from 10:00 a.m
to 3:30 p.m., in the museum auditorium at Broad and Cherry Streets. Planned in conjunction with the exhibition A Growing American Treasure: Recent Acguisitions and
Highlights from the Permanent Collection (on view through April 14, 1985), these
symposiums constitute the core of a program of special events designed to enhance and
elaborate upon the importance of the Academyls ~ol1ection in the bi~t9ry Qf flmerican art.
The first symposium will focus on Thomas Eakins, who attended the Pennsylvania
Academy and later joined the school IS faculty in 1876, and will examine Eakinsls significant contributions to the Philadelphia community as an artist and teacher. The
speakers for this session are: Elizabeth Johns - associate professor of American studies,
University of Maryland - who will discuss the topic liThe Nurturing of an Artist: Philadelphia and Thomas Eakins" and Elizabeth Milroy - research associate, The Pennsylvania
Academy of the Fine Arts - whose topic is "Science and Certainty: The Paintings of
Thomas Eakins." As a special feature, this symposium will include a film entitled
Eakins, produced by Daniel W. Dietrich, III, noted collector of American art. The film
contains interviews with people who had direct contact with the artist; a discussion
will follow. Those in attendance will also have an opportunity to view several w6rks
by Thomas Eakins, including his well-known portraits of The Cello Player and Walt
~Ihitman, \vhich are on vievi in the current Growing American Treasure exhibitio~
The symposiums which follow "A New Generation: Thomas Eakins and His Circle" are
scheduled as follows: Saturday, December 8, 1984, - "American Art of the 1890 s;"
Saturday, January 19, 1985, - "Early r'loderni sts; and Saturday, March 2, 1985 "Contemporary American Portraiture."
The public is welcome to attend each symposium; however, reservations are required.
The cost for each symposium is S12 for members of the general public and $10 for members
of the Academy; box lunches are $5 extra. For further infor'11ation on t :,e symposiur:1s,
I
II
contact the public information office at (215 ) 972-7642. For reservations, contact
the membership office at (215) 972-7630.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA. 19102
215 972-7600
For further information, contact:
Wendy Metzger, Public Info. Coordinator
(215) 972-7642 (Academy)
732-0721 (Home)
For Immediate Release
AN EXHIBITION OF PAINTINGS AND PAINTED CONSTRUCTIONS BY DOLORES
.MILMOE TO BE ON VIEW IN THE PEALE HOUSE GALLERIES OF THE PENNSYLVANIA
ACADEMY OF THE FINE ARTS FROM NOVEMBER 8 THROUGH NOVEMBER 30, 1984.
(Philadelphia, Pa., October
30, 1984) - An exhibition of twenty-one
paintings and ten painted constructions by Dolores Milmoe will be on view in
the Peale House Galleries of The Pennsylvania Academy of the Fine Arts from
November 8 through November 30, 1984.
An opening reception, to which the public is invited, will be held on
Wednedsay, November 7, 1984 from 5:00 p.m. to 7:00 p.m.
The paintings of Dolores Milmoe have been described as luminous
abstractions by the American Academy and Institute of Arts and letters,
which awarded Milmoe the prestigious Richard and Hinda Rosenthal Award (1980),
given annually to a "young painter of distinction
not yet accorded due
recognition." In this Peale House exhibition, Milmoe continues to present
abstract ideas through the avenue of mixed media on paper, and to extend her
paintings into three - dimensions.
Milmoe studied at the Chicago Art Institute and The Pennsylvania Academy
I
of the Fine Arts.
prestigious
~~ile
attending the Academy, Milmoe received the
Cresson and Schiedt European Traveling Scholarships.
Regarding
her years at the Pennsylvania Academy, Milmoe notes that she is greatly
indebted to the late Julian Levi and to the acting director of the Academy
school, Daniel D. Miller, with whom she studied closely.
Commenting on Milmoe's upcoming exhibition, Dan Miller states:
It is my great pleasure to have worked with Dolores Milmoe
during her sojourn at the Pennsylvania Academy in the 1970's.
Dolores arrived in Philadelphia as a mature woman, but despite
a keen sense of resolve, seemed entirely flexible and open to
avenues of search which the Academy might present. Her student
work was intense, vibrant, and endowed with an obvious
imaginative gift.
- more -
Although Dolores's student paintings tended progressively
toward the abstract, her involvement pressed constantly in the
direction of human concerns. Even in her present threedimensional constructions, reinforced by her South American
trip, there is a quality of the tribal, of ritual, which
implies a human base.
Imagination and a spirit open to possiblity have been the
vehicles of Dolores's growth as an artist. Always, in seeing
her new work, there is an extremely rare element of suprise.
It is a pleasure to see an artist not caught by style but freed
by the search for idea and content."
Milmoe has exhibited widely, including solo exhibitions at Gallery 10,
Washington, D.C. (1984); Notre Dame University, South Bend, Indiana (1982); and
the Carnegie Mellon University, Pittsburgh, Pa. (1981).
She has exhibited in
many group exhibitions, most recently in the Brandeis University Show,
Washington, D.C. (1983); Carnegie Institute, Museum of Art, Pittsburgh, Pa.
(1980, 1981); and the American Academy and Institutes of Arts and Letters, New
York (1980).
Milmoe is actively involved in artist advocacy programs, such as the
Washington Coalition of Artists, and the Philadelphia Cultural Alliance Program
for Artist Seminars.
I
The Peale House Galleries, located at 1820 Chestnut Street, Philadelphia,
display a rotating series of stimulating exhibitions in all media.
In addition
to Academy students, the shows in the Peale House Galleries feature artists who
have not recently exhibited in the Philadelphia area.
These shows are
organized for the benefit and education of the Academy School art students.
Hours are Tuesday through Saturday from 10:00 a.m. to 4:00 p.m, and Sundays
from 12 noon to 4:00 p.m.
No admission charge.
-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
RECENT WORK BY LIZBETH STEWART TO BE SHOWN AT THE PENNSYLVANIA ACADEMY OF THE FINE ARTS'
MORRIS GALLERY FROM NOVEMBER 9 THROUGH DECEMBER 30
(Philadelphia, Pa. - November 5, 1984) - The Morris Gallery of The Pennsylvania
Academy of the Fine Arts will display an exhibition of recent work by Philadelphia
sculptor Lizbeth Stewart, from November 9, 1984 through December 30, 1984.
An opening, to which the public is invited, will be held on Thursday, November 8,
from 5:00 p.m. to 7:00 p.m., in the Morris Gallery, located in the Furness building
at Broad and Cherry Streets.
There are approximately 10 works in the Morris Gallery show, all of which were made
in 1983 or 1984. Like the title of Hitchock's classic film, The Lady Vanishes, Lizbeth
Stewart's ceramic scenarious suggest a world of mysterious happenings, feminine wiles,
and untoward behavior. Feline predators stand guard over casually discarded gloves;
bullets, matches, and a tasteful string of pearls disport themselves in a provocative
alliance. Dr. Judith E. Stein, associate curator of the Academy and coordinator of the
Morris
Galler.Y~
describes Lizbeth Stewart's work in the following terms:
Stewart's iconography utilizes many archetypes of
femininity: makeup, pearls and kid gloves furnish
one level of meaning; cats and delicate birds provide
another. While her textures are trompe l'oeil, it is
only the exaggerated scale of her work which brings
us back to the reality that we are looking at art not
life. This predilection for outsized components and
her frequent inclusion of only fragments of the human
form, give Stewart's work its unreal power and marks
her as one of the most gifted of America's ceramic
sculptors.
Helen Drutt, noted craft authority and early supporter of Stewart's, li kes to
point out that her work carries on the traditions of the great porcelain factories of
Western Europe while reflecting the surrealistic themes of the twentieth century.
A native Philadelphia, Stewart attended school in Bryn Quelled, Bucks County, and
graduated with a B.F.A. from Moore College of Art in 1971. In 1976 she was awarded a
Craftsmen's Fellowship from the National Endowment for the Arts. Stewart was Artist
in Residence at The Fabric Workshop in 1981. Her work is represented in numerous
- more -
p.2
LIZBETH STEWART CONT'D
private collections throughout the United States, and in the following permanent collections:
Philadelphia Museum of Art; Campbell Museum, Camden, New Jersey; Joseph H. Hirshhorn
Collection, Washington, D.C.; , Lannan Foundation, Palm Beach, Florida.
For over a decade, Stewart has exhibited her work nationally. Exhibitions have .
included: solo and group shows at the Helen Drutt Gallery, Philadelphia (1974, 1975, 1976,
1982); Ceramics and Other Sculpture, Nancy Lurie Gallery, Chicago (1973); Clay, Whitney
Museum of American Art, New York (1974); Philadelphia: Three Centuries of American Art,
Philadelphia Museum of Art (1976); Soup Tureens: 1976, Campbell Museum, New Jersey,
Museum of Contemporary Crafts, New York, and Cranbrook Academy of Art Museu~,
Michigan; Young Americans II: Clay and Glass, American Craft Museum, New York, and
Tucson Museum of Art (1978); Contemporary Ceramics: A Response to Wedgwood, Museum of
Philadelphia Civic Center (1980); The Animal Image, Renwick Gallery, NMAA; Smithsonian
Institution, Washington, D.C. (1981); and The Clay Figure, American Craft Museum,
New York (1981).
On Friday, November 30, at noon, the artist will deliver an informal gallery talk
at the museum at Broad and Cherry Streets; free with the price of museum admission.
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. Currently serving on the Morris Gallery
exhibitions committee are: Cynthia Carlson, Jennie Q. Dietrich, Dr. Helen M. Herrick,
Harold Jacobs, Jay Richardson Massey, Charles E. Mather, III, Cherly McClenney, John
Moore, Mark Rosenthal, and Academy staff members Frank H. Goodyear, Jr., Linda Bantel,
Betty Romanella, and Judith E. Stein, Morris Gallery Coordinator.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
I~~EDIATE
215 972-7600
For further information, contact:
Kirby F. Smith, Public Information Officer
(215) 972-7642 (Academy)
843-9917 (Home)
NEWS
FOR
PHILADELPHIA, PA . 19102
RELEASE
ACTOR lULL STUTTS TO PORTRAY HALT HIUTMAN IN A ONE-PERSON PLAY AT
THE PENNSYLVANIA ACADEi1Y OF THE FINE ARTS ON SUNDAY, NOVEMBER 18, AT 2 P.M.
. . . .. FREE IVITH MUSEUM ADMISSION
(Philadelphia, Pa. - November 6, 1984) -
Actor Hill Stutts will portray American
poet Halt \vhitman in a one-person play, entitled "Walt Whitman: Liberal and Lusty as
Nature," on Sunday, November 18, 1984, at 2 p.m. at The Pennsylvania Academy of the
Fine Arts at Broad and Cherry Streets. The performance will provide members of the
audience with an opportunity to become better acquainted not only with Hhitman's
immortal words, but with the remarkable human being behind them.
Hill Stutts has been widely praised for his sensitive portrayal of Walt Whitman .
In the play, Stutts reconstructs the life of the poet in theatrical detail from his
strangely shiftless youth and his years of apprenticeship on newspapers in New York,
his witnessing of the pain and horror of the Civil War, to his single-minded dedication
to the writ ing, rewriting and promotion of Leaves of Grass. "It is I you hold and who
holds you, " Whitman addressed his readers in Leaves of Grass. "I spring from the pages
into your arms." The same can be said this performance, which brings to life the
thoughts, work, loves, friendships, passions, and the strange, ambiguous charm of one
of the most important figures in the history of American literature.
Pennsylvania Academy museum-goers are familier with Whitman since one of Thomas
Eakins's most powerful portraits depicts the poet in an 1887 bust-length oil study.
Currentl y on view in the exhibition A Growing American Treasure: Recent Acguisitions
and Highlights from the Permanent Col lect ion (through April 14, 1985), this work is a
poignant image of the sixty-eight- year-old poet. Though physically weakened by a series
of strokes, Whitman's inner vision never diminished.
Eakins recognized this and
described it on canvas with heartfelt acuity. Eakins had met Whitman only very shortly
before painting the poet's portrait, but a close bond of friendship and understanding
developed between the t wo men. Both Hhitman and Eakins had encountered fierce
opposition to their unconventional creative principles. In Hhitman's
portrait Eakins
paid homage to a kindred spirit.
"\valt Ivhitman: Liberal and Lusty as Nature" is open to the public and is free
with museum admission; $2 general admission, ~1 . 50 senior citizens, and $1 students.
For information, members of the public should call the Academy at (215) 972 - 7600.
- 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
THREE SYMPOSIUMS BY NOTED SCHOLARS OF AMERICAN ART TO BE HELD AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS .•..•• PUBLIC INVITED
(Philadelphia, Pa. - November 16, 1984) - The Pennsylvania Academy of the
Fine Arts, located at Broad and Cherry Streets, will present a series of three
symposiums by members of the Academy's curatorial staff and several noted
scholars in the history of American art.
These Saturd.ay _sessions will _
take place on December 8, 1984, from 9:45 to 3:30 p.m. - American Art of the
1890's; January 19, 1985, from 9:45 a.m. to 3:00 p.m. - Early Modernists; and
March 2, 1985, from 9:45 a.m. to 3:00 p.m. - Contemporary Portraiture. Planned
in conjunction with the exhibition A Growing American Treasure: Recent
Ac quisitions and Highlights from the Permanent Collection (on view through
April 14, 1985) these discussions constitute the core of a program of special
events designed to enhance and elaborate upon the importance of the Academy's
collection in the history of American art. The topics and participants are as
f ollows.
AMERICAN ART OF THE 1890'S
This symposium will include a discussion of the Boston artists of the eraJoseph DeCamp, William Paxton, Edmund Tarbell, et al. - and will address such
questions as whether or not there was a Philadelphia style associated with
American impressionism.
Linda Ferber
curator, American paintings and
sculpture, The Brooklyn Museum
"American Art of the 1890's"
Trevor J. Fairbrother
assistant curator, American
paintings, Museum of Fine Arts, Boston
"The Bostonians"
Roberta K. Tarbell
professor of art history
Rutgers University, Camden
"Is There a Philadelphia School?"
Carol Troyen
associate curator, American
paintings, Museum of Fine Arts, Boston
"\Vinslow Homer: The Last Romantic"
- more -
p. 2
EARLY MODERNISTS
During the early decades of the 20th century, innovations in artistic
styles and subject were both de"fended and deplored. The Academy's symposium,
Early Modernists will explore those revolutionary attitudes and the role played
by some Academy faculty and students in changing the course of American art.
Gail Levin,Ph.D.
art historian, curator, author:
Edward Hopper: The Art and the Artist
"Tradition vs. Modernism"
Bennard Perlman
professor of art, chairman, Dept.
of Fine and Applied Arts, Baltimore
Community College; author: Robert
Henri: His Life and His Art
"The New York Realists and the
Pennsylvania Academy"
Betsy Fahlman, Ph.D.
assistant professor, Dept. of Art,
Old Dominion University; author:
~ennsylvania Modern: Charles Demuth
'~merican Modernism in Pennsylvania:
Charles Demuth's Lancaster"
CONTEMPORARY AMERICAN PORTRAITURE
Inspired by the large number of excellent portraits in our own collections,
this symposium will cover such diverse issues as portraits which do not depend
on likeness for their power; the alternative tradition of the black folk
artist; the continuity of the tradition of history painting in the work of such
artists as Leon /Golub, Roger Brown, and Alex Katz; the self-scrutiny of the
artist as revealed in contemporary self-portraits.
Judith E. Stein,
assistant curator, The Pennsylvania
Academy of the Fine Arts
Moderator
Gerald Silk
assistant professor, Dept. of Art
History, University of Pennsylvania
"Object Portraits: Identity, Likeness,
and Style"
Reginia Perry
professor, history of art,
Virginia Commonwealth University
"Portraits of and by Black American
Folk Artists"
Alexandra Anderson
poet, critic, former editor-in-chief,
Arts and Antiques
"Self-Portraits by Contemporary
American Artists"
Carter Ratcliff
critic, author: Red Grooms
"History Painting in America from
Benjamin West to the Present"
The public is welcome to attend each symposium; however, reservations are
required and will be taken in the order received. The cost for each session is
$12 for members of the general public and $10 for members of the Academy; box
lunches are $5 extra. For further information on the symposiums, contact the
public information office at (215) 972-7642. For reservations, contact the
membership office at (215) 972-7630.
'#30
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHILADELPHIA , PA . 19102
215 972-7600
For further information, contact:
Wendy P. Metzger, Public Information Coordinator
(215) 972- 7642 (Academy)
732- 0721 (Home)
For Immediate Release
FULL STUDENT EXHIBITION TO BE ON VIEW IN THE PEALE HOUSE
GALLERIES OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FROM
DECEMBER 5, 1984 THROUGH,JANUARY 4, 1985
(Philadelphia, Pa., November 28, 1984) - 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 Galleries, 1820 Chestnut
Street, Philadelphia, from December 5, 1984,through January 4, 1985.
The Full Student Exhibition includes paintings, graphics,
drawings, and sculpture. 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 available for purchase, 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, Philadelphia, display a
rotating series of stimulating exhibitions in all media. In addition
to Academy students, the shows in the Peale House Galleries feature
artists who have not recently exhibited in the Philadelphia area. These
shows are for the benefit and education of the Academy School art
students. Hours are Tuesday through Saturday from 10: 00 a.m. to 4:00 p.m.,
and Sundays from 12 noon to 4:00 p.m. No admission charge.
- 30 -
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS For fJrM,? E Hlf8~a~ o n ~ 1 8~ntact ~ 15 972 - 7600
Kirby F. Smith, Public Information Officer
(215) 972 - 7642 (Academy)
843 - 9917 (Home)
NEWS
For Immediate .Release
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS AWARDS
GOLD MEDAL OF HONOR TO CHARLES E. MATHER III
(Philadelphia, Pa., December 10, 1984) - The board of trustees of the
Pennsylvania Academy of the Fine Arts has awarded the Academy's Gold Medal of Honor
to Charles E. Mather I I I, chairman of t he board of trustees of the Academy.
The Gold Medal was presented to Mather by Frank H. Goodyear, Jr., the Academy's
president and Samuel M.V. Hamilton, vice chairman of the board of trustees, at a
dinner for the Academy's board of trustees, Charles Willson Peale Society, and major
donors, which was held on December 6 at the Academy's Furness buildinq at Broad and
Cherry Streets.
The Pennsylvania Academy Go l d Medal of Honor was established in . 1893 by John
H. Converse, a member of the board of directors. The medal is awarded by the board
to American painters a~ d sculptors exhibiting i n the Academy or represented in the
permanent collection . It is also awarded for eminent services in the cause of art
or to the Academy.
A list of previous wi nne r s of the Academy's Gold Medal follows:
1893.
1894.
1895.
1896.
1897.
1898.
1899.
1901.
1902.
1903.
1904.
1905.
1905.
1906.
1907.
1908.
1909.
1911.
1914.
1915.
D. Ridgway Knight
Alexander Harrison
William M. Chase
Winslow Homer
Edwin A. Abbey
Cecilia Beaux
Charles Grafly
Henry J. Thouron
James A. McN. Whistler
John S. Sargent
John W. Alexander
William T. Richards
Violet Oakley
Horatio Walker
Edward W. Redfield
Edmund C. Tarbell
Thomas P. Anshutz
Willard L. Metcalf
Mary Cassatt
Edward H. Coates*
-more-
1916.
1918.
1919.
1920.
1926.
1929.
1939.
1949.
1949.
1953.
1953.
1955.
1955.
1959.
1961.
1966.
1975.
1977.
1979.
1979.
J. Alden Weir
John McLure Hamilton
Hugh H. Breckenridge
Childe Hassam
Frank W. Benson
Daniel Garber
C. Paul Jennewein
Alfred G.B . Steel*
Franklin C. Watkins
Walker Hancock
George Hard i ng
Joseph T. Fraser, Jr .*
William Clarke Mason~
John F. Lewis, Jr.*
Francis Speight
Andrew Wyeth
Henry S. McNeil*
John Gribbel, 11*
Bonnie Wintersteen*
Robert Motherwell
* Awarded for eminent services
to the Academy
The citation from the Academy's board which accompanied the Gold Medal stated:
"In recognition of your past twelve years of dedicated service, from 1972 to 1984,
to the Pennsylvania Academy of the Fine Arts, most recently as its chairman, for your
tireless advocacy, generous and spirited leadership, for fostering growth and excellence,
and for upholding the highest standards in your guidance of the Academy, the Pennsylvania
Academy of the Fine Arts awards Charles E. Mather III its highest honor - the ~cademy
Go 1d Medal of R<TIror-, December 6, 1984.
Charles E. Mather III is a graduate of Harvard University and the University of
Pennsylvania Law School. He is the president of Mather and Co. of Philadelphia, president
of Mather, Ltd. of New York City, and president of the Finance Company -of Pennsylvania.
Mather is a member of the board of trustees of Central Penn National Bank, the National
Museum of Racing, the Philadelphia Belt Line Railroad, the Seaman's Church Institute,
St. Christopher's Hospital for Children, the Sameul S. Fleisher Art Memorial, Spring
Garden College, the House of Rest for the Aged, the Penn Club, and the Pennsylvania
Historical Society. Mather is a member of the national board of Young Audiences, Inc.
and vice president of the Fairmount Park Art Association.
Mather was elected a trustee of the Academy in 1973, was elected vicepresident of the board in February 1978, elected president of the Academy and chairman
of the board of trustees in 1981, and continued as chairman when Frank Goodyear
was appointed president of the Academy in May 1983.
The Academy has had many notable achievements during Mather's tenure as Academy
president and board chairman, including: the purchase and renovation of the Academy's
new Peale House at 1820 Chestnut Street, a building that is secure, cost-efficient,
and has much better classroom, studio, and gallery space than had previously been available at the old Peale House; the landmark exhibition Contemporary American Realism
since 1960, which was selected by the United States International Communication Agency
to represent throughout Europe American vitality and creativity (the show traveled to
Lisbon, Madrid, and Nuremberg);and a 66.4% increase in Academy membership since Mather
b:€'came pres i dent.
II
**************
Academy board of trustee member William L. Grala was also honored at the dinner
last night for leadership of the Academy's three year fundraising campaign, as chairman
of the development committee. Frank Goodyear presented to Grala a citation from the
board of trustees which read:
"In recognition of your invaluable contributions as chairman of the Pennsylvania
Academy of the Fine Arts' Capital Campaign (1981 - 84), for your dedication and generosity
- more -
as our Campaign leader, fOr your wise, steadfast, and thoughtful council, the
board of trustees salutes, with appreciation, William L. Grala, December 6, 1984."
Grala is vice president of public affairs at SmithKline Beckman Corporation
and has been a member of the Academy's board of trustees since 1979.
The Pennsylvania Academy of the Fine Arts, founded in 1805, is the oldest
art- museum and art school in North America. Its collection of-trvet 7,300 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.
# 30
PENNSYLVANIA ACADEMY OF THE FINE ARTS
BROAD AND CHERRY STREETS
NEWS
PHI LA DEL PHI A, PA . 191 02
2 15 972-7600
For further information, contact:
Wendy Metzger, Public Information Coordinator
(215) 972-7642 (Academy)
732-0721 (Horne)
For Immediate Release
A RETROSPECTIVE EXHIBITION OF SCULPTURE BY JOSEPH GREENBERG
TO BE ON VIEW IN THE PEALE HOUSE GALLERIES OF THE PENNSYLVANIA ACADEMY
OF THE FINE ARTS FROM JANUARY 10 THROUGH JANUARY 31, 1985.
(Philadelphia, Pa., December 18, 1984) - Joseph Greenberg: Sculpture, is a
retrospective exhibition on display in the Pennsylvania Academy's Peale House
Galleries, 1820 Chestnut Street, from January 10 through January 31, 1985.
This
show will include twenty-five pieces of sculpture executed from 1939 to the
present.
Also included will be fifteen photographs of his large, permanently placed
sculptures.
An opening reception, to which the public is invited, will be held on
Wednesday, January 9, 1985 from 5:00 p.m. to 7:00 p.m.
Asked to comment on his work, Greenberg replied:
"About a year ago the curatorial staff of the Pennsylvania Academy
asked me to examine a bronze sculpture of mine which is in their
permanent collection. I realized that I had not seen this piece
since the Academy purchased it in 1954, and this led me to think
that it might be interesting and perhaps informative to gather
examples of my work executed over the forty-six years that I have
been a professional sculptor.
As of this writing I anticipate that I will exhibit about
twenty-five pieces plus about fifteen photographs of large,
permanently-placed sculptures . Looking at them I can see that I
tried a number of different approaches, starting with somewhat
traditional representational studies, gradually turning to more
simplified stylizations, then a period of very active expressionist
pieces, then for a time a preoccupation with non-representational
forms, followed by a series of semi-abstract shapes. Most recently
I have produced some representational pieces purposely distorted for
my own amusement.
I have always been fascinated by the physical challenges of
producing sculptures. It has been a potnt of pride with me that I
have acquired skills in the traditional sculptural media as well as
having been a pioneer in the use of new materials . I love to model,
cast, carve, forge, weld, and construct, but of all the media I much
prefer working with wood. (My only regret in this regard is that I
have never learned to work in molten glass.)
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It is extremely difficult to be objective about one's own work,
but I think that I perceive in most of my pieces a rather insistent
expression of volume, usually through the use of strongly modelled
organic forms and surfaces. To me this means of expressing threedimensionality is the very essence of what is meant by "sculptura1."
I have always wanted my work to evoke an emotional reaction from the
viewer; to create a mood or an active response.
Finally, I consider myself to be one of the most fortunate of
people: I still look forward with the same excitement and
anticipation of going to the studio daily as I did forty-six years
ago."
Greenberg was a front-runner in experimenting with new materials, such as fiberglass and reinforced plastic.
"Plastic Sculpture Breaks New Paths , " reads the
headline in the Philadelphia Inquirer, January, 1957, on an article about Greenberg's
exhibition of plastic sculpture at the Philadelphia Ar t Alliance.
In search of a
strong, permanent material, light in weight and less costly than stone or bronze,
Greenberg found one answer to the problem - to sculpt with fiberglass.
Amazingly
versatile, fiberglass is extremely strong and light in weight and is impervious to
weather and is relatively inexpensive.
It is ideal fo r outdoor sculpture.
Born in Philadelphia, Joseph Greenberg attended Episcopal Academy, studied
engineering for one year at the Massachusetts Institute of Technology, and then
transferred to the newly founded Tyler School of Art at Temple University. At
Tyler (1935-39), Greenberg studied sculpture with Rafael Sabatini and was influenced
by the work of Franklin Watkins and Earl Horter, who were also on the faculty.
Greenberg exhibited in the second international sculpture show sponsored by the
Fairmount Park Art Association at the Philadelphia Museum of Art (1940),
annual exhibition of the National Academy of Design (1941) .
and the
After serving in World
War II, Greenberg remained in Italy from 1949 to 1953, where his style came to
maturity and his works began to enjoy considerable success.
During the 1960's Greenberg taught classes in SCUlpture at the Philadelphia
Museum of Art and executed a number of commissions for public spaces in the
Philadelphia.
Bear and Cub - Coopersburg granite, and Chimp,Gorilla, Orangutan -
high relief, limestone, Philadelphia Zoo; The Seal of Pennsylvania - alumninum, State
Office Building, Philadelphia; Man and Universe - bronze, The Bell Telephone Company,
Philadelphia; fountain - bronzed copper, Philadelphia Civic Center; and Symbol of
Progress - steel, City of Bethlehem, Pa., these are but a few of the many public
sculptures by Greenberg.
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Greenberg's sculpture- 'is included in the permanent col lection of: Pennsylvania
Academy of the Fine Arts; Addison Gallery of American Art, Amherst, Mass.; Temple
University, Philadelphia; and Carnegie Endowment for International Peace, New York
City.
He has exhibited most recently at the garden of the Governor's Mansion,
Harrisburg, Pa. (1982); Woodmere Art Gallery, Philadelphia (1982); Sculpture/300,
Rittenhouse Square and the Philadelphia Art Alliance (1982); and Three Centuries of
..~
American Art, Philadelphia Museum of Art (1976).
Greenberg has also exhibited in
the Annuals of the Pennsylvania Academy of the Fine Arts (1942, 1952 , 1954, 1964,
1966, 1968).
Greenberg has been very active in the art community of Philadelphia.
He was
vice-president for Art, Philadelphia Art Alliance from 1977 to 1979 as well as on
the board of directors at the Philadelphia Art Alliance from 1957 to 1958 and 1977
to 1982.
Greenberg was also very instrumental in framing the 1% for Art Ordinance
in Philadelphia.
The Peale House Galleries, located at 1820 Chestnut Street, Philadelphia,
display a rotating series of stimulating exhibitions in all media.
In addition to
Academy students, the shows in the Peale House Galleries feature artists who have
not recently exhibited in the Philadelphia area.
These shows are organized for the
benefit and education of the Academy School art students.
Hours are Tuesday through
Saturday, 10:00 a.m. to 4:00 p.m., and Sundays from 12 noon to 4:00 p.m.
admission charge.
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